Venetian Opera Libretti
About this Collection
Introduction : Venetian Opera Librettos
The collection of Venetian librettos at the University of California, Los Angeles, is a significant resource for the study of seventeenth- and eighteenth-century opera. Gathered and preserved in this series of small volumes is a virtually complete set of opera librettos printed in Venice between 1637 and 1769. The librettos were acquired by UCLA in December 1950, after Lawrence Clark Powell, University Librarian, discovered them in the cellar of a London book-dealer, Francis Edwards Ltd. of Marylebone High Street. Powell subsequently purchased the collection, and it is now housed in the Music Library.
A total of 1286 librettos are assembled in 117 volumes bound in vellum.1 The bindings reflect the small duodecimo format typical of such librettos; most of the volumes measure approximately 8.5 by 15 centimeters, with slight differences among the external dimensions corresponding to variations in the size of the librettos themselves. Nearly every volume contains several sizes and types of paper, and some librettros have been cropped in order to provide a more uniform size for binding. The spine of each volume bears a leather tag, stamped in gold with the title Raccolta de Drammi and the year, or years, of the contents. The period from 1637 to 1674 is represented by twenty-two volumes, twelve of which contain librettos for two or three years bound together. The remaining ninety-five volumes each represent a single year, from 1675 to 1769 (see Appendix V for a complete list of volumes and years). Of the 1286 librettos, 470, or a little more than one-third, date from the seventeenth century, while the remaining 816 are from the eighteenth century. A binders leaf with a blank recto and engraved verso is interspersed throughout the collection.2
Most of the individual librettos in these volumes are known to exist in other copies at various libraries, although a few items may be unique.3 The collection at UCLA is an extraordinary one, however, not so much for the material contained, as for the manner in which it is preserved. The collection was apparently assembled in accordance with Antonio Groppos Catalogo di tutti i drammi per musica recitati ne teatri di Venezia dall anno 1637, in cui ebbero principio le pubbliche rappresentazioni de medesimi, sin all anno presente 1745.4 At the end of this catalog there is an advertisement, offering for sale a complete set of all the Drammi recited in Venetian theaters since 1637, along with all of the scenarios, various editions, supplements (aggiunte), and intermedios (both dramatic and comic) arranged in 164 duodecimo volumes, each containing eight or nine Drammi, and with a manuscript copy of the catalog in large quarto format__all of this to be sold for the price of 200 zecchini.5 A manuscript copy of Groppos catalog, as described in the advertisement, is at the Biblioteca Marciana in Venice.6 This manuscript extends the catalog well beyond the 1745 printed edition, with entries through 1767, only two years short of the final volume of librettos at UCLA.
A comparison of the manuscript catalog with the collection at UCLA reveals striking similarities. The most immediate connection is the order in which the librettos were bound; with a few exceptions, it is identical to the order of entries within the catalog.7 Only a handful of discrepancies exist in terms of contents, and in several instances librettos were altered, apparently in order to fake missing titles. In five cases, loose title pages were attached to the contents of different librettos.8 Others were forged by using manuscript pages, tearing title pages to obscure information, or substituting different editions.9 In two instances operas with somewhat similar titles were used in place of missing titles.10 Aside from these, the collection at UCLA lacks only six other titles listed in Groppos catalog.11
In the preface to his catalog, Groppo describes a group of librettos as rare and almost impossible to find; surprisingly the collection contains all but two of these sixteen titles.12 Groppo mentions a few operas for which librettos were never printed; manuscript copies of these are included in the collection.13 Entries in the manuscript catalog have copious annotations, including information on other editions and reprints, carte volante and aggiunte, separate scenarios, and intermedios. Some, but not all, of these are included in the collection at UCLA, and Groppo admits that he himself has not actually seen all of these items.14 The manuscript also lists in smaller print librettos for the puppet operas at the Teatro S. Girolamo; none of these are found in the collection at UCLA.15 Finally, in addition to the last two volumes (the years 1768 and 1769), a small number of items are included in the UCLA collection, but are not mentioned in Groppos catalog.16 Overall, it seems highly probable that this set of volumes was commissioned as a result of Groppos advertisement. The contents and the arrangement of the volumes nearly duplicate the catalog, and the compiler even resorted to forgery in an attempt to complete the collection.
The set of volumes had been the property of John Stuart (1713-1792), the third Earl of Bute and the notoriously unpopular Prime Minister to George III. Educated at Eton, Bute was passionately fond of botany, had a taste for literature and the fine arts, and possessed a superficial knowledge of a variety of subjects. He was an inveterate collector, and at his Luton Hoo estate he assembled an outstanding collection of astronomical and mathematical instruments, a botanical garden filled with rare specimens, a gallery of Dutch and Flemish paintings, and a magnificent library.
In late 1768, Bute went on a continental tour with his favorite son, Charles, and by the end of the year he had arrived in Italy. During February 1769, Bute spent time in Naples, returning to Rome on 1 March. Sir Horace Mann, Minister to Florence, wrote to Horace Walpole on 24 March 1769, "Lord Bute has resided for some time in Rome in the strictest incognito. He never received visits and returned cards under the name of Murray, nor ever wore his Garter."17 Correspondence establishes that Bute was in Venice by 15 April and remained there through the end of 1769. By April 1771, he had made preparations to return to England, where he spent the final decades of his life. During his stay in Venice, Bute might well have read the advertisement in Groppos catalog, and perhaps he even saw a collection of librettos and was inspired to purchase his own set for the library at Luton Hoo. The year of his residency in Venice, 1769, coincides with the terminus of the collection.
Unfortunately, two fires took their toll on Butes estate at Luton Hoo. During the first, in 1771, the library reportedly perished. It would seem, therefore, that the set of librettos had not yet arrived from Venice, or perhaps it had not yet been installed in the library. The second fire occurred in 1843; the house was destroyed, but the majority of the books and paintings were saved. This second fire, along with various financial concerns, may have contributed to the sale of almost the entire Luton Hoo estate in 1844. Although sales of items from Butes library had taken place prior to 1844, it seems probable that the libretto collection had not yet been sold, since the bindings of several of the volumes show evidence of having survived a fire.18
A catalog of this remarkable collection of Venetian librettos is long overdue. Published literature concerning the collection is limited to brief mention by Walter Rubsamen in "Unusual Music Holdings of Libraries on the West Coast,"19 and Nino Pirrottas discussion of the first volumes in "Early Venetian Libretti at Los Angeles."20 Preliminary work towards a catalog was carried out in the 1970s by two graduate students in the Department of Music at UCLA. Thomas Griffin began compiling file cards of the librettos in 1974, and the project was continued by Cheryl Sprague from 1975 to 1977. Their efforts produced two boxes of file cards, with partial transcriptions of title pages, date and place of publication, the number of acts and scenes in the opera, a summary of prefatory pages, and names of poets, composers, set designers, costume designers and ballet masters, when known. Attributions for composers and poets were taken from Oscar Sonnecks catalog of librettos in the Library of Congress.21 Roles were listed only for the first ten volumes, and names of singers and dancers were not included. Curiously, no cards were ever prepared for the final volume, 1769. Work had begun on a third box of file cards, compiling indexes for poets, composers, set designers, ballet masters, and dedicatees. Despite inconsistencies and gaps in some of the information recorded, these cards provided a useful foundation for the present catalog.
A collection of this nature serves, in effect, as a guidebook to the history of Venetian opera, offering a continuous record of performances from the opening of the first public theater to within three decades of the fall of the republic. Ironically, opera librettos were not originally intended to be permanent records, but were by design ephemeral objects, purchased for a seasons entertainment. Pages spotted with candle drippings or charred around the edges are reminders of the candlelight by which texts were read. A number of librettos have manuscript annotations, ranging from a childs drawings to expense accounts. Occasionally there are notes indicating changes and cuts to the text of the opera. Other librettos have printed corrections, such as cast changes or substitute arias, pasted over the original text.22
Further information on many aspects of production can be gleaned through comparison with librettos printed for earlier performances or revivals, different theaters, and other cities. Cuts or alterations to the text may be traced to the limitations of a theaters size or budget, the requirements of a new composer or the demands of new singers, censorship, or simply the vagaries of taste in a particular city. Even in cases where a libretto and a score are known to stem from the same performance, discrepancies often exist between the two.
Changes in the format of the libretto over the course of the years reflect changing trends in opera production. Most notably, the names of singers become increasingly prevalent from 1700 onwards as the virtuosi began to dominate the theaters. Casts of dancers first appear in the 1740s, as ballet assumed a new role in relation to opera. One of the most intriguing aspects of the collection is its documentation of the kinds of plots that entertained Venetian audiences for more than a century. While some stories remained essentially intact for several decades, others underwent transformations, both structural and dramatic. These reflect the fertile imagination of the librettists and changing musical attitudes, as well as shifting Venetian tastes and sensibilities.
The history of Venetian opera continues to be a rich and active field of study. Ultimately the aim of this catalog is to provide access to the wealth of information contained in these librettos and to make available to both scholars and the general public a sizable body of material that will further illuminate the story of opera in Venice during the seventeenth and eighteenth centuries.
1A single, slim volume with identical binding, titled Raccolta di varii poemi; Latini, e volgari: fatti da diversi bellissimi ingegni nella felice Vittoria da Christiani contra Turchi (Venice: Giorgio Angelieri, 1571), was purchased with the collection. This volume now bears a separate call number (ML 48 R113) and is not included as part of the libretto collection (ML 48 R114 1637-1769).
2The binders leaf appears 58 times within the collection, primarily in those volumes containing seventeenth-century librettos. It occurs only seven times in the volumes after 1700, and not at all after 1727. In most cases the leaf appears only once within a volume, but in a few instances there are as many as four of these leaves within a single volume (1654-55; 1661-62; and 1670).
3Claudio Sartoris monumental Primo tentativo di catalogo unico dei libretti italiani a stampa fino all anno 1800 (Milan: typescript, 1976-81), currently in publication as I Libretti Italiani a Stampa dalle Origini al 1800, vol. 1- (Cuneo: Bertola & Locatelli Musica, 1990-), lists UCLA as the sole location of Astrilla (1652: no. 80, title page only), La schiava fortunata, second edition (1674; no. 193), Abigaille (1696; no. 435) Il ritratto del grande (1709; no. 576), Edippo (1732; no. 849), and Il monte Parnaso (1760; no. 1159). A number of items in the collection are not listed by Sartori: Le gelosie politiche & amorose (1657; no. 95, a private performance), La pazzìa in trono overo Caligola delirante (1660; no. 110, but extracted from 1675 edition), Linganno riconosciuto (1666; no. 145, a novel), Considerazioni sopra il Demofoonte (1735; no. 878, an essay), Lettera di risposta ad un amico (1754; no. 1093, an essay), and Il frontispizio va posto in fronte de libri (1754; no. 1107, a dialogue). The principal libretto collections in Venice have also been consulted: three at the Biblioteca Marciana (the Collezione Groppo, 1637-1796; the Collezione Zeno, 1637-1750; and the Collezione Rossi, 1637-1836), the Cicogna collection at Casa Goldoni, and the Rolandi collection (not exclusively Venetian librettos) at the Fondazione Giorgio Cini.
4Venice: Antonio Groppo, 1745. (Facsimile reprint Bologna: A. Forni, 1985).
5In the final series of page numbers, p. 31.
Chi bramasse restar provisto duna Serie compita di tutti i Drammi recitati ne Teatri de Venezia dallanno
1637. in cui ebbero principio le pubbliche rappresentazioni de medesimi sin al giorno presente, con tutti gli Scenarj, varie edizioni, ed aggiunte fatte a Drammi stessi, e con tutti gli Intermedj tanto Drammatici quanto Comici; distribuita in 164. Volumi in 12. ogni uno de quali contiene 8. In 9. Drammi per ciascun Volume, con un Catalogo in 4. magno M.S. che imita la Stampa, il tutto si venderà per Zecchini ducento.
Chi poi bramasse provvedersi de Drammi Musicali, sì antichi come moderni rappresentati in Venezia, potrà restar soddisfatto da Antonio Groppo.
6Catalogo purgatissimo di tutti li drammi per musica recitatisi ne teatri di Venezia dallAnno MDCXXXVII sin oggi. Da Antonio Groppo Accresciuto di tutti gli Scenarj, varie edizioni, aggiunte a Drammi, e Intermedi. Con la notizia di alcuni Drami nuovamente scoperti, e di altre rare particolarità. Venezia Per Antonio Groppo MDCCXLI. [but the terminus is 1767] I-Vnm, Cod. It. VII 2326 (= 8263).
7The only volume with significant changes in the order of librettos is 1764.
8Proserpina rapita (1644; no. 40, the text is La Delia); Astrilla (1652; no. 80, the text is Narciso et Ecco immortalati; see also note 3); Il sole vaticinante (1659; no. 106, the text is La Calisto); Publio Cornelio Scipione (1712; no. 603, the text is Scipione il Giovane); and Tirsi (1734; no. 863, the text is Nerina). In the first three cases, the title pages are crudely printed and match none of the copies listed in Sartori. Il sole vaticinante is listed only in Groppos printed catalog, not in the manuscript.
9La ninfa avara (1641; no. 16, manuscript pages were added to a copy extracted from an anthology); Gl amori fortunati negl equivoci (1691; no. 381, a 1690 libretto with torn title page is substituted); Le finezze damore (1703; no. 503, a 1698 Rovigo libretto with torn title page is substituted); LArcadia in Brenta (autumn 1749 at S. Moisè; no. 1040, the spring 1749 S. Angelo libretto is substituted); La buona figliuola (1761 at Murano; no. 1776, the 1760 S. Moisè libretto is substituted); La buona figliuola maritata (1762 at S. Samuele; no. 1196, the 1762 Trieste libretto is substituted).
10Isola della fortuna (1765; no. 1240, the 1757 Isola disabitata is substituted with the date altered in manuscript to 1765), and La sposa fedele (1767; no. 1259, the 1765 Il ratto della sposa is substituted with the date altered in manuscript to 1767). Groppo notes that La sposa fedele is not commonly found.
11Cannochiale della Finta Pazza (1641, not a libretto, but a detailed account of the opera), Anima penitente, dramma morale (1667, only a few sections were sung), Didone abbandonata (1725), La buona figliuola maritata (1762 at Murano), Sofonisba (1764), and Cantata a quattro voci in occasione della festa di ballo (1767).
12Manuscript catalog, p. 7-8:
Con tutto ciò, o sia solito effetto del Tempo che tutto assorbe, o non curanza di conservarne la Copia, dopo che sè goduto lOriginale, non pochi delli più antichi a questora si sono fatti assai rari, e quasi impossibili a ritrovarsi, trà quali. Anno:
1641 Ninfa avara
1644 Proserpina rapita
1660 Pazzia in trono
1692 Venere travestita
1770 Vanto damore
1703 Finezze damore
1708 Cieco geloso
1709 Pace fra Pompeiani e Cesarini
1717 Chi la fa laspetta
1717 Umor di principessa
1720 Figlia che canta
1726 Ottone amante
There are, in fact, two editions of the 1708 Cieco geloso at UCLA (nos. 559-560). Both of the missing titles are operas that were retitled during production (in 1717, Umor di principessa as LAmbizione castigata, and in 1726, Ottone amante as Amore e sdegno), and the UCLA collection does include editions with the second title. Groppo mentions that LAmbizione castigata should have a frontispiece with both titles (Umor di principessa, o sia LAmbizione castigata); unfortunately, the copy at UCLA is missing the preliminary pages and has an attached title page (no. 648). In his entry for Ottone amante, Groppo emphasizes that the original title page is very rare, since only a few examples were sold before the title page and front matter were reprinted; see Amore e sdegno (no. 756).
13Il ritorno dUlisse in patria (1641; no. 17), Le nozze dEnea con Lavinia (1641; no. 18), and Partenza fortunata (n.d. ; no. 1021). Groppo explains that the third was not printed since it was only performed on the last two nights of carnival. Two other manuscript librettos are in the collection, Pace (1755; no. 1113) and LAngelica (1756; no. 1123). Although Groppo does not specifically state that these were never printed, he notes that Pace was performed only on the last three nights of carnival, and LAngelica only on the final night. In three cases portions of a printed libretto were supplied in manuscript: La ninfa avara (1641; no. 16), which uses manuscript pages to forge a libretto (see note 7); La Venere travestitae (1692; no. 388), which reproduces three sets of missing pages in manuscript; and La fede creduta tradimento (1693; no. 399) which supplies the title page in manuscript.
14For example, the collection has only a second edition of La maga fulminata (1638; no. 3). In some instances duplicate copies of first editions were substituted for second editions. In the case of Il Tito (1660), another copy of the first edition was altered to give the appearance of the second edition (no. 140). For further discussion of the scenarios, see Ellen Rosand, "The Opera Scenario 1638-1655: A Preliminary Survey," in In Cantu et In Sermone: for Nino Pirrotta on his 80th Birthday, ed. Fabrizio Della Seta and Franco Piperno (Florence: Leo S. Olschki, 1989), 335-46.
15Groppo also includes a description of the theater, manuscript catalog p. 282. For further information on these works, see Antonella Zaggia, "La Fiera delle bagatelle. Il teatro musicale per marionette di San Girolamo (Venezia 1746-1748)" in Rassegna Veneta di Studi Musicale II-III (1986-87), 133-71. The collection at UCLA does contain librettos for the puppet operas presented at the Zattere and at the Teatro S. Moise between 1679 and 1682 (see nos. 245, 256, 267, 276, and 282).
16The very first libretto in the collection, La Deianira (1635), was never set to music. Although it does not appear in the main body of Groppos catalog, it is listed in the index, with a note indicating that it was to have been added in the Ommissioni (no entry is found there, however). Groppo mentions Lingannoi riconosciuto (1666; no. 145), but says he never saw a copy (see note 3). In addition, the collection at UCLA contains the following items: Serenata per musica da cantarsi nel Canal Grande (1665; no. 131), Il Gioseffo, opera morale (1688; no. 351), Abigaille (1696; no. 435), Il ritratto del grande (1709; no. 576), La caccia in Etolia (1725; no. 744), Edippo (1732; no. 849); Attilio regolo (1750; no. 1056), Ersilia (1751; no. 1060), Lettera di risposta ad un amico (1754; no. 1093), Artaserse (1754; no. 1106), Il frontispizio va posto in fronte de libri (1754; no. 1107), Il monte Parnaso (1760; no. 1159), Serenata (1762; no. 1190), Il marito geloso, cantata giocoso (1766; no. 1253), and Per le felicissime nozze (1766; no. 1257). The contents of the final two volumes (1768 and 1769) in the collection have been checked against Taddeo Wiels I teatri musicali veneziani del settecento (Venice: Visentini, 1897), and UCLA apparently lacks only one libretto, La reggia di Calipso, cantata a sette voci (1769).
17Quoted in Peter D. Brown, "Bute in retirement," in Lord Bute: Essays in Re-interpretation, ed. Karl W. Schweizer (Leicester; Leicester University Press, 1988), 256.
18Three sales of items from Butes library are listed in British Book Sale Catalogues 1676-1800, A Union List, compiled and edited by A.N.L. Munby and Lenore Coral (London: Mansell, 1977). Two were by Leigh & Sotheby, the first on 30 May 1785 (Catalogue of a valuable and well-known library), and another on 8 May 1794 (Botanical and Natural History Part). The third sale was by Thomas King, Junior, of Oxford Street, in 1798 (A Catalogue of a select and valuable collection of books). The catalogs for these three sales show no mention of the libretto collection. A catalog for the 1844 sale has not been located. The spines of volumes 1766 and 1767 are severely charred, and volumes 1762, 1763, and 1764 show a small amount of blackening.
19Notes, series 2, 10/4 (1953), 549-50.
20In Essays in Musicology in Honor of Dragan Plamenac on His Seventieth Birthday, ed. Gustave Reese (Pittsburgh: University of Pittsburgh Press, 1969), 233-43. Reprinted in Pirrotta, Music and Culture in Italy from the Middle Ages to the Baroque (Cambridge, MA: Harvard University Press, 1984), 317-24.
21Oscar G.T. Sonneck, Catalogue of Opera Librettos Printed before 1800 (Washington, D.C.: Government Printing Office, 1914).
22In many cases, these simply change the order of the cast or correct misspellings (for example, see nos. 561, 568, 663, 747, 846, 1131, and 1164). Both printed and manuscript changes are noted in the catalog entries.
Acknowledgements : Venetian Opera Libretti
I first encountered the collection of Venetian librettos at UCLA during a seminar on late seventeenth-century Venetian opera, taught in spring 1986 by Professor Frank DAccone. While preparing my dissertation proposal the following year, I began to explore the collection further and discovered a wealth of information. My interest in the librettos serendipitously coincided with a proposal by Harvester Microfilms (now Primary Source Media, an imprint of the Gale Group) to microfilm the entire collection, a project which emphasized the need for a thorough catalog of the volumes. Stephen Fry, at the UCLA Music Library, knew I had been working with the librettos and suggested that I take on the project of cataloging the collection during summer 1987, before I left for Italy to do dissertation research. Now, nearly five years later, this summer job has come to its completion, having grown far beyond my initial expectations and having led me to explore fields such as rare book description and the genealogy of European nobility, as well as nearly every aspect of seventeenth- and eighteenth-century Venetian opera.
This catalog owes a great deal to the support and encouragement of many friends and colleagues. Foremost among these are the librarians and staff of the Music Library at UCLA. I am grateful to Gordon Theil, head of the Music Library, for his unfailing enthusiasm and assistance. Stephen Fry, who first set the project in motion, has followed its progress with avid interest. Marsha Berman, Darwin Scott, Shirley Thompson, James Westby, and John Bonham all offered ready assistance and dealt with my endless requests to check and recheck information just one more time.
Frank DAccone, whose seminar first sparked my interest in Venetian opera, has patiently watched and advised, as I have juggled the demands of teaching with work on this catalog as well as my dissertation, never doubting that I would complete them both. During the early stages of my work, on the catalog, he offered many valuable suggestions regarding format and methodology. I am also indebted to William Holmes, Margaret Murata, David Bryant, Giovanni Morelli, Ellen Rosand, and Beth Glixon, all of whom have given freely of their time and expertise throughout various stages of the work. Ann M. Friedman of the J. Paul Getty Museum spent a long afternoon studying title pages and illustrations, and shared her knowledge of Italian engravings. Robert Winter provided assistance in setting up the initial data base for the catalog and along the way answered many questions related to computers.
Kay Lipton undertook the monumental task of proofreading the entire manuscript. Her attention to detail and her knowledge of Italian opera were invaluable in spotting many minor flaws and occasional major ones. Alyson McLamore and James Westby also assisted in tracking down information for the indexes and in checking final details.
Thomas Griffin and Cheryl Sprague deserve special recognition for their work on the collection long before I knew of its existence. For nearly twenty years, their index cards have served as a preliminary catalog and have been the only means of locating material within the collection.
It is a pleasure to acknowledge the Fulbright Commission and the Gladys Krieble Delmas Foundation for their financial support of my research in Venice. The librarians and the staff at the Biblioteca Nazionale Marciana, the Fondazione Giorgio Cini, Casa Goldoni, and the Archivio di Stato all were gracious and generous in their assistance during my stay.
I wish to thank the editors and readers at University of California Press, especially Rose Anne White, who has guided me through the maze of complexities and details in editing and preparing the final copy.
Finally, I offer heartfelt thanks to Ken Filiano, who has lived with this project for five long years, and to my parents, Chris and Bjorg Alm, for their loving support.
Guide to Using the [Printed] Catalog
The catalog entries have been designed to reproduce pertinent data in an easily accessible form. The librettos are presented in the order in which they are bound within the volumes (roughly chronological), while the five appendixes and seventeen indexes provide alternative means of locating specific data.1 The basic format for each catalog entry is:
Volume (year) and number Index Number
Title page transcription
Prologue, acts, and scenes
Balli or intermedii
Summary of contents
Ballets (ballet master)
Sets (set designer)
Costumes (costume designer)
Numbering: Each libretto has been assigned two numbers. The first, in the upper left corner of each entry, denotes the volume containing the libretto and its position within that volume (i.e., 1637-38-39 no. 1 or 1742 no. 5).2 The second, in the upper right corner of each entry, is a sequential index number reflecting the position of the libretto within the entire collection (1 through 1286). This is used as a reference number in the indexes. Both of these numbers are written in pencil on the title page (or some other preliminary page) of each item in the collection.
Title: A quasi-facsimile transcription of the title page is given. Capital and lower-case letters are retained, but italics (or other fonts) and relative type sizes are not. The text of the entire title page, including the imprint, is reproduced, with line breaks indicated by slashes (/). Rules, engraved compartments, ornaments, and devices are noted in brackets.3 Manuscript alterations to printed title pages are also noted in brackets, as are editorial corrections for a few obvious misprints. Only one libretto, La Nitteti (1765; no. 1232) uses rubrics, which are noted in brackets.
Pagination: The formula for pagination is based on the principles of Bowers and Gaskell.4 The total number of leaves is stated, followed by the pagination formula. When page numbers are missing but can be logically inferred, they are bracketed. For example, a title page with a blank verso, followed by four unnumbered pages and then pages numbered 7-48 would read: 24 leaves, pp. [1-6] 7-48. In another case, a libretto may have an unnumbered title page, but lack a sheet that must have originally preceded the title page (e.g., a title page with blank verso followed by pages numbered 5-60, with no evidence of a leaf missing between the title page and page 5). In this case the implied number of the title page is 3, and the catalog entry states: 29 leaves, pp. [3-4] 5-60. Any unnumbered pages that follow the last numbered page are counted in sequence and given in brackets; thus a title page with blank verso followed by pages 3-56 and four unnumbered pages of substitute arias yields: 30 leaves, pp. [1-2] 3-56 [57-60].
If unnumbered pages occur outside of the main pagination sequence, the total number of unnumbered pages is given in bracketed italics. For example, an engraved half-title with blank verso followed by a title page with blank verso and pages 3-72 is written: 37 leaves, pp. [2 ] [1-2] 3-72. In another case, a title page with blank verso followed by 12 unnumbered prefatory pages and pages 1-80 produces the formula: 47 leaves, pp. [14 ] 1-80.
Multiple sets of page numbers are separated by a comma. Occasionally a separate set of printed numbers is given for the prefatory material, such as a title page with blank verso followed by prefatory pages 3-8 and then pages 1-90. The two sets of numbers are simply retained and the entry reads: 49 leaves, pp. [1-2] 3-8, 1-90. If page numbers are given in Roman numerals, these are retained in the formula.
Statements concerning misnumbered, missing, or misbound pages are found after the pagination formula. As mentioned in the introduction, an engraved binders leaf appears sporadically throughout the volumes, and neither these leaves, nor the blank leaves that occur between the librettos, are counted.
Prologue, acts, and scenes: Since the terms "Atto" and "Azzione" often appear interchangeably as page headings within a single act of a given libretto, the term "Act" is used as a standard translation. Acts are represented by upper case Roman numerals, scenes by Arabic numerals (i.e., I.10 II.8 III.12). Quite often scenes are misnumbered in the librettos; in such cases corrected totals are noted in brackets (i.e., I. II.12 III. ). Because of the frequency, as well as wide variety and complexity of misnumberings, it would be impractical to attempt to explain each case in the catalog entries. The librettos themselves should be consulted for further details of scene numberings.
Balli and intermedii: Whenever possible the locations, as well as the titles, of balli are given. In many cases, however, balli are listed only in the prefatory pages of the libretto and their location within the opera remains unknown. Although balli often occur at the ends of acts, there are enough exceptions to this rule to refrain from making any assumptions about their placement. When the descriptions of balli given in the prefatory pages and in the text of the libretto differ, both are included in the entry. Other special entertainments, such as intermedii, abbattimenti, giochi, and combattimenti, are also noted here.
Summary of contents: The summary lists engravings, half-titles, and material included within the prefatory pages, as well as the contents of any additional pages appended to the text.5 Whenever possible, headings of sections are given in Italian, exactly as they appear in the libretto, followed by the relevant page numbers. The locations of names (such as those of composer, set designer, or singers) are noted, while the names themselves are listed below. The dedicatee is usually named on the title page, but if this name appears only in the prefatory pages, it is included in the summary of contents.
Roles: Names of characters are cited in short form, omitting any further description or elaboration that may appear in the libretto. Thus "Adrasto figliuolo di Talaone Re dArgo, promesso sposo ad Ormide, inamorato dAtrisbe" is simply listed as "Adrasto." Pseudonyms, disguises, or assumed names are listed, however, as are "Argene sotto nome di Licori," and both names are indexed.
Theater: The names of the Venetian theaters have been standardized, following those spellings used in The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980). In addition to theaters, there are a few other performance venues, such as palazzi, gardens, the Grand Canal, and the piazza San Marco. If the venue is not stated in the libretto, it is given in brackets with the source indicated (see Abbreviations, below).
Text and Music: The poet and the composer are cited directly from the libretto if possible. Sets of initials, pseudonyms, and anagrams are followed by the implied name in brackets. If this information is lacking, attributions are given in brackets and the source is indicated (see Abbreviations, below) It must be emphasized that ongoing research is constantly shedding new light on these operas; suggested attributions are open to question and revision.
Ballets, Sets, Costumes, Singers, and Dancers: The names of ballet masters, set designers, costume designers, singers, and dancers are given only if found in the libretto. Names are spelled as they appear in the libretto, and variations in spelling are cross-referenced in the indexes (for more obscure variants, the standard spelling is included in brackets in the entry as well). Nicknames and descriptive terms appended to names (such as "detta la Torinese" or "da Napoli") are included, as is any information on employers and patrons. In most cases, roles are listed for singers; occasionally they are also given for dancers. Vocal ranges are included in only four librettos (see nos. 702, 704, 708, and 720). The initials N.N. ["Nome Nonconosciuto"] are used only when they are printed in the libretto. When a name, or list of names, has been pasted over the original, both are given in the catalog entry.
Casts of dancers often were printed in formats that reflected status within the company, as well as partners on stage. These arrangements have been reproduced, as closely as possible, in the catalog. Dashes (__), indicating blank spaces, have been added to clarify these lists.
Abbreviations Used: A number of sources have been consulted to provide attributions, beginning with Groppo, primarily because this collection seems to have been modeled on his catalog, but also since his work was based upon the other early chronologies.6 Salviolis I teatri musicali di Venezia has been used as a cross-reference for the seventeenth-century, as has Wiels I teatri musicali veneziani for the eighteenth-century. Two contemporary reference works have been consulted: Sonnecks Catalogue of Opera Librettos Printed before 1800, and The New Grove Dictionary of Music and Musicians. In addition, Rosands recent study of seventeenth-century Venetian opera has provided new information for several librettos.
Gr Groppo, Antonio. [used when both sources agree; if the manuscript and print
Differ, Gr ms and Gr pr are used]
Gr ms Groppo, Antonio. Catalogo purgatissimo di tutti li drammi per musica recitatisi ne teatri di Venezia dallAnno MDCXXXVII sin oggi. Da Antonio Groppo Accresciuto di tutti gli Scenarj, varie edizioni, aggiunte a Drammi, e Intermedi. Con la notizia di alcuni Drami nuovamente scoperti, e di altre rare particolarità. Venezia Per Antonio Groppo MDCCXLI. [but the terminus is 1767] I-Vnm, Cod. It. VII 2326 (= 8263).
Gr pr Groppo, Antonio. Catalogo di tutti i drammi per musica recitati ne teatri di Venezia dallanno 1637, in cui ebbero principio le pubbliche rappresentazioni de medesimi, sin allanno presente 1745. Venice: Antonio Groppo, 1745. (Facsimile reprint Bologna: A. Forni, 1985.)
Sal [Salvioli, Giovanni] Livio Niso Galvani. I teatri musicali di Venezia nel secolo XVII (1637-1700). Memorie storiche e bibliografiche. Milan: Ricordi, . (Facsimile reprint Bologna: A. Forni, 1969.)
W Wiel, Taddeo. I teatri musicali veneziani del settecento: Catalogo delle opere in musica rappresentate nel secolo XVIII in Venezia (1700-1800). Venice: Visentini, 1897. (Extracted from Archivio veneto (1891-1897). Facsimile reprint Leipzig: Peters, 1979.)
Son Sonneck, Oscar George Theodore. Catalogue of Opera Librettos Printed before 1800. Washington D.C.: Government Printing Office, 1914. (Facsimile reprint New York: Johnson Reprint Corporation, 1968.)
NG Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan 1980.
Rosand Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley and Los Angeles: University of California Press, 1991.
1It should be noted that the anomalies of chronology which occur in the collection are primarily a result of the arrangement of Groppos catalog. Since the primary aim of the present catalog is to provide a descriptive bibliography of this specific collection, no effort has been made to sort out the thorny problems of chronology in Venetian opera. In some librettos, M.V. (More Veneto) appears alongside the year on the title pages and dedications, indicating the use of the Venetian calendar in which the year changed on 1 March. Thus, it directly affected the principal opera season, carnival. The designation M.V., however, was not used consistently throughout this period. A definitive chronology would require the study and incorporation of a great deal of additional documentary evidence and is beyond the scope of the present catalog. A recent and enormously valuable contribution is Ellen Rosands Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley and Los Angeles: University of California Press, 1991). On the subject of errors in chronology, see also Thomas Walker , "Gli errori di Minerva al tavolino," in Venezia e il melodramma nel seicento, ed. Maria Teresa Muraro (Florence, Leo S. Olschki, 1976), 7-20.
2The year of the volume may not accurately reflect the year of performance (see note 1).
3The term engraved, used here as well as in the summary of contents for half-titles and full-page illustrations, is taken in the British sense to include the methods of both engraving (used in the majority of cases) and etching. Among the eighteenth-century librettos there are a number of engraved compartments that were reused for various title pages. In some cases, evidence of the previous title is still visible; for others, stock designs have been modified or combined. My thanks to Ann M. Friedman of the J. Paul Getty Museum for her expert advice on these plates.
4Fredson Bowers, Principles of Bibliographical Description (Princeton, N.J.: Princeton University Press, 1949, reprinted Dexter, MI: St. Pauls Bibliographies, 1986), and Philip Gaskell, A New Introduction to Bibliography (New York and Oxford: Oxford University Press, 1972).
5See note 3 concerning engravings.
6In his preface, Groppo states that he aims to be more complete and correct than Allacci, Ivanovich, and Bonlini. See Lione Allacci, Drammaturgia (Rome: Mascardi, 1666); "accresciuta e continuata fino allanno MDCCLV" (Venice: Pasquali 1755); Cristoforo Ivanovich, Minerva al tavolino Nel fine le Memorie teatrali di Venezia (Venice: Pezzana, 1681, second edition 1688) and [Carlo Bhonlini], Le Glorie della Poesia e della Musica (Venice, n.d. ). A two-volume, manuscript catalog with the Rossi collection of librettos at the Biblioteca Marciana was consulted briefly, but was unavailable for use in checking attributions: [Giovanni Rossi], Cattalogo di tutti li Drami rappresentati in Musica in Venezia dallanno 1637 fino al presente , 2 vols., I-Vnm Cod. It. VII, 1613-1614 (= 9035-9036).
Guide to Using the Appendixes
Appendix I. Anagrams: A complete list of anagrams found in the collection is given, each followed by the true name (also given in the catalog entry) and the profession (poet, composer, singer, etc.). The appropriate index can then be consulted for references to catalog entries.
Appendix II. Arcadian Names and Academies: Pastoral or arcadian names used in the librettos are listed with the true name, when known, and the profession (these are primarily poets). Academies are listed along with the names of members. The indexes include arcadian names when there is no known name; all other academy members are indexed under true names.
Appendix III. Nicknames: Nicknames (usually indicated by detto or detta) are listed alphabetically, followed by any article (in parenthesis), the given name, and the profession. The given name should be consulted in the appropriate index for reference to catalog entries.
Appendix IV. Pseudonyms: These are purely fictitious, often humorous, names used in a handful of librettos (see nos. 748, 771, 772, 842, 866, 867, 907, 908, 909, 925, 1001). Catalog entries indicate the use of pseudonyms; they are not included in the indexes. The appendix lists the pseudonym, the true name (if known), the profession, and the index number. If the true name is known, it appears in the appropriate index.
Appendix V. List of Volumes and Index Numbers: This simply lists the year, or years, of each volume, followed by the index numbers of its contents. It provides a quick reference guide to volumes while consulting the indexes.
Appendix I : Anagrams
Agatea Murnesa: see Amurat, Agnese (singer)
Antilio Vannoj: see Vilani, Antonio (misc. name)
Antio Ricconi: see Ricci, Antonio (ballet master)
Ardio Rivarota: see Varotari, Dario (poet)
Asate Galocani: see Casali, Gaetano (singer)
Calindo Grolo: see Goldoni, Carlo (poet)
Candalan Niaci: see Canciani, Nadal (costume designer)
Cassiogono Tambusi: see Bugoni, Tomaso Cassani (set designer)
Diomedo Lizzapa: see Palazzi, Giovanni (poet)
Frencasco Valsini: see Silvani, Francesco (poet)
Goanto Rinio: see Gori, Antonio (poet)
Ignatio Teomagnini: see Giannini, Giovanni Matteo (poet)
Itmipolimipo Ronzello, detto il Brillante Pecoraro: see Miti, Pompilio (poet)
Limboldo Arecordi: see Lombardi, Rodelico (singer)
Linco Melliado: see Lalli, Domenico (dedicatee)
Logolcardoni Colodisce: see Goldoni, Carlo (poet)
Lotavio Vandini: see Vivaldi, Antonio (composer)
Louigi Carenpi: see Pancieri, Giulio (poet)
Luigi Zorzisto: see Strozzi, Giulio (poet)
Luigio Rincepa: see Pancieri, Giulio (poet)
Nigrando Tipei: see Gandini, Pietro (singer)
Odmuaponarcemdo Mirop (dedicatee)
Regippe Musei: see Imer, Giuseppe (singer)
Sattalea Quapessali: see Passalaqua, Elisetta (singer)
Appendix II : Arcadian Names and Academies
__ Angustiati: see Academia delli Sigg. Angustiati (misc. name)
__ Animosi (di Venezia): see Pasqualigo, Benedetto (poet)
__ Appatista (Fiorentina): see Cipretti, Pietro (poet)
__ Arcadi (di Roma): see Galuppi, A.; Goldoni, C.; Lalli, D.; Metastastio, P.; Pasqualigo, B.; Petrosellini, G.; Stampiglia, S. (poets); see also Accademia degl Arcadi di Roma (dedicatee)
__ Campalto: see Antonio Gori (poet)
__ Capitolino: see Colonna, Girolamo Mengozi (set designer)
__ Delfico: see Varotari, Dario (poet)
__ Dilettanti: see Accademici Dilettanti (dedicatee; misc. name; theater)
__ Disinvolto: see Giannini, Giovanni Matteo (poet)
__ Disperato: see Verdacchio Predamosche (poet)
__ Erranti (di Napoli): see Artale, Giuseppe (poet)
__ Este: see Donato Milcetti (misc. name)
__ Filarmonica di S. Marina: see Accademia Filarmonica di S. Marina (theater)
__ Filarmonico: see Buini, G.M.; Ciampi, F.; Cocchi, G.; Fiorè, S.A.; Gibelli, L. Jomelli, N.; Lapis, S.; Mazzoni, A.; Orlandini, G.M.; Ottani, B.; Pampani, A.G.; Porta, G.; Predieri, L.A.; Rutini, G.M.; Tozzi, A. (composers)
__ Imperfetti: see Aureli, Aurelio (poet)
__ Imperturbabili: see Academici Imperturbabili (poet; dedicatee)
__ Incognito: see Badoaro, Giacomo (poet)
__ Infecondo: see Badi, Paolo Emilio; Papi, Antonio (poets)
__ Instancabile: see Cicognini, Giacinto Andrea (poet)
__ Letterata: see Academie Letterata, Filarmonica e Disegno (misc. name)
__ Librale: see Accademici Librali (misc. name)
__ Morte (in Ferrara): see Bassani, Gio. Battista (composer)
__ Olimpico: see Bissari, Pietro Paolo (poet)
__ Pacifico: see Giannini, Giovanni Matteo (poet)
__ Parmense [Reale Accademia Parmense]: see Costa, Gio. Francesco (set designer)
__ Quirino: see Papi, Antonio (poet)
__ Saloni: see Saloni (theater)
__ Sicuri: see Compassorio de Sicuri Agrimensore (misc. name)
__ Simpatico: see Giannini, Giovanni Matteo (poet)
__ Umorista: see Badi, Paolo Emilio (poet)
Ageo Liteo [fra gli Arcadi]: see Galuppi, Antonio (poet)
Agrimensore: see Compassorio de Sicuri Agrimensore (misc. name)
Alcindo Isaurense, P.A. (poet)
Artino [Artimio] Corasio, fra gli Arcadia: see Metastasio, Pietro (poet)
Assicurato, Academico Incognito: see Badoaro, Giacomo (poet)
Candido, (Il), Academico dEste: see Donato Milcetti (misc. name)
Cleofanto Doriano [Doniano], P.A. Accademico Quirino, Infecondo: see Papi, Antonio (poet)
Compassorio de Sicuri Agrimensore (misc. name)
Dolenio, P.A. (misc. name)
Ensildo Prosindio, P.A.: see Petrosellini, Giuseppe (poet)
Evandro Edesimo: see Salio, Giuseppe (poet)
Infelicio Scordato, gl Accademici di Campalto: see Antonio Gori (poet)
Indiferente, (L), Accademico fra glImperfetti: see Aureli, Aurelio (poet)
Lauriso Tragiense (poet)
Merindo Fesanio, della Colonia de SS. Animosi di Venezia: see Pasqualigo, Benedetto (poet)
Montebaldo Vovi: see Miani, Marco (poet)
Ortanio, fra gli Arcadi: see Lalli, Domenico (poet)
Palemone Licurio, fra gli Arcadi: see Silvio Stampiglia (poet)
Polisseno Fegejo [Fegeio], fra gli Arcadi: see Goldoni, Carlo (poet)
Rincorto, Academico Olimpico: see Bissari, Pietro Paolo (poet)
Satirico, (Il), fra Disperati: see Verdacchio Predamosche (poet)
Sommolento Tassista: see Bonis, Novello (poet)
Timido, Pastor Arcade (poet)
Urbano Sirenaa: see Ivanovich, Cristoforo (poet)
Verdacchio Predamosche fra Disperati il Satirico (poet)
Volonteroso, (Il), Accademico fra Delfici: see Varotari, Dario (poet)
Appendix III : Nicknames
Amadori [dAmadori]: see Tedeschi, Giovanni (singer)
Ancona [dAncona]: see Belardi, Giovanni (singer)
Arcolani [dErcolani]: see Gioanini, Giuseppe (dancer)
Argante: see Franceschini, Antonio (singer)
Bastoncina, (La): see Belluzzi, Anna (dancer)
Bavarese, (La): see Pasquali, Anna Rosa (singer)
Bergamasca, (La): see Dall Oglio, Brigida (singer)
Bocchino: see Lorenzi, Vicenzo (dancer)
Boemo, (Il): see Misliwcek, Giuseppe (composer)
Bologna: see Rotta, Gio. Battista (costume designer)
Bragola [della Bragola]: see De Mezzo, Pietro (singer)
Brescianina, (La): see Zanucchi, Angela (singer)
Bressanina, (La): see Poli, Francesca (singer)
Brillante Pecoraro della Selva, (Il): see Miti, Pompilio (poet)
Brunsvic [di Brunsvic]: see Paris, Niccola (singer)
Buranello: see Galuppi, Baldassare (composer)
Cafarello [Caffariello, Gafariello, Gaffarello]: see Majorana, Gaetano (singer)
Calzettina, (La): see Valsecchi, Marianna (singer)
Campioli, (La): see Gualandi, Margherita (singer)
Campioni: see Milani, Girolamo (dancer)
Capuanina, (La): see Capuano, Angelo (singer)
Carbonerina, [Carbonarina] (La): see Venturelli, Teresa (singer)
Carbonerina, (La): see Venturelli, Rosa (singer)
Carnace: see Baglioni, Francesco (singer)
Carroziera, (La): see Fusi, Margherita (dancer)
Celestina, (La): see Cavallucci, Antonia (singer)
Cesarino: see Cesari, Gaetano (dancer)
Chechino de Massimi: see De Castris, Francesco (singer)
Ciampino: see Duranti, Giuseppe (singer)
Ciccio: see Maggiore, Francesco (composer)
Coghetta [Cogetta], (La): see Gabrielli, Catterina (singer)
Consegnato [Consegniati, Consignato:: see Gianastasio, Francesco (dancer)
Coralli: see Laurenti, Antonio (singer)
Cordina Comica: see Costantini, Dominica (misc. name)
Cortona: see Cecchi, Domenico (singer)
Cortoncino: see Archi, Antonio (singer)
Denzia [Dentia, Denzi], (La): see Peruzzi, Teresa (singer)
De Sales: see Conti Nadi Terrades, Anna [also detta La Russien] (dancer)
Egizziello [Gizziello, Gizzielo]: see Conti, Gioacchino (singer)
Ercolani [Arcolani, dErcolani]: see Gioanini, Giuseppe (dancer)
Eularia: see Miti, Vittoria (singer)
Fanesino, (Il): see Zaghini, Giacomo (singer)
Farinella, (La): see Camati, Maria (singer)
Farinello: see Broschi, Carlo (singer)
Fichetto: see Campioni, Giuseppe (set designer)
Flambò [Flambà]: see Marigliano, Gio. Battista (dancer)
Fossan: see Rinaldi, Antonio (ballet master)
Frascia: see Calandra, Nicola (composer)
Gafariello [Cafarello, Caffariello, Caffarello]: see Marjorana, Gaetano (singer)
Gambino: see Calvi, Gio. Batista (singer)
Gibellino: see Patrassi, Michele (singer)
Gizziello, Gizzielo: see Conti, Gioacchino (singer)
Gnapeta: see Ruberti, Giovanni Battista (poet)
Guantarino, (La): see Flavis, Cattarina (singer)
Guastalla: see Grazioli, Demetrio (costume designer)
Inglesina, (L): see Caselli, Maddalena (singer)
Lucchesino [Luchesino], (Il): see Pacini, Andrea (singer)
Manteca: see Cestari, Attilio (misc. name)
Mantoanina, (La): see Orlandi, Chiara (singer)
Mantovanina [Mantoanina], (La): see Borgioni, Maria Madalena (dancer)
Mantovanino, (Il): see Burgioni, Leopoldo (singer)
Massimi [de Massimi]: see De Castris, Francesco (singer)
Mestrina, (La): see Negri Tomii, Antonia (singer)
Milanese, (La): see Castelli, Teresa (singer)
Mora, (La): see Formigli, Maddalena (dancer)
Moretto, (Il): see Bonucci, Gasparo (dancer)
Morino, (Il): see Marchi, Andrea (ballet master and dancer)
Morotti [Moroti], (La): see Corvi, Paula (singer)
Morsarina, (La): see Masi, Violante (singer)
Napolitanina: see Cermenati, Antonia (singer)
Padoanella, (La) see Tissini, Marianna (dancer)
Padovana, (La): see Maggini, Marianna (singer)
Padovana, (La): see Magini, Giustina (dancer)
Paita: see Lupis, Domenico (ballet master)
Palerminà, (La): see Morena, Gerolima (singer)
Perella: see Della Pagana, Giovanni (singer)
Perugino, (Il): see Natali, Francesco (singer)
Pignatino [Pignattino]: see Romani, Stefano (singer)
Polacchina, (La): see Nasini, Livia (singer)
Porporino: see Uberi, Antonio (singer)
Portogallo [di Portogallo]: see Dalla Parte, Anna Caterina (singer)
Portogallo [di Portogallo]: see Salamoni, Giuseppe (ballet master and dancer)
Ravaschiello: see De Bustis, Vincenzo (ballet master and dancer)
Reggiana, (La): see Albertini, Giovanna (singer)
Romanina, (La): see Garberini Benti [Benti Bulgarelli], Maria Anna [Marianna] (singer)
Romanina, (La) see Giusti, Maria (singer)
Russien, (La) see Conti Nadi Terrades, Anna, detta de Sales (dancer)
Sajon: see Fedeli, Carlo (composer)
Sajon [Sogino]: see Fedeli, Ruggiero (composer)
Sanesino [Senesino], (Il): see Bernardi, Francesco (singer)
Sassone, (Il): see Hasse, Giovanni Adolfo (composer)
Scaramuccia: see Nesti, Gio. Battista (ballet master)
Scaramuccia: see Nesti, Vincenzo (dancer)
Schioppi: see Alabardi, Giuseppe (set designer)
Schizza: see Grazioli, Giovanni (dancer)
Sciroletto: see Aprile, Giuseppe (singer)
Sellarina [Selerina, Sellerina], (La): see Gerardini, Maddalena (singer)
Senesino [Sanesino], (Il): see Bernardi, Francesco (singer)
Senesino: see Tenducci, Ferdinando (singer)
Senesino: see Tenducci, Francesco (singer)
Serafina, (La): see Cortellini, Anna Maria (singer)
Sogino [Sajon]: see Fedeli, Ruggiero (composer)
Spagnoletta [Spagnuoletta], (La): see Lodi, Silvia (singer)
Spagnoletta, (La): see N., La Sig. N. (dancer)
Taccarini, (La): see Conti Leonardi, Angela (singer)
Targai: see Grillotti, Alfonso (misc. name)
Tedesca [Todeschini], (La): see Pircher, Gioseppa (singer)
Tedeschino [Todeschino], (Il): see Drayer, Giovanni (singer)
Tentoreta, (La): see Grisellini, Margherita (dancer)
Tilla, (La): see Pini, Maria Domenica (singer)
Tintoretta, (La): see Grisellini, Giovanna (dancer)
Todeschina, (La): see De Scio, Maria Eleonara (singer)
Todeschina, (La): see Elzener, Maria Antonia (dancer)
Todeschini, (La): see Pircher, Gioseppa (singer)
Todeschino, (Il): see Drayer, Giovanni (singer)
Torinese, (La): see Scannavini, Rosa (singer)
Tracagnino: see Cattoli, Francesco (singer)
Venezianella, (La): see Colonna, Teresa (dancer)
Vergola: see Piuzzi, Domenico (ballet master)
Vicentina, (La): see Faccioli, Margherita (singer)
Vicentino, (Il): see Dian, Antonio (costume designer)
Vienna [di Vienna]: see Salamoni, Francesco (ballet master)
Vienna [di Vienna]: see Salamoni, Giuseppe (ballet master and dancer)
Appendix IV : Pseudonyms
Albetta (singer) 925
Ambrosina (singer) 925
Appollonia (singer) 925
Arlequin Battochio: see Miani, Marco (poet) 907
Arlequin Battochio, (Il Sig.), Virtuoso da Tratenimento del Denubio: see Sacco, Antonio (singer) 907
Arlichino Battocchio, (Il Sig.), Cavallerizzo maggiore dell Gran Tamerlano delle Vallade di Buslecca di sotto: see Sacco, Antonio (singer) 908
Beatrice Bisognosi, (La Sig.), Virtuosa del Duca Brutta Smorfia (singer) 909
Belligambico Tuttogusto, (Il Sig.), Virtuoso di Giardino del Gran Colosso di Rhodi (singer) 842, 866, 867
Bellivoltica Altipifaria, (La Sig.), Virtuosa di Sala dell alte Piramidi dEgitto: see Imer, Marianna or Teresa (singer) 842, 866, 867
Bolognese, (La) (singer) 925
Campanone Imbrighellato, (Il Sig. Dottore), Gran Scudiere della Corte deglInvalidi soffistici della busecca di Milano (singer) 908
Chiaretta (singer) 925
Circinio Nota, (Monsieur), Maestro di Ballo delle Solennissime Oche, ed Anere di Trabisonde (ballet master) 842, 866, 867
Conosciuto Virtuoso, (Il Sig.), del Gran Marc Antonio Triumviro (singer) 771, 772
Corallina Menarella, (La Sig.), di Tartaria, Conzateste della Sig. Principessa Majorica (singer) 748
Crozola dà Pest, (Monsiù), Cirusico di Madamma Carriola (ballet master) 748
Fichetto Panocchia (Il Sig.), Scudiere, e Mastro di Cerimonie allultima tule: see Campioni, Giuseppe, detto Fichetto (set designer) 748
Fidelmo Grassicordio, (Il Sig.), Virtuoso di Gabinetto del Gran Sopramanico: see Imer, Giuseppe (singer) 842, 866, 867
Flaminia Bisognosi, (La Sig.), virtuosa di Sparta ed insigne Accademica trà gli Scordati (singer) 1001
Flaminio Rompicollo, (Il Sig.), Virtuoso del Re Antimonio (singer) 909
Fortunata (singer) 925
Giovan [Già] si sà, (Il Sig.), Virtuoso del Gran Tamerlano: see Cortini, Andrea (singer) 771, 772, 907
Giulietta (singer) 925
Graziano Bombarda, (Il Sig. Dottore), virtuoso Calabrese, e celebre riformatore della nuova Accademia de Lepidi (singer) 1001
Graziano Cimbaloni, (Il Sig. Dottor), da Bologna, Espositore della Flemma, & ammirabile pacifico della Torre delli Asinelli: see Miti, Pompilio (poet) 748
Grossimausa Durivovico [Durivotico], (Il Sig.), Virtuoso di Stalla del Gran Culiseo di Roma (singer) 842, 866, 867
Guercino, (Il Sig.) e Tiziano sporco, e Fratelli Zoppi (set designers) 909
Ignorate alloscuro, (Il Sig.), Maestro di Cappella degli Eccellentissimo Orbi di Milano: see Apolloni, Salvatore (composer) 909
Impossibile, (Il Sig.), Virtuoso del Sig. Non sarà (singer) 909
Intendente Generale, (Il Sig.), di Battaglia del Colosso di Rodi (singer) 908
La Moda, (Madama) Governatrice di Castel bizzarro (dedicatee) 842, 866
Leandro del Sole, (Il Sig.), Mastro di Ballo dellIsole Canarie (singer) 748
Margherita (singer) 925
Ninetta imbizarrita, (La Sig.), Virtuosa brillante della sontuosa Galleria delle Stelle Polari (singer) 908
Nixbughel Nientopancich, (Il Sig.), Virtuoso di Tinello della Magn. Arena di Verona (singer) 842, 866, 867
Non si sà, (Il Sig.), di Patria incognita, Astrologa à prima vista (composer) 748
Nonignoto, (Il Sig.), Virtuoso di Camera del Monte Olimpo, e sue adiacenze: see Imer, Giuseppe (singer) 771, 772
Ottavio Ardenti, (Il Sig.), Scozzese, Spargirico di Negroponte: see Franceschini, Antonio, detto Argante (singer) 748
Pantaleone de Bisognosi, (Il Sig.), virtuoso del Serraglio di Tartaria, e primo Soprano dellIsole Settetrionali (singer) 1001
Pantalon de Bisognosi, (Il Sig.), Musico di Camera del Principe Necessité (singer) 909
Pantalon de Bisognosi, (Il Sig.), Primo Consigliere dellacro superiore del Ponte di Rialto (singer) 908
Pantalone de Bisognosi, (Il Sig.), Veneziano, Computista del Nobil Ponte di Rialto (singer) 748
Paracelso Erbette, (Il Sig. Dottore), Medico (dedicatee) 748
Parteo Ubriaca Villani, (Il Sig.), virtuoso Muratore, e fondator Pignatta (costume designer) 1001
Piange Sempre, (Il Sig.), Al Servicio del Primo Ospitalier di Corte (singer) 907
Postu Crespar, (Il Sig.), alAtual Servizio del Principe el Creperà: see Imer, Giuseppe (singer) 907
Salvolatile, (Il. Sig.), Virtuoso del Principe Stranuto (singer) 907
Scarminicola Bassigiuvena, (La Sig.), Virtuosa di Camera della Gran Cagna del Fenocchio di Barbaria (singer) 842, 866, 867
Senza Bracci, collo storto, (Il Sig.) (costume designer) 909
Senza Gambe, e Compagni uniti, (Il Sig.) (ballet master) 909
Silvio del Sole, (Il Sig.), Patentato di S.A. Pocagrazia (singer) 909
Smeraldina Menarella, (La Sig.), Arcicuoca Maggiore della Cucagna moderne (singer) 908
Smeraldina Menarella, (LA Sig.), Virtuosa della Regina del non puo essere (singer) 909
Spoglia tutti dà Grafagnana, (Il Sig.), Bottaro per il Moscato di Levante (costume desginer) 748
Sussiegata Sprezzatutti [Sprezza Tutti], (Madama), Governatrice di Poggio Burliero (dedicatee) 771, 772, 907
Teresa (singer) 925
Tracagnino Stoppa il buso dalle Vallade, (Il Sig.), Ortolano di Camera di S.A. il Castello di Bergamo: see Cattoli, Francesco, detto Tracagnino (singer) 748
Tracagnino Tracagnotto, (Il Sig.), virtuoso del Principe della Rocca sfracassata, e protetto dal Castello di Bufalora (singer) 1001
Trilli e Cadenze, (La Sig.) Virtuosa della Regina mai à tempo (singer) 907
Trufaldino Batoccho, (Il Sig.) Servo attuale del Principe Salsa poriglia (singer) 909
Virtuosa, (La Sig. Si dirà), di Gabinetto della Gran Sultana Regnante (singer) 771, 772
Virtuoso dà trattimento della gran Caverna del niento: see Gandini, Pietro (singer) 771, 772
Vittoria Cimbaloni, (La Sig.), Polacca, Ricamatrice della Regina Isota: see Miti, Vittoria (singer) 748
Appendix V : List of Volumes and Index Numbers
vol. 1637-38-39 nos. 1-9
vol. 1640-41 nos. 10-20
vol. 1642 nos. 21-30
vol. 1643 nos. 31-35
vol. 1644 nos. 36-44
vol. 1645 nos. 45-49
vol. 1646-47-48 nos. 50-56
vol. 1649-50 nos. 57-65
vol. 1651 nos. 66-72
vol. 1652-53 nos. 73-81
vol. 1654-55 nos. 82-90
vol. 1656-57-58 nos. 91-101
vol. 1659-60 nos. 102-110
vol. 1661-62 nos. 111-122
vol. 1663-64-65 nos. 123-134
vol. 1666 nos. 135-145
vol. 1667 nos. 146-154
vol. 1668 nos. 155-160
vol. 1669 nos. 161-166
vol. 1670 nos. 167-175
vol. 1671-72 nos. 176-185
vol. 1673-74 nos. 186-197
vol. 1675 nos. 198-205
vol. 1676 nos. 206-215
vol. 1677 nos. 216-226
vol. 1678 nos. 227-238
vol. 1679 nos. 239-248
vol. 1680 nos. 249-260
vol. 1681 nos. 261-271
vol. 1682 nos. 272-283
vol. 1683 nos. 284-301
vol. 1684 nos. 302-308
vol. 1685 nos. 309-318
vol. 1686 nos. 319-330
vol. 1687 nos. 331-340
vol. 1688 nos. 341-351
vol. 1689 nos. 352-360
vol. 1690 nos. 361-369
vol. 1691 nos. 370-381
vol. 1692 nos. 382-390
vol. 1693 nos. 391-401
vol. 1694 nos. 402-410
vol. 1695 nos. 411-421
vol. 1696 nos. 422-435
vol. 1697 nos. 436-450
vol. 1698 nos. 451-459
vol. 1699 nos. 460-470
vol. 1700 nos. 471-481
vol. 1701 nos. 482-485
vol. 1702 nos. 486-495
vol. 1703 nos. 496-506
vol. 1704 nos. 507-515
vol. 1705 nos. 516-529
vol. 1706 nos. 530-538
vol. 1707 nos. 539-552
vol. 1708 nos. 553-563
vol. 1709 nos. 564-576
vol. 1710 nos. 577-589
vol. 1711 nos. 590-600
vol. 1712 nos. 601-607
vol. 1713 nos. 608-618
vol. 1714 nos. 619-626
vol. 1715 nos. 627-634
vol. 1716 nos. 635-646
vol. 1717 nos. 647-659
vol. 1718 nos. 660-673
vol. 1719 nos. 674-683
vol. 1720 nos. 684-694
vol. 1721 nos. 695-706
vol. 1722 nos. 707-717
vol. 1723 nos. 718-726
vol. 1724 nos. 727-735
vol. 1725 nos. 736-748
vol. 1726 nos. 749-764
vol. 1727 nos. 765-781
vol. 1728 nos. 782-791
vol. 1729 nos. 792-808
vol. 1730 nos. 809-821
vol. 1731 nos. 822-836
vol. 1732 nos. 837-849
vol. 1733 nos. 850-856
vol. 1734 nos. 857-867
vol. 1735 nos. 868-878
vol. 1736 nos. 879-886
vol. 1737 nos. 887-896
vol. 1738 nos. 897-905
vol. 1739 nos. 906-914
vol. 1740 nos. 915-926
vol. 1741 nos. 927-933
vol. 1742 nos. 934-944
vol. 1743 nos. 945-960
vol. 1744 nos. 961-974
vol. 1745 nos. 975-987
vol. 1746 nos. 988-1002
vol. 1747 nos. 1003-1016
vol. 1748 nos. 1017-1028
vol. 1749 nos. 1029-1044
vol. 1750 nos. 1045-1056
vol. 1751 nos. 1057-1070
vol. 1752 nos. 1071-1080
vol. 1753 nos. 1081-1093
vol. 1754 nos. 1094-1107
vol. 1755 nos. 1108-1117
vol. 1756 nos. 1118-1129
vol. 1757 nos. 1130-1141
vol. 1758 nos. 1142-1149
vol. 1759 nos. 1150-1158
vol. 1760 nos. 1159-1170
vol. 1761 nos. 1171-1182
vol. 1762 nos. 1183-1198
vol. 1763 nos. 1199-1209
vol. 1764 nos. 1210-1225
vol. 1765 nos. 1226-1241
vol. 1766 nos. 1242-1257
vol. 1767 nos. 1258-1266
vol. 1768 nos. 1267-1276
vol. 1769 nos. 1277-1286