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In Brittany during the Hundred Years' War, Carlo, Duke of Vendôme, and his brother Ernesto, Duke of Nemours, support opposing sides. Ernesto and the Breton noblewoman Adelaide love one another, but Carlo is also in love with her and, in jealous anger, orders Ernesto's death. Overcome by remorse, Carlo learns to his relief that the order was not carried out.
A young woman thought to have died pretends to be a ghost to misdirect her former fiancé and marry the man she truly loves.
Simon Mayr’s opera buffa for Teatro San Moisè in Venice is written in the new Neapolitan style without recitatives. A later recording lists six roles, including Elmira/Zefirina, Gelmina, Ernesto, and Argante.
This one-act scenic cantata by Simon Mayr, with a libretto by Giovanni Schmidt, was composed for Isabella Colbran to perform as Ariadne. Bacchus is also listed among its roles.
Simon Mayr’s one-act farsa has a libretto by Gaetano Rossi based on an earlier French farce from 1779. It was the earliest of Mayr’s works to be widely produced.
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.
A two-act opera based on Jean Racine's play Phèdre.
Two-act Italian opera based on cantos 5 and 6 of Ariosto’s Orlando Furioso through Antonio Salvi’s Ginevra, principessa di Scozia.
Set amid conflict between the Marcomanni and Cherusci, the opera includes Treuta, leader of the Marcomanni; Tusnelda, a Cheruscan enslaved by him and due to be sacrificed; and Tamaro, leader of the Cherusci. Tusnelda’s adoptive father discovers that Treuta is her father.
Sentimental farce about a wife, Zeliska, and her imprisoned husband, Amorveno, with the jailer Peters, his daughter Floreska, and the governor also involved.
Polish princess Lodoiska loves Lovinski, but Boleslao, who is charged with her care, wants to marry her and refuses to release her. He imprisons Lovinski and Lodoiska’s father and plots the lovers’ deaths, but Tartar prince Giskano rescues them in gratitude to Lovinski.
Set in England against the backdrop of the Wars of the Roses, the opera is based on René-Charles Guilbert de Pixérécourt’s play La rose blanche et la rose rouge.
Jason rejects Medea, his former wife, for Creusa, daughter of King Creon, who banishes Medea. King Aegeus of Athens arrives, having also been promised Creusa as a bride. He and Medea form an alliance and attack Creusa and Jason at their wedding, but are defeated. Imprisoned, Medea summons demons, kills Creusa with a poisoned robe and stabs her own children, then escapes in a chariot drawn by flying dragons. Jason attempts suicide in despair.
Simon Mayr’s Italian-language opera for La Fenice draws on the story of Sappho and Apollo’s rites at Leucadia. The cast featured castrato Girolamo Crescentini.
Simon Mayr’s dramma per musica takes its subject from the Odyssey and was composed for the Venice Carnival of 1797. The cast featured castrato Girolamo Crescentini.
In Brittany during the Hundred Years' War, Carlo, Duke of Vendôme, and his brother Ernesto, Duke of Nemours, support opposing sides. Ernesto and the Breton noblewoman Adelaide love one another, but Carlo is also in love with her and, in jealous anger, orders Ernesto's death. Overcome by remorse, Carlo learns to his relief that the order was not carried out.
A young woman thought to have died pretends to be a ghost to misdirect her former fiancé and marry the man she truly loves.
Simon Mayr’s opera buffa for Teatro San Moisè in Venice is written in the new Neapolitan style without recitatives. A later recording lists six roles, including Elmira/Zefirina, Gelmina, Ernesto, and Argante.
This one-act scenic cantata by Simon Mayr, with a libretto by Giovanni Schmidt, was composed for Isabella Colbran to perform as Ariadne. Bacchus is also listed among its roles.
Simon Mayr’s one-act farsa has a libretto by Gaetano Rossi based on an earlier French farce from 1779. It was the earliest of Mayr’s works to be widely produced.
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.
A two-act opera based on Jean Racine's play Phèdre.
Two-act Italian opera based on cantos 5 and 6 of Ariosto’s Orlando Furioso through Antonio Salvi’s Ginevra, principessa di Scozia.
Set amid conflict between the Marcomanni and Cherusci, the opera includes Treuta, leader of the Marcomanni; Tusnelda, a Cheruscan enslaved by him and due to be sacrificed; and Tamaro, leader of the Cherusci. Tusnelda’s adoptive father discovers that Treuta is her father.
Sentimental farce about a wife, Zeliska, and her imprisoned husband, Amorveno, with the jailer Peters, his daughter Floreska, and the governor also involved.
Polish princess Lodoiska loves Lovinski, but Boleslao, who is charged with her care, wants to marry her and refuses to release her. He imprisons Lovinski and Lodoiska’s father and plots the lovers’ deaths, but Tartar prince Giskano rescues them in gratitude to Lovinski.
Set in England against the backdrop of the Wars of the Roses, the opera is based on René-Charles Guilbert de Pixérécourt’s play La rose blanche et la rose rouge.
Jason rejects Medea, his former wife, for Creusa, daughter of King Creon, who banishes Medea. King Aegeus of Athens arrives, having also been promised Creusa as a bride. He and Medea form an alliance and attack Creusa and Jason at their wedding, but are defeated. Imprisoned, Medea summons demons, kills Creusa with a poisoned robe and stabs her own children, then escapes in a chariot drawn by flying dragons. Jason attempts suicide in despair.
Simon Mayr’s Italian-language opera for La Fenice draws on the story of Sappho and Apollo’s rites at Leucadia. The cast featured castrato Girolamo Crescentini.
Simon Mayr’s dramma per musica takes its subject from the Odyssey and was composed for the Venice Carnival of 1797. The cast featured castrato Girolamo Crescentini.