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A one-act English-language opera adapted from Carlo Goldoni’s comedy The Mistress of the Inn.
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A one-act English-language opera adapted from Carlo Goldoni’s comedy The Mistress of the Inn.
Knight Buovo returns from exile to reclaim his estates and beloved Drusiana from the usurper Maccabruno. Drusiana wavers between her former lover and Maccabruno, while miller’s daughter Menichina also loves Buovo. Buovo ultimately regains his estates and marries Menichina.
This two-act comic opera follows intrigues among a jealous, quarrelling aristocratic couple and their servants.
In Milan, the heiress Eugenia and Fulgentius repeatedly break up over her jealousy and his impulsiveness. When Count Roberto courts Eugenia, a near-marriage threatens their relationship, but the return of Fulgentius’s brother removes the obstacle that had kept him from marrying her.
Ermanno Wolf-Ferrari’s three-act opera giocosa adapts Carlo Goldoni’s play Il ventaglio. The available text does not provide the plot.
In Don Roberto’s household, Zelinda and Lindoro struggle to protect their love amid rival attentions. Zelinda’s tearful confession moves Don Roberto as the young lovers navigate the uncertain course of their relationship.
King Gualtiero’s marriage to the shepherdess Griselda has provoked rebellion. When their daughter Costanza was born, he secretly sent her away and pretended she had died; now he plans to marry Costanza, who is unaware of her parentage and loves Roberto. Gualtiero dismisses Griselda, who returns to her cottage. Courtier Ottone pursues her and tries to abduct her, but Gualtiero stops him and brings Griselda back as Costanza’s slave. After Griselda refuses Ottone and proves her virtue, Gualtiero takes her back as his wife, reveals Costanza’s identity, pardons Ottone, and allows Costanza to marry Roberto.
Gustav escapes imprisonment in Denmark and hides in Dalarna, where he becomes a leader in the struggle against Danish rule and is elected king. In disguise as Learco, he becomes entangled with Ergilda and Dorisbe, later revealed as his cousin Clotilde.
At a fountain, Columbina and Isobella gossip. Columbina’s husband Pierrot overhears them, setting off comic consequences.
In eighteenth-century Venice, four curmudgeonly husbands try to keep their wives and daughters under control. The women decide to defy them by arranging for Lucieta to meet Filipeto, her intended husband, before their arranged marriage.
In a small Venetian square in the mid-eighteenth century, visiting Neapolitan gentleman Astolfi flirts with several women, provoking jealousy among their suitors. Haberdasher Anzoleto and Luçieta plan to marry, though their relationship is marked by quarrels. Gasparina’s uncle Fabrizio discovers that Astolfi is bankrupt and that he himself is a lottery winner; Astolfi asks to marry Gasparina. As Anzoleto and Luçieta’s neighbors quarrel, Astolfi invites them all to dinner and announces that he and Gasparina will marry and leave Venice.
Don Giovanni is rescued from drowning and seduces the fisherwoman Elisa, then attempts to seduce Donna Anna and kills her father, the Commendatore. Later, the Commendatore’s statue appears at Don Giovanni’s supper and demands repentance; Don Giovanni refuses and is condemned to the abyss.
When Florindo takes possession of a disputed feudal estate, the villagers organize against his abuses, including his pursuit of their women. Rosaura, the rightful heir, contests his claim, and their conflict is ultimately settled through marriage.
Tritemio wants his daughter Eugenia to marry the wealthy farmer Nardo, though she loves Rinaldo. To keep Nardo away, housemaid Lesbina impersonates Eugenia, and Nardo falls in love with her. When he learns who she is, he accepts her; Lesbina arranges a double wedding for herself and Nardo and for Eugenia and Rinaldo, while Tritemio marries Nardo’s niece Lena.
A two-act intermezzo for four characters, derived with modifications from Goldoni’s Il mondo della luna. Its first-act finale depicts Buonafede’s imaginary journey to the Moon.
Opera by Pedro António Avondano using Carlo Goldoni’s libretto, originally written for Baldassare Galuppi’s 1750 setting. The source does not provide a plot synopsis.
The three-act dramma giocoso features would-be astrologer Ecclitico, credulous Buonafede, his daughters Flaminia and Clarice, maid Lisetta, Ernesto, and Ernesto’s servant Cecco.
The astrologer Ecclitico tricks the wealthy Buonafede into believing he has traveled to the Moon. There Buonafede is manipulated into consenting to marriages between his daughters and their chosen partners; once the deception is exposed, he relents and the couples celebrate.
A metatheatrical comedy in which actors prepare to perform, adopting masks and names from the Commedia dell'Arte tradition. Its authorial introduction criticizes vulgar theatrical conventions and advocates restoring the comedy's good practices with lifelike scenes and characters.
Two friends find themselves in love with the same woman, testing their friendship as each seeks her affection.
Cecchina, a maid, is loved by the Marquis of Conchiglia, but their match is opposed because of her apparent social status. After jealous rivals and a succession of complications, a German soldier reveals that Cecchina is a baron’s daughter, allowing the couple to marry.
Poor lovers Giannino and Dorina scheme with innkeeper Falco to deceive treasure-seeker Don Poppone. Poppone mistakes them and the visiting Count and Countess for other guests, including Turks, amid a series of misunderstandings. Disguised as devils, Dorina and Giannino terrify and beat Poppone while pretending to search for his treasure. After the truth emerges, Falco explains the deception; Giannino inherits a fortune, Poppone forgives the couple, and agrees to marry Ghiandina.
A comedy rooted in Commedia dell'Arte, with a large cast that includes the perpetually quarreling gondoliers Nane and Menego.
Widow Rosaura is courted by four suitors from different countries. She disguises herself to test their fidelity, discovers that three are willing to deceive her, and chooses the one who resists her advances; he accepts her for love and their shared nationality.
The love affairs of young people in Chioggia spark jealousy and quarrels among two groups of fishermen. Toffolo flirts with the engaged Lucietta, provoking Checca and a fight between the fishermen; after the official Isidoro intervenes, the couples marry and peace returns.
Angélique's brother has squandered the family's money and plans to send her to a convent. Her guardian Géronte, a curmudgeon, proposes a marriage to his elderly friend Dorval, while Angélique loves Valère. When the brother faces arrest for debt, Valère offers help and Géronte finally pays the debt, blesses the lovers and provides a dowry.
In eighteenth-century Venice, two wives investigate what their husbands do at their club.
A two-part Italian musical farce intended to be performed between the acts of an opera seria. The four roles are Count Bellezza, Lindora, Ferramonte, and Aurelia.
Prince Lindoro searches for the rightful heir to Sorrento, taken as a baby to Taranto after her father’s murder. Fisherwomen Lesbina and Nerina each hope to be the princess and compete for Lindoro, but the heiress is Eurilda; she leaves with him while the other two couples are reunited after comic deceptions.
Apothecary Sempronio hopes to marry his ward Grilletta for her money, while his apprentice Mengone and wealthy Volpino also court her. The two young men outwit Sempronio with disguised notaries and a false Turkish delegation, exposing Volpino’s tricks. Mengone intervenes to protect Sempronio, who finally agrees to let him marry Grilletta.
In a present-day Dublin Italian restaurant, Mirandolina navigates the attentions of men who admire her while trying to control her. She resists their pressure in Marina Carr’s reworking of Goldoni’s comedy about an innkeeper and her suitors.
Innkeeper Mirandolina attracts several noble suitors, including the sardonic misogynist Ripafratta, whom she sets out to seduce. When he becomes seriously attached and reacts angrily to her rejection, Mirandolina turns instead to her faithful waiter Fabrizio, whom she marries after testing his loyalty.
In 1963 Brighton, out-of-work musician Francis Henshall secretly works for both gangster Roscoe Crabbe and upper-class Stanley Stubbers, trying to stop the two from meeting. Roscoe is actually his twin sister Rachel in disguise, and Stanley killed her brother; local gangsters, an engagement, a heavy trunk and Francis's appetite compound the confusion.
Count Anselmo squanders the household’s money on counterfeit antiquities while his wife Isabella mistreats Doralice, the merchant’s daughter who married their son Giacinto. Servants and would-be peacemakers exaggerate each woman’s grievances, turning the household into a comic battleground. Doralice’s father Pantalone finally takes charge of the finances and separates the women, though they still refuse to reconcile.
Four conservative Venetian merchants represent an older, puritanical middle-class tradition and clash with the city's new frivolity.
A fan passes from hand to hand, linking the characters in a lively comedy of misunderstandings and social encounters.
Based on Carlo Goldoni’s comedy, the ballet follows the diversions of a count disguised as a woman during a carnival.
Lelio returns to Venice and courts Beatrice and Rosaura without revealing which he loves. His invented claims keep Rosaura from Florindo, while his servant Arlecchino pursues Columbina; Lelio's deceptions unravel when it is revealed that he has already married a Roman woman.
At her Florence inn, Mirandolina is courted by an impoverished marquis and a newly rich count, both of whom believe they can win her. When the misogynistic knight Ripafratta arrives, she sets out to make him fall in love, but her scheme risks turning the suitors against one another before she chooses the inn's servant Fabrizio.
Truffaldino secretly becomes servant to both Beatrice, disguised as her dead brother, and her lover Florindo. His attempts to serve both masters at once create confusion over letters, money and identity, while the lovers search for each other and Truffaldino pursues Smeraldina.
Carlo Goldoni’s comedy centers on twin brothers Zanetto and Tonino. Its roles include their companions and lovers, a doctor and his supposed daughter (later revealed as the twins’ sister), and several household servants. The play is based on Plautus’s Menaechmi.
In Venice, opera troupe members seek a wealthy Turkish merchant’s support for a tour. Vittoria and Emilio fall in love, while the troupe’s director Gregorio and his wife Dorotea become entangled in misunderstandings over a masked-ball invitation. At the ball everyone appears in disguise; Abdalà awards contracts to the troupe, but Vittoria and Emilio stay in Venice.
A one-act English-language opera adapted from Carlo Goldoni’s comedy The Mistress of the Inn.
Knight Buovo returns from exile to reclaim his estates and beloved Drusiana from the usurper Maccabruno. Drusiana wavers between her former lover and Maccabruno, while miller’s daughter Menichina also loves Buovo. Buovo ultimately regains his estates and marries Menichina.
This two-act comic opera follows intrigues among a jealous, quarrelling aristocratic couple and their servants.
In Milan, the heiress Eugenia and Fulgentius repeatedly break up over her jealousy and his impulsiveness. When Count Roberto courts Eugenia, a near-marriage threatens their relationship, but the return of Fulgentius’s brother removes the obstacle that had kept him from marrying her.
Ermanno Wolf-Ferrari’s three-act opera giocosa adapts Carlo Goldoni’s play Il ventaglio. The available text does not provide the plot.
In Don Roberto’s household, Zelinda and Lindoro struggle to protect their love amid rival attentions. Zelinda’s tearful confession moves Don Roberto as the young lovers navigate the uncertain course of their relationship.
King Gualtiero’s marriage to the shepherdess Griselda has provoked rebellion. When their daughter Costanza was born, he secretly sent her away and pretended she had died; now he plans to marry Costanza, who is unaware of her parentage and loves Roberto. Gualtiero dismisses Griselda, who returns to her cottage. Courtier Ottone pursues her and tries to abduct her, but Gualtiero stops him and brings Griselda back as Costanza’s slave. After Griselda refuses Ottone and proves her virtue, Gualtiero takes her back as his wife, reveals Costanza’s identity, pardons Ottone, and allows Costanza to marry Roberto.
Gustav escapes imprisonment in Denmark and hides in Dalarna, where he becomes a leader in the struggle against Danish rule and is elected king. In disguise as Learco, he becomes entangled with Ergilda and Dorisbe, later revealed as his cousin Clotilde.
At a fountain, Columbina and Isobella gossip. Columbina’s husband Pierrot overhears them, setting off comic consequences.
In eighteenth-century Venice, four curmudgeonly husbands try to keep their wives and daughters under control. The women decide to defy them by arranging for Lucieta to meet Filipeto, her intended husband, before their arranged marriage.
In a small Venetian square in the mid-eighteenth century, visiting Neapolitan gentleman Astolfi flirts with several women, provoking jealousy among their suitors. Haberdasher Anzoleto and Luçieta plan to marry, though their relationship is marked by quarrels. Gasparina’s uncle Fabrizio discovers that Astolfi is bankrupt and that he himself is a lottery winner; Astolfi asks to marry Gasparina. As Anzoleto and Luçieta’s neighbors quarrel, Astolfi invites them all to dinner and announces that he and Gasparina will marry and leave Venice.
Don Giovanni is rescued from drowning and seduces the fisherwoman Elisa, then attempts to seduce Donna Anna and kills her father, the Commendatore. Later, the Commendatore’s statue appears at Don Giovanni’s supper and demands repentance; Don Giovanni refuses and is condemned to the abyss.
When Florindo takes possession of a disputed feudal estate, the villagers organize against his abuses, including his pursuit of their women. Rosaura, the rightful heir, contests his claim, and their conflict is ultimately settled through marriage.
Tritemio wants his daughter Eugenia to marry the wealthy farmer Nardo, though she loves Rinaldo. To keep Nardo away, housemaid Lesbina impersonates Eugenia, and Nardo falls in love with her. When he learns who she is, he accepts her; Lesbina arranges a double wedding for herself and Nardo and for Eugenia and Rinaldo, while Tritemio marries Nardo’s niece Lena.
A two-act intermezzo for four characters, derived with modifications from Goldoni’s Il mondo della luna. Its first-act finale depicts Buonafede’s imaginary journey to the Moon.
Opera by Pedro António Avondano using Carlo Goldoni’s libretto, originally written for Baldassare Galuppi’s 1750 setting. The source does not provide a plot synopsis.
The three-act dramma giocoso features would-be astrologer Ecclitico, credulous Buonafede, his daughters Flaminia and Clarice, maid Lisetta, Ernesto, and Ernesto’s servant Cecco.
The astrologer Ecclitico tricks the wealthy Buonafede into believing he has traveled to the Moon. There Buonafede is manipulated into consenting to marriages between his daughters and their chosen partners; once the deception is exposed, he relents and the couples celebrate.
A metatheatrical comedy in which actors prepare to perform, adopting masks and names from the Commedia dell'Arte tradition. Its authorial introduction criticizes vulgar theatrical conventions and advocates restoring the comedy's good practices with lifelike scenes and characters.
Two friends find themselves in love with the same woman, testing their friendship as each seeks her affection.
Cecchina, a maid, is loved by the Marquis of Conchiglia, but their match is opposed because of her apparent social status. After jealous rivals and a succession of complications, a German soldier reveals that Cecchina is a baron’s daughter, allowing the couple to marry.
Poor lovers Giannino and Dorina scheme with innkeeper Falco to deceive treasure-seeker Don Poppone. Poppone mistakes them and the visiting Count and Countess for other guests, including Turks, amid a series of misunderstandings. Disguised as devils, Dorina and Giannino terrify and beat Poppone while pretending to search for his treasure. After the truth emerges, Falco explains the deception; Giannino inherits a fortune, Poppone forgives the couple, and agrees to marry Ghiandina.
A comedy rooted in Commedia dell'Arte, with a large cast that includes the perpetually quarreling gondoliers Nane and Menego.
Widow Rosaura is courted by four suitors from different countries. She disguises herself to test their fidelity, discovers that three are willing to deceive her, and chooses the one who resists her advances; he accepts her for love and their shared nationality.
The love affairs of young people in Chioggia spark jealousy and quarrels among two groups of fishermen. Toffolo flirts with the engaged Lucietta, provoking Checca and a fight between the fishermen; after the official Isidoro intervenes, the couples marry and peace returns.
Angélique's brother has squandered the family's money and plans to send her to a convent. Her guardian Géronte, a curmudgeon, proposes a marriage to his elderly friend Dorval, while Angélique loves Valère. When the brother faces arrest for debt, Valère offers help and Géronte finally pays the debt, blesses the lovers and provides a dowry.
In eighteenth-century Venice, two wives investigate what their husbands do at their club.
A two-part Italian musical farce intended to be performed between the acts of an opera seria. The four roles are Count Bellezza, Lindora, Ferramonte, and Aurelia.
Prince Lindoro searches for the rightful heir to Sorrento, taken as a baby to Taranto after her father’s murder. Fisherwomen Lesbina and Nerina each hope to be the princess and compete for Lindoro, but the heiress is Eurilda; she leaves with him while the other two couples are reunited after comic deceptions.
Apothecary Sempronio hopes to marry his ward Grilletta for her money, while his apprentice Mengone and wealthy Volpino also court her. The two young men outwit Sempronio with disguised notaries and a false Turkish delegation, exposing Volpino’s tricks. Mengone intervenes to protect Sempronio, who finally agrees to let him marry Grilletta.
In a present-day Dublin Italian restaurant, Mirandolina navigates the attentions of men who admire her while trying to control her. She resists their pressure in Marina Carr’s reworking of Goldoni’s comedy about an innkeeper and her suitors.
Innkeeper Mirandolina attracts several noble suitors, including the sardonic misogynist Ripafratta, whom she sets out to seduce. When he becomes seriously attached and reacts angrily to her rejection, Mirandolina turns instead to her faithful waiter Fabrizio, whom she marries after testing his loyalty.
In 1963 Brighton, out-of-work musician Francis Henshall secretly works for both gangster Roscoe Crabbe and upper-class Stanley Stubbers, trying to stop the two from meeting. Roscoe is actually his twin sister Rachel in disguise, and Stanley killed her brother; local gangsters, an engagement, a heavy trunk and Francis's appetite compound the confusion.
Count Anselmo squanders the household’s money on counterfeit antiquities while his wife Isabella mistreats Doralice, the merchant’s daughter who married their son Giacinto. Servants and would-be peacemakers exaggerate each woman’s grievances, turning the household into a comic battleground. Doralice’s father Pantalone finally takes charge of the finances and separates the women, though they still refuse to reconcile.
Four conservative Venetian merchants represent an older, puritanical middle-class tradition and clash with the city's new frivolity.
A fan passes from hand to hand, linking the characters in a lively comedy of misunderstandings and social encounters.
Based on Carlo Goldoni’s comedy, the ballet follows the diversions of a count disguised as a woman during a carnival.
Lelio returns to Venice and courts Beatrice and Rosaura without revealing which he loves. His invented claims keep Rosaura from Florindo, while his servant Arlecchino pursues Columbina; Lelio's deceptions unravel when it is revealed that he has already married a Roman woman.
At her Florence inn, Mirandolina is courted by an impoverished marquis and a newly rich count, both of whom believe they can win her. When the misogynistic knight Ripafratta arrives, she sets out to make him fall in love, but her scheme risks turning the suitors against one another before she chooses the inn's servant Fabrizio.
Truffaldino secretly becomes servant to both Beatrice, disguised as her dead brother, and her lover Florindo. His attempts to serve both masters at once create confusion over letters, money and identity, while the lovers search for each other and Truffaldino pursues Smeraldina.
Carlo Goldoni’s comedy centers on twin brothers Zanetto and Tonino. Its roles include their companions and lovers, a doctor and his supposed daughter (later revealed as the twins’ sister), and several household servants. The play is based on Plautus’s Menaechmi.
In Venice, opera troupe members seek a wealthy Turkish merchant’s support for a tour. Vittoria and Emilio fall in love, while the troupe’s director Gregorio and his wife Dorotea become entangled in misunderstandings over a masked-ball invitation. At the ball everyone appears in disguise; Abdalà awards contracts to the troupe, but Vittoria and Emilio stay in Venice.