Portal de Periódicos da CAPES

The history of a baroque opera. Alessandro Scarlatti's gli equivocinel sembiante

1986; Taylor & Francis; Volume: 9; Issue: 1 Linguagem: Inglês

10.1080/08145857.1986.10415173

1949-453X

Graham Hardie,

Diverse Musicological Studies

Abstract One of the stumbling blocks in research into late Baroque opera has been the lack of modern critical scores; it is a situation caused, in many cases, by the disappearance of the primary sources. A case in point is Bernardo Pasquini’s opera Dov’è Amore è Pietà of 1679, of which only the libretto and an excerpted aria remain. Given the fact that this work was produced in the same year and the above-named comedy of Alessandro Scarlatti, and that Pasquini had by this stage acquired a secure reputation in Rome and therefore probably exerted some influence on the musical style of the younger man, a critical edition or facsimile would have provided a very useful point of reference for the student. As it is, we are left guessing at the reasons why (as indicated in contemporary documents cited by Professor D’Accone) Dov’è Amore è Pietà failed to fulfil the public expectations of its distinguished composer, while the operator debut of the 18-year old Palermitano turned out to be the operatic success of the season.