Achille in Sciro
An opera seria based on the story of Achilles on Skyros, using Pietro Metastasio’s libretto.
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An opera seria based on the story of Achilles on Skyros, using Pietro Metastasio’s libretto.
In Antioch during Hadrian’s early reign, the emperor loves Parthian princess Emirena, who loves Farnaspe. Hadrian’s feelings test his virtue before his marriage to Sabina, to whom he was already engaged. Emirena’s father Osroa attempts to kill Hadrian by setting a fire. Osroa is ultimately spared, Farnaspe marries Emirena, and Hadrian renews his engagement to Sabina.
A three-act opera seria featuring the Roman emperor Adriano, his beloved Emirena, her betrothed Farnaspe, and Sabina, who is betrothed to Adriano.
In ancient Antioch, Emperor Adriano falls in love with the captured Parthian princess Emirena, who is betrothed to Farnaspe, while Adriano is engaged to Sabina. After plots, attempted escapes, and imprisonment, Adriano restores Osroa’s kingdom, allows Farnaspe and Emirena to marry, and chooses Sabina.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Antoine-Frédéric Gresnick. Premiered on 23 December 1786 at the King’s Theatre, Haymarket, London; libretto adapted by Carlo Francesco Badini as Alceste. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Lampugnani. Premiered on 28 April 1744 at the King’s Theatre, Haymarket, London; libretto adapted by Paolo Antonio Rolli as Alceste. No version-specific plot is supplied.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Antonio Bioni. A setting performed during the Breslau Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Antonio Sacchini. Sacchini’s first setting, performed in Venice at Ascension and later in Turin in 1766. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Baldassare Galuppi. Galuppi’s first setting, performed during the Mantua Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Carl Heinrich Graun. A setting titled Alessandro e Poro, premiered in Berlin on 21 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Christoph Willibald Gluck. A setting titled Poro, premiered in Turin on 26 December; the source says only the sinfonia, four arias, and a duet survive. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Davide Perez. Perez’s first setting, performed during the Genoa Carnival and later in Milan in 1752. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Domenico Sarro. A setting premiered in Naples on 4 November and revived there in 1743. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Egidio Duni. A setting reported for the Prato Carnival; the source flags authorship as doubtful. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Araja. A setting premiered in St Petersburg between 18 and 29 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Corselli. A setting premiered in Madrid on 9 May for a royal wedding. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Mancini. A setting performed during the Naples Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Gaetano Maria Schiassi. A setting premiered in Bologna on 20 February and later performed in Lisbon. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Georg Christoph Wagenseil. A German-language setting premiered in Vienna on 17 July. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Gioacchino Cocchi. A setting premiered in London on 13 October. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Giovanni Battista Pescetti. A setting premiered in Venice on 30 January. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Girolamo Abos. A setting performed in Ancona in July or August and later in Lucca. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Giuseppe Sarti. Sarti’s first setting, performed in Copenhagen in autumn; a 1766 Padua adaptation is also noted. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Christian Bach. A setting premiered in Naples on 20 January and revived in Lodi in 1778. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Friedrich Agricola. A setting titled Cleofide, performed during the Berlin Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Gottlieb Naumann. A setting composed for Teatro San Benedetto that was not performed. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Leonardo Vinci. The first musical setting; first performed in Rome on 2 January 1730. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Luca Antonio Predieri. A setting performed during the Milan Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Niccolò Jommelli. Jommelli’s first setting, premiered in Ferrara on 26 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Niccolò Piccinni. Piccinni’s first setting, premiered in Rome on 21 January. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Nicola Porpora. A setting titled Poro, performed during the Turin Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Tommaso Traetta. A setting premiered in Reggio on 29 April. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giovanni Battista Mele. A two-act setting performed during the 1737 Carnival at Teatro de los Caños del Peral, Madrid. The source provides no version-specific plot description.
Macedonian king Antigono and his banished son Demetrio are both loved by Egyptian princess Berenice. Antigono’s daughter Ismene loves Alessandro, Macedonia’s enemy. After conflict and confusion over identities and relationships, Antigono forgives his adversaries and the opera ends happily.
Antonio Maria Mazzoni’s setting of Pietro Metastasio’s libretto was in rehearsal as a planned 1755 opera for Lisbon’s Ópera do Tejo when the earthquake struck. It was not performed until 2011, when a live performance was recorded in Lisbon. No plot description is available in the reviewed text.
Set in the Persian court, Artabano murders King Serse and accuses the king’s son Dario. He seeks to eliminate the rest of the royal family and persuades Artaserse to avenge the murder. A succession of events exposes the treason.
After Artabano murders King Serse, he frames his son Arbace and helps secure Artaserse’s succession. Arbace refuses to join his father’s plot and is condemned, while Artabano continues conspiring against the royal family. Arbace escapes, prevents Artaserse from drinking a poisoned cup, and exposes the truth; Artaserse pardons Artabano and reunites Arbace with Mandane.
Artabano murders King Serse and frames his son Arbace, who is in love with Mandane. Artaserse doubts Arbace’s guilt and frees him; when a rebellion threatens, Arbace defeats the traitors. Artabano confesses to the murder and an attempted poisoning, and Artaserse condemns him to exile while the two couples reunite.
Regolo returns from Carthaginian captivity to urge Rome to reject peace, bound by an oath to return if his mission fails. His daughter Attilia and others try to save him, but he refuses to put family affection above civic duty; when the Senate rejects the offer, he prepares to return to Carthage, though Romans prevent his departure and bid him farewell.
After Pompey’s defeat, Cato and his allies retreat to Utica. Julius Caesar seeks Cato’s friendship and hopes to marry his daughter Marzia, who secretly loves him, but Cato has promised her to the Numidian prince Arbace. Pompey’s widow Emilia schemes against the match. Cato refuses to abandon his republican principles and dies by suicide rather than submit to Caesar.
After Poros is defeated by Alexander, Queen Cleofide tries to secure peace while Poros repeatedly doubts her loyalty. Disguises, jealousy and Timagenes’ conspiracy complicate the conflict until Alexander exposes the plot and grants Poros and Cleofide their freedom and realm.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Christoph Willibald Gluck. Premiered on 2 May 1742 at Teatro San Samuele, Venice; only eight arias survive, and it was also performed as Cleonice. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Baltasar Saldoni. Performed in 1840 at Teatro de la Cruz, Madrid under this adapted title. No version-specific plot is supplied.
Cleonice, queen of Syria, loves the shepherd Alceste, who is secretly the exiled prince Demetrio. She faces pressure to choose a husband, while her councillor Olinto pursues the throne. After separations and political schemes, Fenicio reveals Alceste’s identity; Cleonice and Demetrio take the throne together, and the rival courtiers reconcile.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Francesco Araja. Performed in May 1734 at Teatro delle Grazie, Vicenza; the source says it may have been performed with Leonardo Leo. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Antonio Bioni. Premiered in June 1732 at the Theater im Ballhaus in Wrocław. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Baldassare Galuppi. Galuppi’s first version premiered in Vienna in October 1748; the source gives either 16 or 27 October. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Geminiano Giacomelli. The source lists a Turin premiere during Carnival 1737 at Teatro Regio. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Antonio Giay. Performed during the 1732 Carnival at Teatro delle Dame in Rome; revived in Perugia in 1735. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Johann Adolph Hasse. Premiered on 10 February 1732 at Teatro San Giovanni Crisostomo, Venice; later reworked, including performances under the title Cleonice. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Leonardo Leo. Leo’s first version premiered on 1 October 1732 at Teatro San Bartolomeo, Naples. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Leonardo Leo. Leo’s second version premiered on 10 December 1735 at Teatro del Castello, Torremaggiore. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Davide Perez. Perez’s first version premiered on 13 June 1741 at Teatro di Santa Cecilia, Palermo. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Pescetti. Performed in Florence in December 1732; the source gives the date as possibly 26 December. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Gaetano Maria Schiassi. Premiered on 28 August 1732 at Teatro Regio Ducale, Milan; later performed in Lisbon. No version-specific plot is supplied.
Simon Mayr’s last opera is an Italian setting of a revision of Pietro Metastasio’s 1732 libretto, previously set by Johann Adolph Hasse. The recorded roles include Alceste/Demetrio, Cleonice, Olinto, Barsene, Fenicio, and Mitrane.
King Demofonte orders the sacrifice of Dircea, unaware she is secretly married to his son Timante. After revelations about the two young people’s parentage resolve the apparent incest, they can marry, while Timante yields the throne to his brother, who weds Creusa.
Three-act Italian dramma per musica by Christoph Willibald Gluck, setting Pietro Metastasio’s libretto.
King Demofoonte asks Apollo’s oracle when the annual sacrifice of a virgin will end. His secret daughter-in-law Dircea is imprisoned for fleeing the sacrifice, and revelations seem to make her and Timante siblings. A second letter reveals Timante is Matusio’s son, allowing him to marry Dircea and Cherinto to marry Creusa; the sacrifices end.
King Demofoonte asks Apollo when the annual sacrifice of a virgin will end. Dircea, secretly married to Timante, is imprisoned for fleeing the sacrifice; revelations seem to make her and Timante siblings. A second letter reveals Timante is Matusio’s son, allowing him to marry Dircea while Cherinto marries Creusa and succeeds to the throne.
Dido, queen of Carthage, loves Aeneas but refuses to marry Iarbas. Aeneas leaves for Italy after his father’s ghost reminds him of his duty; Dido dies on a funeral pyre as the Trojans sail away.
Baldassare Galuppi’s setting of Metastasio’s libretto Didone abbandonata includes the roles Didone, Enea, Selene, Araspe, Jarba, and Osmida.
Johann Adolph Hasse’s Italian opera sets Metastasio’s libretto Didone abbandonata, a story also set by numerous other composers.
Dido, queen of Carthage, loves Aeneas but refuses to marry Iarbas. After Aeneas defeats Iarbas, Dido persuades him to stay; his father’s ghost recalls him to his duty, and Dido dies as he sails for Italy.
Leonardo Vinci’s Italian opera sets Metastasio’s libretto Didone abbandonata, previously set to music by Domenico Sarro in 1724.
A two-act opera by Saverio Mercadante to Andrea Leone Tottola’s libretto after Metastasio’s Didone abbandonata. The characters include Dido, Aeneas, Jarba, and their confidants. No plot description is available in the reviewed text.
After twists in a conspiracy against the emperor, the Roman general Ezio saves Valentiniano from Massimo’s plot. Massimo is arrested but spared, and the emperor allows Ezio to marry Fulvia.
A three-act heroic opera about the fifth-century Roman general Ezio (Flavius Aetius), returning from victory over Attila.
The one-act azione teatrale features Apollo, Melpomene, Erato, and Euterpe.
Ruggiero, missing after defending Bulgaria, returns to Paris after being rescued by Leone, the Greek emperor. Leone loves Bradamante, who vows to marry only a man who can defeat her in combat, while Ruggiero is torn between his love for her and his debt to Leone. Leone asks Ruggiero to fight Bradamante in disguise. After Leone wins the contest, Bradamante believes she has lost Ruggiero, but Leone reveals Ruggiero’s sacrifice and confesses that he had already pledged his heart to Clotilde. Emperor Carlo blesses both couples: Ruggiero and Bradamante, and Clotilde and Leone.
The opera features Alessandro, king of Macedonia; Aminta, a shepherd and rightful heir to Sidon; Elisa, a noble nymph; Tamiri, a fugitive princess; and Agenore, a Sidonian nobleman.
Alessandro seeks the rightful heir to Sidon and discovers that the shepherd Aminta is its king. Aminta and Elisa love one another, while Alessandro proposes political marriages that would separate them and Tamiri from Agenore; after hearing the couples plead, he relents, allows both couples to marry, and crowns Aminta.
In a dream, Fortuna and Constanza offer to guide Scipio through life, but he must choose between worldly power and steadfast virtue. In the Temple of Heaven, he meets ancestral heroes and learns that he must return to Earth for a mission. He chooses Constanza, withstands Fortuna’s storm, and awakens; Licenza praises the choice and the work’s dedicatee, Archbishop Colloredo.
The opera concerns the siege of Rome by Etruscan king Porsenna, who seeks to restore the monarchy, and Roman hostage Clelia, whose intended husband is republican ambassador Orazio.
The page identifies the opera seria and its characters Danao, Ipermestra, Linceo, Elpinice, Plestene, and Adrasto, but provides no plot synopsis.
In this serenata, Angelica thwarts the noble Orlando and elopes with Medoro. The work is Carvalho’s setting of Metastasio’s libretto, distinct from Nicola Porpora’s 1720 setting of the same text.
A three-act dramma per musica by Pergolesi, based on Pietro Metastasio’s libretto of the same title.
Costanza and her sister Silvia live on a remote island after Costanza was abandoned by Gernando. When Gernando and Enrico arrive, misunderstandings and new affections give way to reunion: Enrico explains the truth, and Gernando and Costanza are reconciled while Enrico proposes to Silvia.
A three-act opera seria featuring Amasi, king of Egypt; his son Sammete; the shepherdess Beroe; princess Nitteti; and Amenofi, ruler of Cyrene.
The three-act opera is based on Pietro Metastasio’s libretto Semiramide riconosciuta.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Michelangelo Valentini. Performed during the 1761 Carnival at Teatro Omodeo, Pavia. The source provides no version-specific plot description.
Antonio Caldara’s original setting of Metastasio’s libretto La clemenza di Tito, featuring the Roman emperor Tito and the characters Sesto, Annio, Vitellia, Servilia, and Publio.
Set in Rome in 79 AD, Vitellia persuades Sextus, who loves her, to join a plot to assassinate Emperor Titus. The Capitol burns, but Titus survives. Sextus is exposed and condemned by the Senate; Titus tears up the death sentence. Vitellia confesses her role, and Titus pardons the conspirators, including her, and grants a double wedding for Sextus and Vitellia and for Annius and Servilia.
Vitellia, daughter of a deposed emperor, seeks revenge against Tito and persuades Sesto, who loves her, to join a plot against him. Sesto takes part in an attack on the Capitol, believing Tito has been killed, but the emperor survives. The Senate condemns Sesto, and Tito initially accepts the verdict. After wrestling with the decision, Tito destroys the execution warrant and chooses mercy. Vitellia confesses that she instigated the plot; Tito pardons her as well as Sesto, and the people praise his generosity.
Princess Atalanta decides to free Kalydon from the Calydonian boar. She wounds it so Prince Meleagro can kill it, then insists he receive the credit. They ultimately dedicate the honor to Diana.
At sunset shepherd Tirsi bids farewell to Nice, who is leaving to dance. He admits jealousy of her other admirers; after an argument, the lovers swear fidelity.
In Metastasio’s drama, Lisinga and her friends Tangia and Sivene entertain her brother Silango with contrasting performances, including tragic, pastoral, and comic scenes.
Lisinga and her friends Tangia and Sivene entertain Lisinga’s brother Silango, recently returned from Europe. They perform a tragic scene as Andromache, a pastoral duet, and a comic aria about a Parisian dandy. Tangia’s jealousy of Silango and Sivene’s affection informs her satire. They conclude that each style has its shortcomings and finish with a ballet about the Judgment of Paris.
Roman dictator Lucio Silla seeks to marry Giunia, whose father, Gaius Marius, was his enemy. Giunia loves the exiled senator Cecilio, whom Silla has falsely reported dead. Silla threatens Giunia and imprisons Cecilio, but his sister Celia and Giunia’s friend Cinna work to protect the couple. At a public assembly, Silla surprises Rome by freeing Cecilio and allowing him to marry Giunia. He also pardons Cinna, arranges Cinna’s marriage to Celia, and relinquishes his dictatorship to restore liberty to Rome.
Three-act opera seria by Baldassare Galuppi to a libretto by Pietro Metastasio.
Megacle enters the Olympic Games under the name of his friend Licida, who hopes to win Aristea’s hand. Megacle and Aristea already love each other, but he has promised to compete for Licida. Argene, Licida’s former betrothed, arrives in disguise. Megacle wins, reveals the truth, and leaves; Licida is rejected and banished. Megacle survives a reported drowning, while Licida considers killing the king. Argene offers herself to save him and reveals a chain that identifies Licida as the king’s abandoned son. Licida is reinstated and accepts Argene, while Megacle and Aristea reunite.
Megacle enters the Olympic Games in disguise as Licida, whose beloved Aristea is to marry the victor, though Megacle and Aristea love each other. After Megacle wins and reveals the truth, Licida is banished and later considers killing King Clistene. Argene offers herself in Licida’s place; a chain reveals Licida is the king’s long-lost son, and the couples are reunited.
The one-act festa teatrale features Claudia, a vestal virgin, her sister Flaminia, Roman consul Valerio, and knight Flavio.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Mele. Two-act adaptation premiered on 31 January 1736 at Teatro de la Cruz, Madrid; libretto adapted by D. Vincente de Camacho. No version-specific plot is supplied.
After Alexander conquers India, King Poro disguises himself to avoid capture, while his wife Cleofide seeks mercy and his sister Erissena attracts Alexander and his general. Jealousy, disguises, attempted suicide, and shifting alliances lead to Cleofide’s planned self-immolation; Poro returns, and Alexander forgives the couple and makes peace.
Loosely based on the legendary Rape of the Sabine Women, the opera centers on Romolo, founder and ruler of Rome, and Ersilia, a Sabine princess betrothed to him.
A separate musical setting of Pietro Metastasio’s Ruggiero libretto, distinct from Hasse’s 1771 opera. The source provides no separate plot description.
Semiramide, an Egyptian princess ruling Assyria in disguise, is reunited with her former lover Scitalce when Princess Tamiri’s choice among suitors sets events in motion. The intrigue exposes the villainy of Sibari, Scitalce’s rival.
Semiramide rules Assyria disguised as her son. At Princess Tamiri’s choice of husband, Semiramide reunites with former lover Scitalce and exposes Sibari’s deception. Semiramide and Scitalce marry; Tamiri marries Semiramide’s brother Mirteo.
Princess Semiramide rules Assyria disguised as a man. When Princess Tamiri chooses among suitors, events reunite Semiramide with her former lover Scitalce and expose the villainy of his rival Sibari.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Gioacchino Cocchi. Premiered on 30 May 1748 at Teatro San Carlo, Naples. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Ignazio Fiorillo. Performed at the summer fair in 1752 at the Hoftheater, Brunswick. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Domenico Fischietti. Performed at the Ascension Day fair in 1761 at Teatro Sant’Angelo, Venice. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Leonardo Leo. Premiered on 11 May 1737 at Teatro Malvezzi, Bologna; the source describes a later pasticcio version as Viriate. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Francesco Maggiore. Premiered on 10 October 1744 at Teatro Manfredini, Rovigo. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Nicola Antonio Porpora. First setting premiered on 26 December 1725 at Teatro Regio Ducale, Milan; also performed the same day in Venice. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Nicola Antonio Porpora. Second version premiered on 2 July 1730 at Teatro Capranica, Rome; the source notes intermezzi by Michele de Falco. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giuseppe Sellitto. A pasticcio premiered on 4 December 1734 in Naples, using music by Vinci, Porpora, Giacomelli, Hasse, and others. The source provides no version-specific plot description.
King Siface plans a political marriage with Viriate but falls in love with Ismene, who loves his general Erminio. Siface schemes against Viriate and forges evidence to imprison her. Moved by Viriate’s forgiveness and freed by Orcano and Erminio, he abandons his cruelty, restores Viriate as queen, and accepts the union of Ismene and Erminio.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giuseppe Maria Nelvi. Premiered in January 1732 in Frankfurt am Main. The source provides no version-specific plot description.
A three-act opera seria by Pasquale Errichelli using Pietro Metastasio’s Italian libretto.
Medarse plots to supplant Siroe as heir to the Persian throne. Siroe loves Emira, who is disguised as a man, while Laodice loves Siroe; Cosroe ultimately recognizes Siroe and Emira’s loyalty and names Siroe the new king.
In a fictionalized seventh-century Persian court, Crown Prince Siroe is caught among his brother’s ambitions, his father’s suspicions, and the competing demands of Emira and Laodice. He refuses to expose conspirators and faces execution, but confessions and reversals reveal the plots; Siroe survives, forgives his brother, and succeeds his abdicating father.
A separate Porpora opera setting of the Temistocle subject, using Metastasio’s libretto rather than Apostolo Zeno’s text used for the 1718 version. The reviewed page provides no separate plot details.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Baldassare Galuppi. Premiered on 19 May 1762 at Teatro San Salvatore, Venice. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Johann Adolph Hasse. Premiered on 24 January 1739 at Teatro San Giovanni Crisostomo, Venice, with libretto adapted by Domenico Lalli. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giovanni Nicola Ranieri Redi. Premiered in summer 1729 at Teatro Cocomero, Florence. The source provides no version-specific plot description.
Johann Adolph Hasse’s 1761 opera sets a libretto by Pietro Metastasio about the ancient queen Zenobia.
An opera seria based on the story of Achilles on Skyros, using Pietro Metastasio’s libretto.
In Antioch during Hadrian’s early reign, the emperor loves Parthian princess Emirena, who loves Farnaspe. Hadrian’s feelings test his virtue before his marriage to Sabina, to whom he was already engaged. Emirena’s father Osroa attempts to kill Hadrian by setting a fire. Osroa is ultimately spared, Farnaspe marries Emirena, and Hadrian renews his engagement to Sabina.
A three-act opera seria featuring the Roman emperor Adriano, his beloved Emirena, her betrothed Farnaspe, and Sabina, who is betrothed to Adriano.
In ancient Antioch, Emperor Adriano falls in love with the captured Parthian princess Emirena, who is betrothed to Farnaspe, while Adriano is engaged to Sabina. After plots, attempted escapes, and imprisonment, Adriano restores Osroa’s kingdom, allows Farnaspe and Emirena to marry, and chooses Sabina.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Antoine-Frédéric Gresnick. Premiered on 23 December 1786 at the King’s Theatre, Haymarket, London; libretto adapted by Carlo Francesco Badini as Alceste. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Lampugnani. Premiered on 28 April 1744 at the King’s Theatre, Haymarket, London; libretto adapted by Paolo Antonio Rolli as Alceste. No version-specific plot is supplied.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Antonio Bioni. A setting performed during the Breslau Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Antonio Sacchini. Sacchini’s first setting, performed in Venice at Ascension and later in Turin in 1766. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Baldassare Galuppi. Galuppi’s first setting, performed during the Mantua Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Carl Heinrich Graun. A setting titled Alessandro e Poro, premiered in Berlin on 21 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Christoph Willibald Gluck. A setting titled Poro, premiered in Turin on 26 December; the source says only the sinfonia, four arias, and a duet survive. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Davide Perez. Perez’s first setting, performed during the Genoa Carnival and later in Milan in 1752. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Domenico Sarro. A setting premiered in Naples on 4 November and revived there in 1743. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Egidio Duni. A setting reported for the Prato Carnival; the source flags authorship as doubtful. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Araja. A setting premiered in St Petersburg between 18 and 29 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Corselli. A setting premiered in Madrid on 9 May for a royal wedding. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Mancini. A setting performed during the Naples Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Gaetano Maria Schiassi. A setting premiered in Bologna on 20 February and later performed in Lisbon. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Georg Christoph Wagenseil. A German-language setting premiered in Vienna on 17 July. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Gioacchino Cocchi. A setting premiered in London on 13 October. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Giovanni Battista Pescetti. A setting premiered in Venice on 30 January. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Girolamo Abos. A setting performed in Ancona in July or August and later in Lucca. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Giuseppe Sarti. Sarti’s first setting, performed in Copenhagen in autumn; a 1766 Padua adaptation is also noted. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Christian Bach. A setting premiered in Naples on 20 January and revived in Lodi in 1778. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Friedrich Agricola. A setting titled Cleofide, performed during the Berlin Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Gottlieb Naumann. A setting composed for Teatro San Benedetto that was not performed. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Leonardo Vinci. The first musical setting; first performed in Rome on 2 January 1730. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Luca Antonio Predieri. A setting performed during the Milan Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Niccolò Jommelli. Jommelli’s first setting, premiered in Ferrara on 26 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Niccolò Piccinni. Piccinni’s first setting, premiered in Rome on 21 January. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Nicola Porpora. A setting titled Poro, performed during the Turin Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Tommaso Traetta. A setting premiered in Reggio on 29 April. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giovanni Battista Mele. A two-act setting performed during the 1737 Carnival at Teatro de los Caños del Peral, Madrid. The source provides no version-specific plot description.
Macedonian king Antigono and his banished son Demetrio are both loved by Egyptian princess Berenice. Antigono’s daughter Ismene loves Alessandro, Macedonia’s enemy. After conflict and confusion over identities and relationships, Antigono forgives his adversaries and the opera ends happily.
Antonio Maria Mazzoni’s setting of Pietro Metastasio’s libretto was in rehearsal as a planned 1755 opera for Lisbon’s Ópera do Tejo when the earthquake struck. It was not performed until 2011, when a live performance was recorded in Lisbon. No plot description is available in the reviewed text.
Set in the Persian court, Artabano murders King Serse and accuses the king’s son Dario. He seeks to eliminate the rest of the royal family and persuades Artaserse to avenge the murder. A succession of events exposes the treason.
After Artabano murders King Serse, he frames his son Arbace and helps secure Artaserse’s succession. Arbace refuses to join his father’s plot and is condemned, while Artabano continues conspiring against the royal family. Arbace escapes, prevents Artaserse from drinking a poisoned cup, and exposes the truth; Artaserse pardons Artabano and reunites Arbace with Mandane.
Artabano murders King Serse and frames his son Arbace, who is in love with Mandane. Artaserse doubts Arbace’s guilt and frees him; when a rebellion threatens, Arbace defeats the traitors. Artabano confesses to the murder and an attempted poisoning, and Artaserse condemns him to exile while the two couples reunite.
Regolo returns from Carthaginian captivity to urge Rome to reject peace, bound by an oath to return if his mission fails. His daughter Attilia and others try to save him, but he refuses to put family affection above civic duty; when the Senate rejects the offer, he prepares to return to Carthage, though Romans prevent his departure and bid him farewell.
After Pompey’s defeat, Cato and his allies retreat to Utica. Julius Caesar seeks Cato’s friendship and hopes to marry his daughter Marzia, who secretly loves him, but Cato has promised her to the Numidian prince Arbace. Pompey’s widow Emilia schemes against the match. Cato refuses to abandon his republican principles and dies by suicide rather than submit to Caesar.
After Poros is defeated by Alexander, Queen Cleofide tries to secure peace while Poros repeatedly doubts her loyalty. Disguises, jealousy and Timagenes’ conspiracy complicate the conflict until Alexander exposes the plot and grants Poros and Cleofide their freedom and realm.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Christoph Willibald Gluck. Premiered on 2 May 1742 at Teatro San Samuele, Venice; only eight arias survive, and it was also performed as Cleonice. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Baltasar Saldoni. Performed in 1840 at Teatro de la Cruz, Madrid under this adapted title. No version-specific plot is supplied.
Cleonice, queen of Syria, loves the shepherd Alceste, who is secretly the exiled prince Demetrio. She faces pressure to choose a husband, while her councillor Olinto pursues the throne. After separations and political schemes, Fenicio reveals Alceste’s identity; Cleonice and Demetrio take the throne together, and the rival courtiers reconcile.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Francesco Araja. Performed in May 1734 at Teatro delle Grazie, Vicenza; the source says it may have been performed with Leonardo Leo. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Antonio Bioni. Premiered in June 1732 at the Theater im Ballhaus in Wrocław. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Baldassare Galuppi. Galuppi’s first version premiered in Vienna in October 1748; the source gives either 16 or 27 October. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Geminiano Giacomelli. The source lists a Turin premiere during Carnival 1737 at Teatro Regio. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Antonio Giay. Performed during the 1732 Carnival at Teatro delle Dame in Rome; revived in Perugia in 1735. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Johann Adolph Hasse. Premiered on 10 February 1732 at Teatro San Giovanni Crisostomo, Venice; later reworked, including performances under the title Cleonice. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Leonardo Leo. Leo’s first version premiered on 1 October 1732 at Teatro San Bartolomeo, Naples. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Leonardo Leo. Leo’s second version premiered on 10 December 1735 at Teatro del Castello, Torremaggiore. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Davide Perez. Perez’s first version premiered on 13 June 1741 at Teatro di Santa Cecilia, Palermo. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Pescetti. Performed in Florence in December 1732; the source gives the date as possibly 26 December. No version-specific plot is supplied.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Gaetano Maria Schiassi. Premiered on 28 August 1732 at Teatro Regio Ducale, Milan; later performed in Lisbon. No version-specific plot is supplied.
Simon Mayr’s last opera is an Italian setting of a revision of Pietro Metastasio’s 1732 libretto, previously set by Johann Adolph Hasse. The recorded roles include Alceste/Demetrio, Cleonice, Olinto, Barsene, Fenicio, and Mitrane.
King Demofonte orders the sacrifice of Dircea, unaware she is secretly married to his son Timante. After revelations about the two young people’s parentage resolve the apparent incest, they can marry, while Timante yields the throne to his brother, who weds Creusa.
Three-act Italian dramma per musica by Christoph Willibald Gluck, setting Pietro Metastasio’s libretto.
King Demofoonte asks Apollo’s oracle when the annual sacrifice of a virgin will end. His secret daughter-in-law Dircea is imprisoned for fleeing the sacrifice, and revelations seem to make her and Timante siblings. A second letter reveals Timante is Matusio’s son, allowing him to marry Dircea and Cherinto to marry Creusa; the sacrifices end.
King Demofoonte asks Apollo when the annual sacrifice of a virgin will end. Dircea, secretly married to Timante, is imprisoned for fleeing the sacrifice; revelations seem to make her and Timante siblings. A second letter reveals Timante is Matusio’s son, allowing him to marry Dircea while Cherinto marries Creusa and succeeds to the throne.
Dido, queen of Carthage, loves Aeneas but refuses to marry Iarbas. Aeneas leaves for Italy after his father’s ghost reminds him of his duty; Dido dies on a funeral pyre as the Trojans sail away.
Baldassare Galuppi’s setting of Metastasio’s libretto Didone abbandonata includes the roles Didone, Enea, Selene, Araspe, Jarba, and Osmida.
Johann Adolph Hasse’s Italian opera sets Metastasio’s libretto Didone abbandonata, a story also set by numerous other composers.
Dido, queen of Carthage, loves Aeneas but refuses to marry Iarbas. After Aeneas defeats Iarbas, Dido persuades him to stay; his father’s ghost recalls him to his duty, and Dido dies as he sails for Italy.
Leonardo Vinci’s Italian opera sets Metastasio’s libretto Didone abbandonata, previously set to music by Domenico Sarro in 1724.
A two-act opera by Saverio Mercadante to Andrea Leone Tottola’s libretto after Metastasio’s Didone abbandonata. The characters include Dido, Aeneas, Jarba, and their confidants. No plot description is available in the reviewed text.
After twists in a conspiracy against the emperor, the Roman general Ezio saves Valentiniano from Massimo’s plot. Massimo is arrested but spared, and the emperor allows Ezio to marry Fulvia.
A three-act heroic opera about the fifth-century Roman general Ezio (Flavius Aetius), returning from victory over Attila.
The one-act azione teatrale features Apollo, Melpomene, Erato, and Euterpe.
Ruggiero, missing after defending Bulgaria, returns to Paris after being rescued by Leone, the Greek emperor. Leone loves Bradamante, who vows to marry only a man who can defeat her in combat, while Ruggiero is torn between his love for her and his debt to Leone. Leone asks Ruggiero to fight Bradamante in disguise. After Leone wins the contest, Bradamante believes she has lost Ruggiero, but Leone reveals Ruggiero’s sacrifice and confesses that he had already pledged his heart to Clotilde. Emperor Carlo blesses both couples: Ruggiero and Bradamante, and Clotilde and Leone.
The opera features Alessandro, king of Macedonia; Aminta, a shepherd and rightful heir to Sidon; Elisa, a noble nymph; Tamiri, a fugitive princess; and Agenore, a Sidonian nobleman.
Alessandro seeks the rightful heir to Sidon and discovers that the shepherd Aminta is its king. Aminta and Elisa love one another, while Alessandro proposes political marriages that would separate them and Tamiri from Agenore; after hearing the couples plead, he relents, allows both couples to marry, and crowns Aminta.
In a dream, Fortuna and Constanza offer to guide Scipio through life, but he must choose between worldly power and steadfast virtue. In the Temple of Heaven, he meets ancestral heroes and learns that he must return to Earth for a mission. He chooses Constanza, withstands Fortuna’s storm, and awakens; Licenza praises the choice and the work’s dedicatee, Archbishop Colloredo.
The opera concerns the siege of Rome by Etruscan king Porsenna, who seeks to restore the monarchy, and Roman hostage Clelia, whose intended husband is republican ambassador Orazio.
The page identifies the opera seria and its characters Danao, Ipermestra, Linceo, Elpinice, Plestene, and Adrasto, but provides no plot synopsis.
In this serenata, Angelica thwarts the noble Orlando and elopes with Medoro. The work is Carvalho’s setting of Metastasio’s libretto, distinct from Nicola Porpora’s 1720 setting of the same text.
A three-act dramma per musica by Pergolesi, based on Pietro Metastasio’s libretto of the same title.
Costanza and her sister Silvia live on a remote island after Costanza was abandoned by Gernando. When Gernando and Enrico arrive, misunderstandings and new affections give way to reunion: Enrico explains the truth, and Gernando and Costanza are reconciled while Enrico proposes to Silvia.
A three-act opera seria featuring Amasi, king of Egypt; his son Sammete; the shepherdess Beroe; princess Nitteti; and Amenofi, ruler of Cyrene.
The three-act opera is based on Pietro Metastasio’s libretto Semiramide riconosciuta.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Michelangelo Valentini. Performed during the 1761 Carnival at Teatro Omodeo, Pavia. The source provides no version-specific plot description.
Antonio Caldara’s original setting of Metastasio’s libretto La clemenza di Tito, featuring the Roman emperor Tito and the characters Sesto, Annio, Vitellia, Servilia, and Publio.
Set in Rome in 79 AD, Vitellia persuades Sextus, who loves her, to join a plot to assassinate Emperor Titus. The Capitol burns, but Titus survives. Sextus is exposed and condemned by the Senate; Titus tears up the death sentence. Vitellia confesses her role, and Titus pardons the conspirators, including her, and grants a double wedding for Sextus and Vitellia and for Annius and Servilia.
Vitellia, daughter of a deposed emperor, seeks revenge against Tito and persuades Sesto, who loves her, to join a plot against him. Sesto takes part in an attack on the Capitol, believing Tito has been killed, but the emperor survives. The Senate condemns Sesto, and Tito initially accepts the verdict. After wrestling with the decision, Tito destroys the execution warrant and chooses mercy. Vitellia confesses that she instigated the plot; Tito pardons her as well as Sesto, and the people praise his generosity.
Princess Atalanta decides to free Kalydon from the Calydonian boar. She wounds it so Prince Meleagro can kill it, then insists he receive the credit. They ultimately dedicate the honor to Diana.
At sunset shepherd Tirsi bids farewell to Nice, who is leaving to dance. He admits jealousy of her other admirers; after an argument, the lovers swear fidelity.
In Metastasio’s drama, Lisinga and her friends Tangia and Sivene entertain her brother Silango with contrasting performances, including tragic, pastoral, and comic scenes.
Lisinga and her friends Tangia and Sivene entertain Lisinga’s brother Silango, recently returned from Europe. They perform a tragic scene as Andromache, a pastoral duet, and a comic aria about a Parisian dandy. Tangia’s jealousy of Silango and Sivene’s affection informs her satire. They conclude that each style has its shortcomings and finish with a ballet about the Judgment of Paris.
Roman dictator Lucio Silla seeks to marry Giunia, whose father, Gaius Marius, was his enemy. Giunia loves the exiled senator Cecilio, whom Silla has falsely reported dead. Silla threatens Giunia and imprisons Cecilio, but his sister Celia and Giunia’s friend Cinna work to protect the couple. At a public assembly, Silla surprises Rome by freeing Cecilio and allowing him to marry Giunia. He also pardons Cinna, arranges Cinna’s marriage to Celia, and relinquishes his dictatorship to restore liberty to Rome.
Three-act opera seria by Baldassare Galuppi to a libretto by Pietro Metastasio.
Megacle enters the Olympic Games under the name of his friend Licida, who hopes to win Aristea’s hand. Megacle and Aristea already love each other, but he has promised to compete for Licida. Argene, Licida’s former betrothed, arrives in disguise. Megacle wins, reveals the truth, and leaves; Licida is rejected and banished. Megacle survives a reported drowning, while Licida considers killing the king. Argene offers herself to save him and reveals a chain that identifies Licida as the king’s abandoned son. Licida is reinstated and accepts Argene, while Megacle and Aristea reunite.
Megacle enters the Olympic Games in disguise as Licida, whose beloved Aristea is to marry the victor, though Megacle and Aristea love each other. After Megacle wins and reveals the truth, Licida is banished and later considers killing King Clistene. Argene offers herself in Licida’s place; a chain reveals Licida is the king’s long-lost son, and the couples are reunited.
The one-act festa teatrale features Claudia, a vestal virgin, her sister Flaminia, Roman consul Valerio, and knight Flavio.
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Mele. Two-act adaptation premiered on 31 January 1736 at Teatro de la Cruz, Madrid; libretto adapted by D. Vincente de Camacho. No version-specific plot is supplied.
After Alexander conquers India, King Poro disguises himself to avoid capture, while his wife Cleofide seeks mercy and his sister Erissena attracts Alexander and his general. Jealousy, disguises, attempted suicide, and shifting alliances lead to Cleofide’s planned self-immolation; Poro returns, and Alexander forgives the couple and makes peace.
Loosely based on the legendary Rape of the Sabine Women, the opera centers on Romolo, founder and ruler of Rome, and Ersilia, a Sabine princess betrothed to him.
A separate musical setting of Pietro Metastasio’s Ruggiero libretto, distinct from Hasse’s 1771 opera. The source provides no separate plot description.
Semiramide, an Egyptian princess ruling Assyria in disguise, is reunited with her former lover Scitalce when Princess Tamiri’s choice among suitors sets events in motion. The intrigue exposes the villainy of Sibari, Scitalce’s rival.
Semiramide rules Assyria disguised as her son. At Princess Tamiri’s choice of husband, Semiramide reunites with former lover Scitalce and exposes Sibari’s deception. Semiramide and Scitalce marry; Tamiri marries Semiramide’s brother Mirteo.
Princess Semiramide rules Assyria disguised as a man. When Princess Tamiri chooses among suitors, events reunite Semiramide with her former lover Scitalce and expose the villainy of his rival Sibari.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Gioacchino Cocchi. Premiered on 30 May 1748 at Teatro San Carlo, Naples. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Ignazio Fiorillo. Performed at the summer fair in 1752 at the Hoftheater, Brunswick. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Domenico Fischietti. Performed at the Ascension Day fair in 1761 at Teatro Sant’Angelo, Venice. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Leonardo Leo. Premiered on 11 May 1737 at Teatro Malvezzi, Bologna; the source describes a later pasticcio version as Viriate. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Francesco Maggiore. Premiered on 10 October 1744 at Teatro Manfredini, Rovigo. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Nicola Antonio Porpora. First setting premiered on 26 December 1725 at Teatro Regio Ducale, Milan; also performed the same day in Venice. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Nicola Antonio Porpora. Second version premiered on 2 July 1730 at Teatro Capranica, Rome; the source notes intermezzi by Michele de Falco. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giuseppe Sellitto. A pasticcio premiered on 4 December 1734 in Naples, using music by Vinci, Porpora, Giacomelli, Hasse, and others. The source provides no version-specific plot description.
King Siface plans a political marriage with Viriate but falls in love with Ismene, who loves his general Erminio. Siface schemes against Viriate and forges evidence to imprison her. Moved by Viriate’s forgiveness and freed by Orcano and Erminio, he abandons his cruelty, restores Viriate as queen, and accepts the union of Ismene and Erminio.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giuseppe Maria Nelvi. Premiered in January 1732 in Frankfurt am Main. The source provides no version-specific plot description.
A three-act opera seria by Pasquale Errichelli using Pietro Metastasio’s Italian libretto.
Medarse plots to supplant Siroe as heir to the Persian throne. Siroe loves Emira, who is disguised as a man, while Laodice loves Siroe; Cosroe ultimately recognizes Siroe and Emira’s loyalty and names Siroe the new king.
In a fictionalized seventh-century Persian court, Crown Prince Siroe is caught among his brother’s ambitions, his father’s suspicions, and the competing demands of Emira and Laodice. He refuses to expose conspirators and faces execution, but confessions and reversals reveal the plots; Siroe survives, forgives his brother, and succeeds his abdicating father.
A separate Porpora opera setting of the Temistocle subject, using Metastasio’s libretto rather than Apostolo Zeno’s text used for the 1718 version. The reviewed page provides no separate plot details.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Baldassare Galuppi. Premiered on 19 May 1762 at Teatro San Salvatore, Venice. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Johann Adolph Hasse. Premiered on 24 January 1739 at Teatro San Giovanni Crisostomo, Venice, with libretto adapted by Domenico Lalli. The source provides no version-specific plot description.
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giovanni Nicola Ranieri Redi. Premiered in summer 1729 at Teatro Cocomero, Florence. The source provides no version-specific plot description.
Johann Adolph Hasse’s 1761 opera sets a libretto by Pietro Metastasio about the ancient queen Zenobia.