La fedeltà premiata
Encyclopedia
La fedeltà premiata is an opera
in three acts by Joseph Haydn
first performed at Eszterháza
on 25 February 1781 to celebrate the reopening of the court theatre after a fire. It was revised for a new version first performed in 1782.
The libretto
was adapted by Haydn and an anonymous colleague from Giambattista's Lorenzi's L'infedeltà fedele, which had been set by Cimarosa
in 1779. Haydn had access to Cimarosa's score, although the Neapolitan dialect and crude jokes were removed and the nine characters in the former setting reduced to eight by the conflation of two female roles. In its revised (and shortened) version, La fedeltà premiata is designated a dramma pastorale giocoso (a comic opera with pastoral
elements).
The opera was revived twice in Eszterháza after 1782. In December 1784, Mozart
attended a German-language production at the Theater am Kärntnertor
in Vienna, the work of his future collaborator Emanuel Schikaneder
. However, after some performances in Bratislava from 1785–87, as with all Haydn operas, it disappeared completely from the stage after his death.
In 1958, the BBC broadcast extracts from an incomplete manuscript. The first modern performance took place at the Holland Festival
in 1970 and the first complete recording was made by Philips in 1976 in association with the Radio Suisse Romande
and the European Broadcasting Union
. The 1979 Glyndebourne
stage production was due to be recorded by Southern Television
.
The opera received its Munich première at the Cuvilliés Theatre
on 25 March 2011 – 230 years after Mozart's Idomeneo
, its exact contemporary, premièred at that venue. Christopher Ward led a performance by the Bavarian State Orchestra
and singers of the Bavarian State Opera
's Opera Studio.
worship Diana
, goddess of hunting and chastity. Their rites however have been defiled by a nymph
whose treachery has brought a curse on them. To propitiate the angry goddess, two faithful lovers must be sacrificed each year to a lake monster until a faithful lover can be found to offer his own life. Fidelity, therefore, is at a premium in Cumae, and victims are hard to find.
The plot is "part thriller about lovers being sacrificed to a monster, part burlesque sending up pseudo-classical and early romantic emotions".
Melibeo presides over preliminary rites on a day of sacrifice, assisted by Lindoro and Nerina, whose affair is coming to an end; Lindoro is tired of Nerina and hopes for a liaison with the shepherdess 'Celia'. Lindoro's sister Amaranta, recently arrived in Cumae, comes to worship. She is on the look-out for a lover but startled to hear of the risk in true love. Melibeo suggests that as High Priests are exempt, she might give her attentions to him. She agrees, on condition that he favours her brother's suit with Celia.
Perrucchetto, a traveller, philanderer and coward arrives claiming to have been chased by robbers. His racing pulse quickens when he sees Amaranta, to whom he swiftly declares love. She is also overcome, especially when discovering that he is a Count. Melibeo threatens Perrucchetto, who reacts by billeting himself on the High Priest.
A garden
Young shepherd Fileno laments the death of his beloved Fillide (Celia) killed by a snake. He is told by Nerina of Lindoro's desertion and she begs him to plead on her behalf; Fileno agrees (not realising that this is his beloved).
Another wood
Celia arrives wearily with her sheep in search of her lover Fileno and sleeps amongst her flock. Nerina returns with Fileno, who, to his amazement and delight recognises Celia – alive and well. He is unaware of the fatal penalty awaiting faithful lovers, but Celia, spotting Melibeo waiting to pounce, spurns Fileno to save his life: naturally he is angry and desolate.
Fileno, intent on self-destruction, goes off followed by Celia, who is followed by Lindoro and Perrucchetto, who sees in Celia a more enticing prospect than Amaranta, who in turn is offended and turns back to Melibeo. Perrucchetto, rejected by Celia returns to make peace with Amaranta but then chases Nerina, infuriating Amaranta.
A dark wood
Melibeo tries to blackmail Celia into the match with Lindoro suggested by Amaranta – she must consent or else die with Fileno. Celia asks Nerina to warn Fileno that his life is in danger. Although Nerina agrees to help, as she has now fallen in love with Fileno her help is not altogether disinterested.
As the first act reaches its climax, Melibeo has Fileno tied up. Fileno curses Celia when he learns she is to marry Lindoro. At this point Nerina enters pursued by satyrs
who carry off numerous nymphs, including Celia.
Celia is rescued by shepherds. Melibeo takes stock of the situation. If he could make a match between Nerina and Fileno that would leave Celia free for Lindoro and then he can claim Amaranta. He encourages Nerina to use her charm on Fileno and allows her to release him from his bonds. Fileno is at first grateful, but seeing Celia with Lindoro pretends ardent love for Nerina to spite Celia. She remonstrates with Nerina who advises that she forget Fileno.
Fileno resolves to stab himself, but first carves a message of love to Celia on a tree trunk. However in doing this he breaks his dagger, so determines instead to throw himself off a cliff.
A mountainside
As he is about to do this, the hunt assembles in honour of Diana. Perrucchetto enters pursued by a bear, followed by Amaranta fleeing a boar. Perrucchetto takes refuge in a tree; Amaranta faints just as Fileno kills the boar. When she comes round, Perrucchetto claims that he saved her, but the boar is borne off to the temple.
A dreadful grotto
Celia finds the message on the tree and seeks solitude in a cave. Melibeo, seeing this, changes his plans again: if Nerina can lure Perrucchetto into the cave with Celia they can be 'framed' as lovers and sent to the monster. This is accomplished and the pair are robed as sacrificial victims. Thunder proclaims the wrath of Diana.
The victims take leave of their real lovers. At the last moment Fileno decides to sacrifice his own life to save Celia. As he offers himself to the monster, it transforms itself into Diana who accepts the purity and selflessness of his act and for ever absolves Cumae from the fatal curse. Apart from Melibeo, struck down by Diana's arrows, the opera ends happily with the union of Celia and Fileno, Amaranta and Perrucchetto, and Nerina and Lindoro.
and opera buffa
, achieving a balance between the heroic and the comic and allowing himself to explore a wide variety of musical styles from serious emotions to hilarious parody.
On one hand, both the nobly-born characters Celia and Fileno have deeply felt cavatine early in the opera and later Celia contemplates her own death in a musically adventurous scene "Ah come il core".
On the other, Melibeo's "Mi dica, il mio signore" is comic and in act 2, the Count has a comic song "Di questo audace ferro" addressed to the not-quite-inert boar. The fright, cowardice and deranged state of Perrucchetto - whose name literally means "wig-maker" - are displayed in his breathless G minor entrance aria, which ends with a request for a bottle of Bordeaux wine.
While Amaranta's interaction with the others is usually comic, she is given a tender and tragic aria "Del amor mio fedele". This blurring of heroic and comic is also seen in the act 2 finale, where Haydn parodies Gluck's chorus of furies from Orfeo ed Euridice
.
The complex finale to act 1 is based around keys related by thirds (four moves down a third, then a half tone step) – possibly to represent the downwards progression of the plot – Robbins Landon
has observed that this sequence is imitated in the opening numbers of Mozart's Così fan tutte
. Haydn's key relationships in the act 2 finale are developed further in Così.
John Rice considers that the dramatic action of La fedeltà premiata moves forward with great energy, successfully solving the problems of dramatic pacing that detract from some of his other operas.
The overture was used by Haydn as the finale of his Symphony No 73
La Chasse (1781/82).
Celia's scene "Ah come il core" was published separately as a cantata
for soprano and orchestra in 1782.
The work is scored for flute, 2 oboes, bassoon, 2 trumpets, 2 horns, timpani, violins I & II, viola, cello, bass and continuo
. Celia's aria "Deh soccorri un infelice" includes a hand horn
solo.
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
in three acts by Joseph Haydn
Joseph Haydn
Franz Joseph Haydn , known as Joseph Haydn , was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms...
first performed at Eszterháza
Eszterháza
Esterháza is a palace in Fertőd, Hungary, built by Prince Nikolaus Esterházy. Sometimes called the "Hungarian Versailles", it is Hungary's grandest Rococo edifice.-History:...
on 25 February 1781 to celebrate the reopening of the court theatre after a fire. It was revised for a new version first performed in 1782.
Composition and performance history
The main opera house adjoining the palace at Eszterháza had been destroyed by fire in November 1779; La fedeltà premiata, composed in 1780, inaugurated the new state-of-the-art theatre in the grounds which opened after major delays 15 months later. The opera was written during the most prolific period of Haydn's operatic composition between 1773 and 1783 when he composed eight Italian operas.The libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
was adapted by Haydn and an anonymous colleague from Giambattista's Lorenzi's L'infedeltà fedele, which had been set by Cimarosa
Domenico Cimarosa
Domenico Cimarosa was an Italian opera composer of the Neapolitan school...
in 1779. Haydn had access to Cimarosa's score, although the Neapolitan dialect and crude jokes were removed and the nine characters in the former setting reduced to eight by the conflation of two female roles. In its revised (and shortened) version, La fedeltà premiata is designated a dramma pastorale giocoso (a comic opera with pastoral
Pastoral
The adjective pastoral refers to the lifestyle of pastoralists, such as shepherds herding livestock around open areas of land according to seasons and the changing availability of water and pasturage. It also refers to a genre in literature, art or music that depicts such shepherd life in an...
elements).
The opera was revived twice in Eszterháza after 1782. In December 1784, Mozart
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
attended a German-language production at the Theater am Kärntnertor
Theater am Kärntnertor
Theater am Kärntnertor or Kärntnertortheater was a prestigious theatre in Vienna during the eighteenth and nineteenth centuries...
in Vienna, the work of his future collaborator Emanuel Schikaneder
Emanuel Schikaneder
Emanuel Schikaneder , born Johann Joseph Schickeneder, was a German impresario, dramatist, actor, singer and composer. He was the librettist of Wolfgang Amadeus Mozart's opera The Magic Flute and the builder of the Theater an der Wien...
. However, after some performances in Bratislava from 1785–87, as with all Haydn operas, it disappeared completely from the stage after his death.
In 1958, the BBC broadcast extracts from an incomplete manuscript. The first modern performance took place at the Holland Festival
Holland Festival
The Holland Festival is The Netherlands' oldest and largest performing arts festival, and takes place every June in Amsterdam. It comprises theater, music, opera and modern dance. In recent years, multimedia, visual arts, film and architecture were added to the festival roster...
in 1970 and the first complete recording was made by Philips in 1976 in association with the Radio Suisse Romande
Radio Suisse Romande
Radio suisse romande is an enterprise unit within public-broadcasting corporation SRG SSR. It is responsible for the production and transmission of French-language radio programmes in Switzerland...
and the European Broadcasting Union
European Broadcasting Union
The European Broadcasting Union is a confederation of 74 broadcasting organisations from 56 countries, and 49 associate broadcasters from a further 25...
. The 1979 Glyndebourne
Glyndebourne Festival Opera
Glyndebourne Festival Opera is an English opera festival held at Glyndebourne, an English country house near Lewes, in East Sussex, England.-History:...
stage production was due to be recorded by Southern Television
Southern Television
Southern Television was the first ITV broadcasting licence holder for the south and south-east of England from 30 August 1958 until the night of 31 December 1981. The company was launched as Southern Television Limited and the title Southern Television was consistently used on-air throughout its life...
.
The opera received its Munich première at the Cuvilliés Theatre
Cuvilliés Theatre
The Cuvilliés Theatre or Old Residence Theatre is the former court theatre of the Residenz in Munich, southern Germany.- Description :...
on 25 March 2011 – 230 years after Mozart's Idomeneo
Idomeneo
Idomeneo, re di Creta ossia Ilia e Idamante is an Italian language opera by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712...
, its exact contemporary, premièred at that venue. Christopher Ward led a performance by the Bavarian State Orchestra
Bavarian State Orchestra
The Bayerisches Staatsorchester is the orchestra of the Bavarian State Opera.- History :Founded in the times of Ludwig Senfl the orchestra, specializing in musica sacra, belonged to the finest ones in Europe already under Orlando di Lasso . In 1651 the Italian opera was introduced in Munich...
and singers of the Bavarian State Opera
Bavarian State Opera
The Bavarian State Opera is an opera company based in Munich, Germany.Its orchestra is the Bavarian State Orchestra.- History:The opera company which was founded under Princess Henriette Adelaide of Savoy has been in existence since 1653...
's Opera Studio.
Roles
| Role | Voice type Voice type A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics. Voice classification is the process by which human voices are evaluated and are thereby designated into voice types... |
Premiere cast 25 February 1781 1781 in music - Events :*March - Wolfgang Amadeus Mozart moves to Vienna to pursue his career, but is passed over in favour of Antonio Salieri as music teacher of Princess of Württemberg.... (Conductor: Joseph Haydn) |
Revised version cast September 1782 1782 in music - Events :*March 17 – Violinist Giovanni Battista Viotti makes a début at the Concert Spirituel in Paris.* August 4 – Wolfgang Amadeus Mozart marries Constanze Weber.* William Shield is appointed resident composer to Covent Garden.... (Conductor: Joseph Haydn) |
|---|---|---|---|
| Celia, her real name being Fillide | mezzo-soprano Mezzo-soprano A mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above... (1781) soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... (1782) |
Maria Jermoli | Metilda Porta |
| Fileno, lover of Fillide | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Guglielmo Jermoli | Antonio Specioli |
| Amaranta, a vain and arrogant lady | soprano | Teresa Taveggia | Maria Antonia Specioli |
| Count Perruchetto, a count of extravagant disposition | bass Bass (voice type) A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C... |
Benedetto Bianchi | Vincenzo Moratti |
| Nerina, a nymph, fickle in love, enamoured of Lindoro | soprano | Costanza Valdesturla | Costanza Valdesturla |
| Lindoro, Amaranta's brother | tenor | Leopold Dichtler | Leopold Dichtler |
| Melibeo, High priest, in love with Amaranta | bass | Antonio Pesci | Domenico Negri |
| Diana | soprano | Costanza Valdesturla | |
| Nymphs and shepherds, hunters and huntresses, followers of Diana | |||
Synopsis
The people of CumaeCumae
Cumae is an ancient Greek settlement lying to the northwest of Naples in the Italian region of Campania. Cumae was the first Greek colony on the mainland of Italy , and the seat of the Cumaean Sibyl...
worship Diana
Diana (mythology)
In Roman mythology, Diana was the goddess of the hunt and moon and birthing, being associated with wild animals and woodland, and having the power to talk to and control animals. She was equated with the Greek goddess Artemis, though she had an independent origin in Italy...
, goddess of hunting and chastity. Their rites however have been defiled by a nymph
Nymph
A nymph in Greek mythology is a female minor nature deity typically associated with a particular location or landform. Different from gods, nymphs are generally regarded as divine spirits who animate nature, and are usually depicted as beautiful, young nubile maidens who love to dance and sing;...
whose treachery has brought a curse on them. To propitiate the angry goddess, two faithful lovers must be sacrificed each year to a lake monster until a faithful lover can be found to offer his own life. Fidelity, therefore, is at a premium in Cumae, and victims are hard to find.
The plot is "part thriller about lovers being sacrificed to a monster, part burlesque sending up pseudo-classical and early romantic emotions".
Act 1
A temple dedicated to DianaMelibeo presides over preliminary rites on a day of sacrifice, assisted by Lindoro and Nerina, whose affair is coming to an end; Lindoro is tired of Nerina and hopes for a liaison with the shepherdess 'Celia'. Lindoro's sister Amaranta, recently arrived in Cumae, comes to worship. She is on the look-out for a lover but startled to hear of the risk in true love. Melibeo suggests that as High Priests are exempt, she might give her attentions to him. She agrees, on condition that he favours her brother's suit with Celia.
Perrucchetto, a traveller, philanderer and coward arrives claiming to have been chased by robbers. His racing pulse quickens when he sees Amaranta, to whom he swiftly declares love. She is also overcome, especially when discovering that he is a Count. Melibeo threatens Perrucchetto, who reacts by billeting himself on the High Priest.
A garden
Young shepherd Fileno laments the death of his beloved Fillide (Celia) killed by a snake. He is told by Nerina of Lindoro's desertion and she begs him to plead on her behalf; Fileno agrees (not realising that this is his beloved).
Another wood
Celia arrives wearily with her sheep in search of her lover Fileno and sleeps amongst her flock. Nerina returns with Fileno, who, to his amazement and delight recognises Celia – alive and well. He is unaware of the fatal penalty awaiting faithful lovers, but Celia, spotting Melibeo waiting to pounce, spurns Fileno to save his life: naturally he is angry and desolate.
Fileno, intent on self-destruction, goes off followed by Celia, who is followed by Lindoro and Perrucchetto, who sees in Celia a more enticing prospect than Amaranta, who in turn is offended and turns back to Melibeo. Perrucchetto, rejected by Celia returns to make peace with Amaranta but then chases Nerina, infuriating Amaranta.
A dark wood
Melibeo tries to blackmail Celia into the match with Lindoro suggested by Amaranta – she must consent or else die with Fileno. Celia asks Nerina to warn Fileno that his life is in danger. Although Nerina agrees to help, as she has now fallen in love with Fileno her help is not altogether disinterested.
As the first act reaches its climax, Melibeo has Fileno tied up. Fileno curses Celia when he learns she is to marry Lindoro. At this point Nerina enters pursued by satyrs
Satyr
In Greek mythology, satyrs are a troop of male companions of Pan and Dionysus — "satyresses" were a late invention of poets — that roamed the woods and mountains. In myths they are often associated with pipe-playing....
who carry off numerous nymphs, including Celia.
Act 2
A groveCelia is rescued by shepherds. Melibeo takes stock of the situation. If he could make a match between Nerina and Fileno that would leave Celia free for Lindoro and then he can claim Amaranta. He encourages Nerina to use her charm on Fileno and allows her to release him from his bonds. Fileno is at first grateful, but seeing Celia with Lindoro pretends ardent love for Nerina to spite Celia. She remonstrates with Nerina who advises that she forget Fileno.
Fileno resolves to stab himself, but first carves a message of love to Celia on a tree trunk. However in doing this he breaks his dagger, so determines instead to throw himself off a cliff.
A mountainside
As he is about to do this, the hunt assembles in honour of Diana. Perrucchetto enters pursued by a bear, followed by Amaranta fleeing a boar. Perrucchetto takes refuge in a tree; Amaranta faints just as Fileno kills the boar. When she comes round, Perrucchetto claims that he saved her, but the boar is borne off to the temple.
A dreadful grotto
Celia finds the message on the tree and seeks solitude in a cave. Melibeo, seeing this, changes his plans again: if Nerina can lure Perrucchetto into the cave with Celia they can be 'framed' as lovers and sent to the monster. This is accomplished and the pair are robed as sacrificial victims. Thunder proclaims the wrath of Diana.
Act 3
A hall, then a landscape with a view of the lakeThe victims take leave of their real lovers. At the last moment Fileno decides to sacrifice his own life to save Celia. As he offers himself to the monster, it transforms itself into Diana who accepts the purity and selflessness of his act and for ever absolves Cumae from the fatal curse. Apart from Melibeo, struck down by Diana's arrows, the opera ends happily with the union of Celia and Fileno, Amaranta and Perrucchetto, and Nerina and Lindoro.
Music
In this opera Haydn combined the worlds of opera seriaOpera seria
Opera seria is an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1710s to c. 1770...
and opera buffa
Opera buffa
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' etc...
, achieving a balance between the heroic and the comic and allowing himself to explore a wide variety of musical styles from serious emotions to hilarious parody.
On one hand, both the nobly-born characters Celia and Fileno have deeply felt cavatine early in the opera and later Celia contemplates her own death in a musically adventurous scene "Ah come il core".
On the other, Melibeo's "Mi dica, il mio signore" is comic and in act 2, the Count has a comic song "Di questo audace ferro" addressed to the not-quite-inert boar. The fright, cowardice and deranged state of Perrucchetto - whose name literally means "wig-maker" - are displayed in his breathless G minor entrance aria, which ends with a request for a bottle of Bordeaux wine.
While Amaranta's interaction with the others is usually comic, she is given a tender and tragic aria "Del amor mio fedele". This blurring of heroic and comic is also seen in the act 2 finale, where Haydn parodies Gluck's chorus of furies from Orfeo ed Euridice
Orfeo ed Euridice
Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing...
.
The complex finale to act 1 is based around keys related by thirds (four moves down a third, then a half tone step) – possibly to represent the downwards progression of the plot – Robbins Landon
H. C. Robbins Landon
Howard Chandler Robbins Landon was an American musicologist.He was born in Boston, Massachusetts and studied music at Swarthmore College and Boston University. He subsequently moved to Europe where he worked as a music critic. From 1947 he undertook research in Vienna on Joseph Haydn, a composer...
has observed that this sequence is imitated in the opening numbers of Mozart's Così fan tutte
Così fan tutte
Così fan tutte, ossia La scuola degli amanti K. 588, is an opera buffa by Wolfgang Amadeus Mozart first performed in 1790. The libretto was written by Lorenzo Da Ponte....
. Haydn's key relationships in the act 2 finale are developed further in Così.
John Rice considers that the dramatic action of La fedeltà premiata moves forward with great energy, successfully solving the problems of dramatic pacing that detract from some of his other operas.
The overture was used by Haydn as the finale of his Symphony No 73
Symphony No. 73 (Haydn)
The Symphony No. 73 in D major, Hoboken 1/73, is a symphony by Joseph Haydn composed in 1782. It is often known by the subtitle La chasse .-Nickname :...
La Chasse (1781/82).
Celia's scene "Ah come il core" was published separately as a cantata
Cantata
A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir....
for soprano and orchestra in 1782.
The work is scored for flute, 2 oboes, bassoon, 2 trumpets, 2 horns, timpani, violins I & II, viola, cello, bass and continuo
Figured bass
Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and non-chord tones, in relation to a bass note...
. Celia's aria "Deh soccorri un infelice" includes a hand horn
Hand-stopping
Hand-stopping is a technique by which a natural horn can be made to produce notes outside of its normal harmonic series. By inserting the hand, cupped, into the bell, the player can reduce the pitch of a note by a semitone or more...
solo.
Recordings
(Conductor/Nerina/Amaranta/Celia/Fileno/Lindoro/Perrucchetto/Melibeo)- Doráti/Cotrubas/von Stade/Valentini-Terrani/Landy/Alva/Titus/Mazzieri, 1975, Philips
- Sándor/Zempléni/Kincses/Pászthy/Fülöp/Rozsos/Vághelyi/Gregor, 1977, Hungaroton
- Golub/Ciofi/Barcellona/Groop/Aler/Edwards/Schalkenbrand/Austin, 1999, Arabesque
Sources
- The Viking Opera Guide ed. Holden (1993)
- Deutsch, Otto ErichOtto Erich DeutschOtto Erich Deutsch was an Austrian musicologist. He is known for compiling the first comprehensive catalogue of the works of Franz Schubert, first published in 1951 in English, new edition in 1978 in German...
and Cliff EisenCliff EisenCliff Eisen is a Canadian musicologist and a Mozart expert. He has been based, since 1997, in the Department of Music at King's College London. As part of the Department's strong connections with the Royal Academy of Music, Eisen also leads courses there...
(1991) New Mozart documents: a supplement to O.E. Deutsch's documentary biography. Stanford, CA: Stanford University Press. ISBN 0804719551.