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• 1774 in music
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• Alceste (Gluck)
• Alfred Wotquenne
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• Antonio Salieri
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• Aria
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• Berching
• Bohemia
• Carl Maria von Weber
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• Don Juan (Gluck)
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• French opera
• Gaetano Guadagni
• Gaspare Spontini
• Gasparo Angiolini
• Giacomo Durazzo
• Giovanni Carestini
• Hector Berlioz
• House of Habsburg
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• Idomeneo
• Iphigénie en Aulide
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• Italian opera
• Jacobite rising
• Johann Adolph Hasse
• Johann Heinrich Voss
• Joseph Duplessis
• Journal de Paris
• Kapellmeister
• Les Danaïdes
• Les Troyens
• Louis XVI of France
• Luigi Cherubini
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• Niccolò Jommelli
• Niccolò Piccinni
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• Pope Benedict XIV
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• Teatro di San Carlo
• Teatro Regio Ducal
• The Musical Times
• Upper Palatinate
• Vienna
• Vittoria Tesi
• Wikipedia Persondata
• Zentralfriedhof
• Étienne Méhul
• 
  

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  Opera
  Opera (English plural: operas; Italian plural: opere) is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
  Opera is part of the Western classical music tradition. It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence around 1597) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic Flute, a landmark in the German tradition.
  
  wn.com/Opera
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  Teatro di San Carlo
  The Real Teatro di San Carlo (English: Royal Theatre of Saint Charles) is an opera house in Naples, Italy. It is the oldest continuously active such venue in Europe.
  Founded by the Bourbon Charles VII of Naples (Carlo VII in Italian) of the Spanish branch of the dynasty, the theatre was inaugurated on 4 November 1737 — the king's name day — with a performance of Domenico Sarro's Achille in Sciro, an opera based on the play by the famous poet and dramatist who went by the name of Metastasio. Sarro also conducted the orchestra in two ballets as intermezzi, created by Grossatesta. At the time, it was the largest opera house in the world, seating 3,300.
  The theatre was designed by the architects Giovanni Antonio Medrano and Angelo Carasale for the monarch since Charles wanted to endow Naples with a new and larger theatre to replace the old and dilapidated Teatro San Bartolomeo of 1621.
  The new theatre was much admired for its architecture, its gold decorations, and the sumptuous blue upholstery (blue and gold being the official colours of the Bourbons).
  
  wn.com/Teatro_di_San_Carlo
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  Upper Palatinate
  The Upper Palatinate (German: Oberpfalz) is one of the seven administrative regions of Bavaria, Germany, located in the east of Bavaria.
  The region took its name first in the early 16th century, because it was by the Treaty of Pavia one of the main portions of the territory of the Wittelsbach Elector Palatine, who also ruled over the Lower Palatinate in the Rhineland, now normally just called the Palatinate, or Pfalz. The capital of the Upper Palatinate was Amberg. Cadet branches of the Wittelsbach also ruled over smaller territories in Neuburg and Sulzbach. As a result of the Elector Palatine Frederick V's abortive claim to the Bohemian throne in 1619–1620, the Upper Palatinate, along with the rest of his lands, were declared forfeit to the Emperor and, along with the Electoral title, given to the Duke of Bavaria. Although the Lower Palatinate was restored to Frederick's son by the Peace of Westphalia in 1648, the Upper Palatinate remained under the Elector of Bavaria, and has remained a part of Bavaria ever since. The smaller territories of Sulzbach and Neuburg came to Bavaria in 1742, while the city of Regensburg, an Imperial Free City, was not joined with the rest of the region until the end of the Holy Roman Empire in 1806 and the end of the short-lived Principality of Regensburg under Carl von Dalberg, which existed from 1803 to 1810.
  
  wn.com/Upper_Palatinate
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  Vienna
  Vienna ( /viːˈɛnə/; German:  Wien (help·info) [viːn]) is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million (2.4 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 9th-largest city by population in the European Union. Until the beginning of the 20th century it was the largest German speaking city in the world, and before the first world war and the splitting of the Austro-Hungarian empire the city had 2 million inhabitants. Vienna is host to many major international organizations, including the United Nations and OPEC. The city lies in the east of Austria and is close to the borders of the Czech Republic, Slovakia, and Hungary. These regions work together in a European Centrope border region. Along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site.
  
  wn.com/Vienna
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  Zentralfriedhof
  The Zentralfriedhof (German for "Central Cemetery") is one of the largest cemeteries in the world, largest by number of interred in Europe and most famous cemetery among Vienna's nearly 50 cemeteries.
  The cemetery's name is descriptive of its significance as Vienna's biggest cemetery, not of its geographic location, as it is not situated in the city center of the Austrian capital, but on the very outskirts, in the outer city district of Simmering, and its address is Simmeringer Hauptstraße 230–244, Vienna 1110, Austria. The musician Wolfgang Ambros honoured the Zentralfriedhof in his 1975 song "Es lebe der Zentralfriedhof" ("Long live the Zentralfriedhof"), marking with it the 100th anniversary of the cemetery's opening.
  The Vienna Central Cemetery is not one that has evolved slowly with the passing of time unlike many others. The decision to establish a new, big cemetery for Vienna came in 1863. Around that time, it became clear that – due to industrialisation – the city's population would eventually increase to such an extent that the existing communal cemeteries would prove insufficient. It was expected that Vienna, then capital of the large Austro-Hungarian Empire, would grow to have four million inhabitants by the end of the 20th century (no-one could know that the Empire would collapse in 1918). The city council therefore decided to assign an area significantly outside of the city's borders and of such a gigantic dimension, that it would suffice for a long time to come. It was decided in 1869 that a flat area in Simmering should be the site of the future Zentralfriedhof. The cemetery was designed in 1870; according to the plans of the Frankfurt landscape architects Karl Jonas Mylius and Alfred Friedrich Bluntschli who were awarded for their project "per angusta ad augusta" (from dire to sublime).
  
  wn.com/Zentralfriedhof

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  Antonio Sacchini
  Antonio Maria Gasparo Sacchini (14 June 1730 – 6 October 1786) was an Italian opera composer.
  Sacchini was born in Florence, but was raised in Naples, where he received his musical education at the San Onofrio conservatory. He wrote his first operas in Naples, thereafter moving to Venice, then London and eventually Paris, where he died. He was one of the leading composers of opera seria.
  
  wn.com/Antonio_Sacchini
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  Antonio Salieri
  Antonio Salieri (18 August 1750 – 7 May 1825) was a Venetian classical composer, conductor and teacher born in Legnago, south of Verona, in the Republic of Venice, but who spent his adult life and career as a faithful subject of the Habsburg monarchy.
  Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protege of Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary and his music was a powerful influence on contemporary composers.
  Appointed the director of the Italian opera by the Hapsburg court, a post he held from 1774 to 1792, Salieri dominated Italian language opera in Vienna. During his career he also spent time writing works for opera houses in Venice, Rome, and Paris. His dramatic works were widely performed throughout Europe during his lifetime. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought after teachers of his generation and his influence was felt in every aspect of Vienna's musical life. Franz Schubert, Ludwig van Beethoven and Franz Liszt were among the most famous of his pupils.
  
  wn.com/Antonio_Salieri
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  Carl Maria von Weber
  Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
  Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
  A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.
  
  wn.com/Carl_Maria_von_Weber
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  Charles Burney
  Charles Burney FRS (7 April 1726 – 12 April 1814) was an English music historian and father of authors Frances Burney and Sarah Burney.
  Charles Burney was born at Shrewsbury, and educated at Shrewsbury School. He was later sent to The King's School in Chester, where his first music master was a Mr Baker, organist of the cathedral, and a pupil of Dr John Blow. Returning to Shrewsbury at the age of fifteen, Burney continued his musical studies for three years under his half-brother, James Burney, organist of St Mary's church, and was then sent to London as a pupil of Dr Thomas Arne for three years.
  Burney wrote some music for Thomson's Alfred, which was produced at Drury Lane theatre on 30 March 1745. In 1749 he was appointed organist of St Dionis-Backchurch, Fenchurch Street, with a salary of £30 a year; and he was also engaged to take the harpsichord in the "New Concerts" then recently established at the King's Arms, Cornhill. In that year he married Esther Sleepe, who died in 1761; in 1769 he married Mrs Stephen Allen of Lynn. It was for his health that he went in 1751 to Lynn Regis in Norfolk, where he was elected organist, with an annual salary of £100, and lived for nine years. During that time he began to entertain the idea of writing a general history of music. His Ode for St Cecilia's Day was performed at Ranelagh Gardens in 1759; and in 1760 he returned to London in good health and with a young family; the eldest child, a girl of eight, surprised the public by her attainments as a harpsichord player. The concertos for harpsichord which Burney published soon after his return to London were much admired. In 1766 he produced, at Drury Lane, a translation and adaptation of Jean-Jacques Rousseau's opera Le Devin du village, under the title of The Cunning Man.
  
  wn.com/Charles_Burney
• Gaetano Guadagni
  Gaetano Guadagni (16 February 1728 – 11 November 1792) was an Italian mezzo-soprano castrato singer, most famous for singing the role of Orpheus at the premiere of Gluck's opera Orfeo ed Euridice in 1762.
  Born at Lodi, Guadagni joined the cappella of Sant'Antonio in Padua in 1746, but also made his public operatic debut at Venice that year, which did not meet with ecclesiastical approval: he was dismissed from his position in Padua by 1748, and soon after appeared in London as a member of Giovanni Francesco Crosa ("Dr Croza")'s buffo (comic) company. He does not appear to have had the typical rigorous training that most castrati undertook (see castrato), which may account for his being described by the music historian Charles Burney as a "wild and careless singer" on his arrival in England. He was rapidly taken up in theatrical and musical circles in the capital, and also acquired a reputation for non-artistic activities, as did many castrati. This was reported by Horace Walpole in a letter to Horace Mann dated 23 March 1749:
  
  wn.com/Gaetano_Guadagni
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  Gaspare Spontini
  Gaspare Luigi Pacifico Spontini (14 November 1774 – 24 January 1851) was an Italian opera composer and conductor, extremely celebrated in his time, though largely forgotten after his death.
  Born in Maiolati in the province of Ancona, now Maiolati Spontini, he spent most of his career in Paris and Berlin, but returned to his place of birth at the end of his life. During the first two decades of the 19th century, Spontini was an important figure in French opera. In his more than twenty operas, Spontini strove to adapt Gluck's classical tragédie lyrique to the contemporary taste for melodrama, for grander spectacle (in Fernand Cortez for example), for enriched orchestral timbre, and for melodic invention allied to idiomatic expressiveness of words. His single great masterpiece and success was La vestale.
  As a youth, Spontini studied at the Conservatorio della Pietà de' Turchini in Naples. In 1803, he went to Paris, where he was appointed court composer in 1805.
  In 1807, Spontini wrote La vestale, his best known work. Written with the encouragement of Empress Joséphine, its premiere at the Opéra in Paris established Spontini as one of the greatest Italian composers of his age. His contemporaries Cherubini and Meyerbeer considered it a masterpiece, and later composers like Berlioz and Wagner admired it.
  
  wn.com/Gaspare_Spontini
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  Gasparo Angiolini
  Gaspare Angiolini (9 February 1731 – 6 February 1803), real name Domenico Maria Angiolo Gasparini, was an Italian dancer and choreographer, and composer. He was born in Florence and died in Milan.
  Gaspare Angiolini directed the ballet at the Imperial Theatre in Vienna,taking over the post in 1758, working closely with Christoph Willibald von Gluck on such works as Don Juan ou le Festin de Pierre (1761), adapted from Mozart's Don Giovanni, and the opera Orpheus and Eurydice. The dancing in both Don Juan and Orpheus were said to have insisted on the "primacy of drama". In addition to collaborating with Gluck, he also composed music for many of his ballets.
  He later succeeded Franz Hilverding as director of the Imperial Theatre in St. Petersburg, Russiain 1766. Both Hilverding and Angiolini are credited with bringing the European ballet d'action to Russia. Likewise, Angiolini also attempted to introduce elements of Russian culture into his own work through use of songs, folk dances, and Russian themes. In 1778 he came to Milan to direct the theatre of La Scala.
  
  wn.com/Gasparo_Angiolini
• Giacomo Durazzo
  Count Giacomo Durazzo (1717–1794) was an Italian diplomat and man of the theatre. He was born into one of the most important aristocratic families in Genoa. His brother was the famous doge Marcellino Durazzo. In 1749, he became ambassador to the court in Vienna where he was appointed director of the imperial theatres in the city in 1754. He is most famous for working with the composer Christoph Willibald Gluck on reforming Italian opera.
  In 1750, he married the eighteen-year-old Ernestine Aloisia Ungnad von Weissenwolff.
  
  wn.com/Giacomo_Durazzo
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  Giovanni Carestini
  Giovanni Carestini (Filottrano, near Ancona, c. 1704 – c. 1760) was an Italian castrato of the 18th century, who sang in the operas and oratorios of George Frideric Handel. He is also remembered as having sung for Johann Adolph Hasse and Christoph Willibald Gluck.
  Carestini's career began in Milan in 1719, patronised at the time by the Cusani family (hence the alternative name Cusanino). He sang for Alessandro Scarlatti in Rome in 1721. The scope of his burgeoning career quickly began to expand; he was at the Viennese court during 1723, and followed this up with performances in Naples, Venice and Rome again, singing in operas by Hasse, Leonardo Vinci, and Nicola Porpora. He sang in Munich in 1731 before coming to London to sing for Handel in 1733.
  For Handel he sang the main roles in Arianna in Creta, Ariodante, and Alcina, and also performed in the oratorios Deborah, Esther, and Athalia. While in Naples in 1735, he commanded a fee higher than that of the renowned Caffarelli. Charles Burney records an entertaining anecdote from this time:
  
  wn.com/Giovanni_Carestini
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  Hector Berlioz
  Hector Berlioz (pronounced: [ɛktɔʁ bɛʁˈljoːz]; 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others.
  Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, near Grenoble. His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education. His father, Louis-Joseph Berlioz, was an atheist, with a liberal outlook; his mother, Marie-Antoinette, was an orthodox Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood. The other two, Nanci and Adèle, remained close to Berlioz throughout his life.
  
  wn.com/Hector_Berlioz
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  Johann Adolph Hasse
  Johann Adolph Hasse (baptised 25 March 1699 in Bergedorf, Germany – 16 December 1783 in Venice) was an 18th-century German composer, singer and teacher of music. Immensely popular in his time, Hasse was best known for his prolific operatic output, though he also composed a considerable quantity of sacred music. Married to soprano Faustina Bordoni and a great friend of librettist Pietro Metastasio, whose libretti he frequently set, Hasse was a pivotal figure in the development of opera seria and 18th-century music.
  Hasse was born in Bergedorf, near Hamburg.
  Hasse's career began in singing, when he joined the Hamburg Opera (his family, who were traditionally church musicians, came from near Hamburg) in 1718 as a tenor. In 1719 he obtained a singing post at the court of Brunswick, where in 1721 his first opera, Antioco, was performed; Hasse himself sang in the production.
  He is thought to have left Germany during 1722. During the 1720s he lived mostly in Naples, dwelling there for six or seven years. In 1725 his serenata Antonio e Cleopatra, was performed at Naples; the principal roles were sung by Carlo Broschi, better known as Farinelli, and Vittoria Tesi. The success of this work not only earned Hasse many commissions from Naples's opera houses, but also, according to Quantz, brought him into contact with Alessandro Scarlatti, who became his teacher and friend; Hasse also altered his style in several respects to reflect that of Scarlatti.
  
  wn.com/Johann_Adolph_Hasse
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  Johann Heinrich Voss
  Johann Heinrich Voss (German: Johann Heinrich Voß IPA: [ˈfɔs]; 20 February 1751 – 29 March 1826) was a German poet and translator, known mostly for his translation of Homer's Odyssey into German (and also for that of the Iliad, see below).
  Voss was born at Sommersdorf in Mecklenburg-Strelitz as the son of a farmer. After attending the Gymnasium at Neubrandenburg from 1766–1769, he was obliged to accept a private tutorship in order to earn money to enable him to study at a university.
  At the invitation of Heinrich Christian Boie, whose attention he had attracted by poems contributed to the Göttinger Musenalmanach, he went to the University of Göttingen in 1772. Here he studied philology, his studies encompassing both classical and modern languages, and became one of the leading spirits in the famous Hain or Dichterbund. In 1775 Boie made over to him the editorship of the Musenalmanach, which he continued to issue for several years. He married Boie's sister Ernestine in 1777.
  In 1778 Voss was appointed rector of the school at Otterndorf. In 1781, after the publication of several treatises, he produced a German-language text for Homer's Odyssey. This work made the poem national with the Germans (new ed. by Bernays, 1881).
  
  wn.com/Johann_Heinrich_Voss
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  Joseph Duplessis
  Joseph-Siffred Duplessis (22 September 1725 – 1 April 1802) was a French painter, known for the clarity and immediacy of his portraits.
  He was born in Carpentras, near Avignon, into a family with an artistic bent and received his first training from his father, a surgeon and talented amateur, then with Joseph-Gabriel Imbert (1666–1749), who had been a pupil of Charles Le Brun. From 1744-47 or later he worked in Rome, in the atelier of Pierre Subleyras, who was also from the south of France, who died in 1749. In Italy Duplessis became fast friends with Joseph Vernet, another Occitan.
  He returned to Carpentras, spent a brief time in Lyon then arrived about 1752 in Paris, where he was accepted into the Académie de Saint-Luc and exhibited some portraits, which were now his specialty, in 1764, but did not achieve much notice until his exhibition of ten paintings at the Paris salon of 1769, very well received and selected for special notice by Denis Diderot; the Académie de peinture et de sculpture accepted him in the category of portraitist, considered a lesser category at the time. He continued to exhibit at the Paris salons, both finished paintings and sketches, until 1791, and once more, in 1801.
  
  wn.com/Joseph_Duplessis
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  Louis XVI of France
  Louis XVI (23 August 1754 – 21 January 1793) was a Bourbon monarch who ruled as King of France and Navarre until 1791, and then as King of the French from 1791 to 1792, before being executed in 1793.
  Succeeding Louis XV, his unpopular grandfather, Louis XVI was well aware of the growing discontent of the French population against the absolute monarchy. The first part of his reign is marked by his attempts to reform the kingdom in accordance with the Enlightenment ideals (abolition of torture, abolition of the serfdom, tolerance towards Jews and Protestants, abolition of the Taille etc.). However, Louis XVI failed to impose his will, as his reforms stumbled on the hostility of the nobles.
  Louis XVI actively supported the Americans, who were seeking their independence from Great Britain, which was realized in the 1783 Treaty of Paris. The example of the American Revolution and the financial crisis which followed France's involvement in the war were two of the many contributing factors to the French Revolution, which broke out in 1789.
  
  wn.com/Louis_XVI_of_France
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  Luigi Cherubini
  Luigi Cherubini (Italian pronunciation: [luˈiːdʒi keruˈbiːni]) (8 or 14 September 1760 – 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.
  Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence. There is uncertainty about his exact date of birth. Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct. Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, feast-day of the Nativity of the Virgin. His instruction in music began at the age of six with his father, Bartolomeo, maestro al cembalo ("Master of the harpsichord" i.e. ensemble leader from the harpsichord). Considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age. By the time he was thirteen, he had composed several religious works.
  
  wn.com/Luigi_Cherubini
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  Marie Antoinette
  Marie Antoinette ( /məˈriː æntwəˈnɛt/ or /æntwɑːˈnɛt/; French pronunciation: [maʁi ɑ̃twanɛt]; baptised Maria Antonia Josepha Johanna (or Maria Antonia Josephina Johanna); 2 November 1755 – 16 October 1793) was an Archduchess of Austria and the Queen of France and of Navarre. She was the fifteenth and penultimate child of Holy Roman Empress Maria Theresa and Holy Roman Emperor Francis I.
  In April 1770, on the day of her marriage to Louis-Auguste, Dauphin of France, she subsequently became Dauphine of France. Marie Antoinette assumed the title of Queen of France and of Navarre when her husband, Louis XVI of France, ascended the throne upon the death of Louis XV in May 1774. After seven years of marriage, she gave birth to a daughter, Marie-Thérèse Charlotte, the first of four children.
  Initially charmed by her personality and beauty, the French people generally came to dislike her, accusing "L'Autre-chienne" (a pun in French playing with the words "Autrichienne" meaning Austrian (woman) and "Autre-chienne" meaning Other bitch) of being profligate and promiscuous, and of harboring sympathies for France's enemies, particularly Austria, her country of origin.
  
  wn.com/Marie_Antoinette
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  Metastasio
  Pietro Antonio Domenico Trapassi, better known by his pseudonym of Metastasio, (January 3, 1698 – April 12, 1782) was an Italian poet and librettist, considered the most important writer of opera seria libretti.
  Metastasio was born in Rome, where his father, Felice Trapassi, a native of Assisi, had taken service in the Corsican regiment of the papal forces. Felice married a Bolognese woman, Francesca Galasti, and became a grocer in the Via dei Cappellari. The couple had two sons and two daughters; Pietro was the younger son.
  Pietro, while still a child, is said to have attracted crowds by reciting impromptu verses on a given subject. On one such occasion in 1709, two men of distinction stopped to listen: Giovanni Vincenzo Gravina, famous for legal and literary erudition as well as his directorship of the Arcadian Academy, and Lorenzini, a critic of some note. Gravina was attracted by the boy's poetic talent and personal charm, and made Pietro his protégé; in the course of a few weeks he adopted him. Felice Trapassi was glad to give his son the chance of a good education and introduction into society.
  
  wn.com/Metastasio
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  Niccolò Jommelli
  Niccolò Jommelli (10 September 1714 – 25 August 1774) was an Italian composer. He was born in Aversa and died in Naples. Along with other composers mainly in the Holy Roman Empire and France, he made important changes to opera and reduced the importance of star singers.
  Jommelli was born to Francesco Antonio Jommelli and Margarita Cristiano in Aversa, a town some 20 kilometres north of Naples. He had one brother Ignazio, who became a Dominican monk and helped the composer in his old age, and three sisters. His father was a prosperous linen merchant, who entrusted Jommelli to the choir director of the cathedral, Canon Muzzillo.
  As he had shown talent for music, Jommelli was enrolled after in 1725 at the Conservatorio di Santo Onofrio a Capuana in Naples, where he studied under Ignazio Prota and Francesco Feo. Three years later he was transferred to the Conservatorio di Santa Maria della Pietà dei Turchini, where he was trained under Niccolò Fago, having Don Giacomo Sarcuni and Andrea Basso, as second maestri, that is, singing teachers (maestri di canto).
  
  wn.com/Niccolò_Jommelli
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  Niccolò Piccinni
  Niccolò Piccinni (January 16, 1728 – May 7, 1800) was an Italian composer of symphonies, sacred music, chamber music, and opera. Although he is somewhat obscure, even to music lovers today, Piccinni was one of the most popular composers of opera—particularly the Neapolitan opera buffa—of his day. Historically, he had the misfortune of falling between the generations of his great predecessors such as Pergolesi and the greats who came after him, including Domenico Cimarosa and Mozart.
  Piccinni was born in Bari, and educated under Leonardo Leo and Francesco Durante, at the S. Onofrio Conservatory. For this, he had to thank the intervention of the Bishop of Bari, since his father, although himself a musician, was opposed to his son's following the same career. Piccinni's first opera, Le donne dispettose, was produced in 1755, and in 1760 he composed, at Rome, the chef d'œuvre of his early life, La Cecchina, ossia la buona Figliuola, an opera buffa with a libretto by Goldoni, which "enjoyed a two-year run in Rome and was played in all the important European capitals. It can probably be called the most popular opera buffa of the 18th century...[even more than]... Pergolesi's La serva padrona...[and]... The first of the new era, culminating in the masterworks of Mozart."
  
  wn.com/Niccolò_Piccinni
• 
  Pope Benedict XIV
  Pope Benedict XIV (31 March 1675 – 3 May 1758), born Prospero Lorenzo Lambertini, was Pope from 17 August 1740 to 3 May 1758.
  Lambertini was born into a noble family of Bologna, which was at that time the second largest city in the Papal States. He was created Cardinal-Priest of Santa Croce in Gerusalemme on 10 May 1728 and was elected Pope in 1740. The conclave that elected him had lasted for six months, and he is reported to have said to the cardinals: "If you wish to elect a saint, choose Gotti; a statesman, Aldrovandi; an honest man, me". His Papacy began in a time of great difficulties, chiefly caused by the disputes between Catholic rulers and the Papacy about governmental demands to nominate bishops rather than leaving the appointment to the Church. He managed to overcome most of these problems — the Holy See's disputes with the Kingdom of Naples, Sardinia, Spain, Venice, and Austria were settled.
  He had a very active papacy, reforming the education of priests, the calendar of feasts of the Church, and many papal institutions. Perhaps the most important act of Benedict XIV's pontificate was the promulgation of his famous laws about missions in the two bulls, Ex quo singulari and Omnium solicitudinum. In these bulls he ruled on the custom of accommodating Christian words and usages to express non-Christian ideas and practices of the native cultures, which had been extensively done by the Jesuits in their Indian and Chinese missions.
  
  wn.com/Pope_Benedict_XIV
• 
  Richard Wagner
  Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
  Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
  
  wn.com/Richard_Wagner
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  Vittoria Tesi
  Vittoria Tesi ("La Fiorentina") (Florence, 13 Feb 1700 – 9 May 1775 in Vienna) was an Italian opera singer and music teacher of the 18th century. Her vocal range was that of a contralto.
  Her operatic career began with performances at Parma and Bologna in 1716. By 1718 she was virtuosa di camera for the Prince of Parma at Venice. The year later she was at Dresden, singing for Antonio Lotti alongside Senesino and Margherita Durastanti. By 1721 she was back in Italy for the Florentine Carnival, and for the next 26 years travelled Europe, with performances in Madrid and possibly Frankfurt. Italy, however, was the nation where she spent most of her time, dividing the years between the various cities. Her career peaked in the late 1730s and 1740s, when she sang alongside such singers as Caffarelli; in 1744 she took the title role in Gluck's Ipermestra and did the same in 1748 in his Semiramide riconosciuta, set to a libretto by Metastasio. This performance persuaded Metastasio of her merits, although previously he had been unenthusiastic, calling her a "grandissima nullità".
  
  wn.com/Vittoria_Tesi
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  Étienne Méhul
  Étienne Nicolas Méhul (22 June 1763 – 18 October 1817) was a French composer, "the most important opera composer in France during the Revolution." He was also the first composer to be called a "Romantic".
  Méhul was born at Givet in Ardennes to Jean-François Méhul, a wine merchant, and his wife Marie-Cécile (née Keuly). His first music lessons came from a blind local organist, but he had innate aptitude and was sent to study with a German musician and organist, Wilhelm Hanser, at the monastery of Lavaldieu, a few miles from Givet. Here Méhul developed his lifelong love of flowers.
  In 1778 or 1779 he went to Paris and began to study with Jean-Frédéric Edelmann, a harpsichord player and friend of Méhul's idol Christoph Willibald von Gluck. Méhul's first published composition was a book of piano pieces in 1783. He also arranged airs from popular operas and by the late 1780s he had begun to think about an operatic career for himself.
  In 1787, the writer Valadier offered Méhul one of his libretti, Cora, which had been rejected by Gluck in 1785. The Académie royale de musique (the Paris Opéra put Méhul's work, under the title Alonzo et Cora, into rehearsal in June 1789. However, the rehearsals were abandoned on 8 August, probably because the Opéra had been suffering severe financial difficulties throughout the 1780s, and the opera was not premiered until 1791. In the meantime, Méhul found an ideal collaborator in the librettist François-Benoît Hoffman, who provided the words to the first of Méhul's operas to be performed, Euphrosine. Its premiere in 1790 was an immense success and marked the composer out as a new talent. It was also the start of his long relationship with the Comédie Italienne theatre (soon to be renamed the Opéra-Comique).
  
  wn.com/Étienne_Méhul

• Allegro. - Ezio, Sinfonia
• Andante. - Ezio, Sinfonia
• Allegro di molto. - Ezio, Sinfonia
• Marcia. - Ezio
• Recitativo. Signoe, vincemmo . - Ezio, Atto primo, Scena I
• Aria. Se tu la reggi al volo. - Ezio, Atto primo, Scena I
• Recitativo. Ezio, lascia ch'io stringa. - Ezio, Atto primo, Scena II
• Aria. Pensa a serbarmi, o cara. - Ezio, Atto primo, Scena II
• Recitativo. E soffrirai che sposa abbia la figlia. - Ezio, Atto primo, Scena III
• Aria. Caro padre. - Ezio, Atto primo, Scena III
• Recitativo accompagnato. Pria che sorga l'aurora. - Ezio, Atto primo, Scena IV
• Recitativo. Ezio sappia ch'io bramo seco parlar. - Ezio, Atto primo, Scena V
• Aria. Se povero il ruscello. - Ezio, Atto primo, Scena V
• Recitativo. Del ciel felice dono. - Ezio, Atto primo, Scena VI
• Aria. So chi t'accese. - Ezio, Atto primo, Scena VI
• Recitativo. Vedrem se ardisce ancora. - Ezio, Atto primo, Scena VII-VIII
• Aria. Se fedele mi brama il regnante. - Ezio, Atto primo, Scena VII-VIII
• Recitativo. A cesare nascondi. - Ezio, Atto primo, Scena IX
• Aria. Ancor non mremi il soglio. - Ezio, Atto primo, Scena IX
• Recitativo. Via, per mio danna aduna. - Ezio, Atto primo, Scena X
• Aria. Finché un zeffiro soave. - Ezio, Atto primo, Scena X

• Ouverture
• Act 1: Scene 1: Choeur: Ah! Dans ce bois tranquille et sombre
• Act 1: Scene 1: Récitatif: Vos plaintes, vos regrets, augmentent mon supplice
• Act 1: Scene 1: Pantomime des Nymphes et des Bergers
• Act 1: Scene 1: Choeur: Ah! Dans ce bois tranquille et sombre
• Act 1: Scene 1: Récitatif: Eloignez-vous: ce lieu convient a mes malheurs
• Act 1: Scene 1: Ritournelle
• Act 1: Scene 2: Air en rondeau: Objet de mon amour!
• Act 1: Scene 2: Air en rondeau: Eurydice! Ombre chere!
• Act 1: Scene 2: Air en rondeau: Accablé de regrets
• Act 1: Scene 2: Air en rondeau: Eurydice! Eurydice! De ce doux nom
• Act 1: Scene 2: Air en rondeau: Plein de trouble et d'effroi
• Act 1: Scene 2: Récitatif: Divinités de l'Achéron
• Act 1: Scene 3: Récitatif: L'Amour vient au secours de l'amant le plus tendre
• Act 1: Scene 3: Air: Si les doux accords de ta lyre
• Act 1: Scene 3: Air: Soumis au silence
• Act 1: Scene 4: Récitatif: Impitoyables Dieux!
• Act 1: Scene 4: Ariette: L'espoir renait dans mon ame
• Act 2: Scene 1: Maestoso - Prélude et Choeur: Quel est l'audacieux / Dans des Furies - Choeur: Quel est l'audacieux
• Act 2: Scene 1: Laissez-vous toucher par mes pleurs
• Act 2: Scene 1: Qui t'amene en ces lieux
• Act 2: Scene 1: Ah! La flamme qui me dévore
• Act 2: Scene 1: Par quels puissants accords
• Act 2: Scene 1: La tendresse qui me presse
• Act 2: Scene 1: Quels chants doux et touchants!
• Act 2: Scene 1: Danse des Furies
• Act 2: Scene 2: Ballet des Ombres heureuses
• Act 2: Scene 2: Air: Cet asile aimable et tranquille
• Act 2: Scene 3: Récitatif: Quel nouveau ciel pare ces lieux?
• Act 2: Scene 3: Choeur: Viens dans ce séjour paisible
• Act 2: Scene 3: Lent (Danse des Ombres heureuses)
• Act 2: Scene 3: Récitatif: O vous, Ombres que j'implore
• Act 3: Scene 4: Choeur: Pres du tendre objet qu'on aime

• Obertura
• Primer Acto: "Ah, se intorno a quest'urna funesta"
• Primer Acto: "Basta, basta, o compagni"
• Primer Acto: Ballo (larghetto)
• Primer Acto: "Ah, se intorno a quest'urna funesta"
• Primer Acto: "Chiamo il mio ben così"
• Primer Acto: "Numi! Barbari Numi!"
• Primer Acto: "T'assiste Amore!"
• Primer Acto: "Gli sguardi trattieni"
• Primer Acto: "Che disse! Che ascoltai!"
• Segundo Acto: Ballo (maestoso)
• Segundo Acto: "Chi mai dell'Erebo"
• Segundo Acto: Ballo (presto)
• Segundo Acto: "Chi mai dell'Erebo"
• Segundo Acto: Ballo (maestoso)
• Segundo Acto: "Deh! Placatevi con me"
• Segundo Acto: "Che puro ciel!"

• Paride ed Elena: Overtura
• Paride ed Elena, Atto I, Scena I: "Non sdegnare" (Coro, un Trojano)
• Paride ed Elena, Atto I, Scena I: "O del mio dolce ardor" (Paride)
• Paride ed Elena, Atto I, Scena I: Ballo
• Paride ed Elena, Atto I, Scena I: "Dall'aurea sua stella" (Un Trojano)
• Paride ed Elena, Atto I, Scena I: "Spiagge amate" (Paride, un Trojano)
• Paride ed Elena, Atto I, Scena II: "Stranier, la mia Regina a te m'invia" (Amore, Paride)
• Paride ed Elena, Atto I, Scena II: "Ma, chi sei" (Paride, Amore)
• Paride ed Elena, Atto I, Scena III: "Felice te" (Amore)
• Paride ed Elena, Atto I, Scena III: "Nell'idea ch'ei volge" (Amore)
• Paride ed Elena, Atto I, Scena III: Ballo I
• Paride ed Elena, Atto I, Scena III: Ballo II
• Paride ed Elena, Atto I, Scena III: Ballo III
• Paride ed Elena, Atto I, Scena III: Ballo IV
• Paride ed Elena, Atto I, Scena III: Ballo V
• Paride ed Elena, Atto II, Scena I: "Si presenti" (Elena, Amore)
• Paride ed Elena, Atto II, Scena II: "Regina!" (Paride, Elena, Amore)
• Paride ed Elena, Atto II, Scena II: "Forse più d'una beltà" (Elena, Paride, Amore)
• Paride ed Elena, Atto II, Scena III: "Tutto qui me sorprende" (Paride)
• Paride ed Elena, Atto II, Scena III: "La belle immagini" (Paride)
• Paride ed Elena, Atto III, Scena I: Sinfonia
• Paride ed Elena, Atto III, Scena I: "Prence, la tua presenza" (Elena, Paride, Amore)
• Paride ed Elena, Atto III, Scena I: "Dalla reggia rilucente scendi a noi" (Coro)
• Paride ed Elena, Atto III, Scena I: "Negli strali, nell'arco possente" (Solo, Coro)
• Paride ed Elena, Atto III, Scena I: Ballo
• Paride ed Elena, Atto III, Scena I: "Non più" (Elena)
• Paride ed Elena, Atto III, Scena I: "Lodi al nume" (Coro)
• Paride ed Elena, Atto III, Scena I: "Per te, signor" (Elena, Paride, Amore)
• Paride ed Elena, Atto III, Scena I: "Quegli occhi belli" (Paride, Elena, Amore)
• Paride ed Elena, Atto III, Scena I: "Non più! Misero!" (Elena, Paride, Amore)
• Paride ed Elena, Atto III, Scena I: "Fingere più non so" (Paride, Elena)

• La clemenza di Tito: Atto II. "Tremo fra' dubbi miei" (Vitellia)
• Il Parnaso confuso: "Di questa cetra in seno" (Erato)
• Ezio: Atto III. "Misera, dove son! ... Ah! non son io che parlo" (Fulvia)
• La Semiramide riconosciuta: Atto I. "Ciascun siegua il suo stile ... Maggior follia" (Ircano)
• La corona: "Quel chiaro rio" (Atalanta)
• La clemenza di Tito: Atto II. "Ah, taci, barbaro ... Come potesti, oh Dio!" (Vitallia)
• La clemenza di Tito: Atto II. "Se mai senti spirarti sul volto" (Sesto)
• Antigono: Atto III. "Berenice, che fai?" (Berenice)

• Orfeo ed Euridice: Overture
• Orfeo ed Euridice, Act I, Scene 1: "Ah, se intorno a quest'urna funesta"
• Orfeo ed Euridice, Act I, Scene 1: "Basta, basta, o compagni"
• Orfeo ed Euridice, Act I, Scene 1: Ballo
• Orfeo ed Euridice, Act I, Scene 1: "Ah, se intorno a quest'urna funesta"
• Orfeo ed Euridice, Act I, Scene 1: "Chiamo il mio ben così"
• Orfeo ed Euridice, Act I, Scene 1: "Euridice, ombra cara"
• Orfeo ed Euridice, Act I, Scene 1: "Cerco il mio ben così"
• Orfeo ed Euridice, Act I, Scene 1: "Euridice, Euridice!"
• Orfeo ed Euridice, Act I, Scene 1: "Piango il mio ben così"
• Orfeo ed Euridice, Act I, Scene 1: "Numi, Barbari Numi"
• Orfeo ed Euridice, Act I, Scene 2: "T'assiste Amore!"
• Orfeo ed Euridice, Act I, Scene 2: "Gli sguardi trattieni"
• Orfeo ed Euridice, Act I, Scene 2: "Che disse? Che ascoltai?"
• Orfeo ed Euridice, Act I, Scene 2: End of Act I
• Orfeo ed Euridice, Act II, Scene 1: Ballo
• Orfeo ed Euridice, Act II, Scene 1: "Chi mai dell'Erebo fra le caligini"
• Orfeo ed Euridice, Act II, Scene 1: Ballo
• Orfeo ed Euridice, Act II, Scene 1: "Chi mai dell'Erebo fra le caligini"
• Orfeo ed Euridice, Act II, Scene 1: Ballo
• Orfeo ed Euridice, Act II, Scene 1: "Deh placatevi con me"
• Orfeo ed Euridice, Act II, Scene 1: "Misero giovane, che vuoi, che mediti"
• Orfeo ed Euridice, Act II, Scene 1: "Mille pene"
• Orfeo ed Euridice, Act II, Scene 1: "Ah, quale incognito affetto flebile"
• Orfeo ed Euridice, Act II, Scene 1: "Men tiranne"
• Orfeo ed Euridice, Act II, Scene 1: "Ah, quale incognito affetto flebile"
• Orfeo ed Euridice, Act II, Scene 2: Ballo
• Orfeo ed Euridice, Act II, Scene 2: "Che puro ciel"
• Orfeo ed Euridice, Act II, Scene 2: "Vieni a' regni del riposo"
• Orfeo ed Euridice, Act II, Scene 2: Ballo
• Orfeo ed Euridice, Act II, Scene 2: "Anime avventurose"
• Orfeo ed Euridice, Act II, Scene 2: "Torna, o bella, al tuo consorte"
• Orfeo ed Euridice, Act III, Scene 1: "Vieni, segui i miei passi"
• Orfeo ed Euridice, Act III, Scene 1: "Vieni appaga il tuo consorte"
• Orfeo ed Euridice, Act III, Scene 1: "Qual vita è questa mai"
• Orfeo ed Euridice, Act III, Scene 1: "Che fiero momento"
• Orfeo ed Euridice, Act III, Scene 1: "Ecco in nuovo tormento!"
• Orfeo ed Euridice, Act III, Scene 1: "Che farò senza Euridice?"
• Orfeo ed Euridice, Act III, Scene 1: "Ah finisca e per sempre"
• Orfeo ed Euridice, Act III, Scene 2: "Orfeo, che fai?"
• Orfeo ed Euridice, Act III, Scene 3: "Trionfi Amore"

• Act 1 - Scène 1 - 1. Introduction - « Grands dieux ! soyez-nous secourables » (Iphigénie, choeur des Prêtresses)
• Act 1 - Scène 1 - 2. « Le calme reparaît » (Iphigénie, première Prêtresse, deuxième Prêtresse)
• Act 1 - Scène 1 - 3. « Ô songe affreux ! nuit effroyable ! » (choeur des Prêtresses)
• Act 1 - Scène 1 - 4. « Ô race de Pélops » (Iphigénie, deuxième Prêtresse)
• Act 1 - Scène 1 - 5. Air: « Ô toi qui prolongeras mes jours » (Iphigénie)
• Act 1 - Scène 1 - 6. « Quand verrons-nous tarir nos pleurs ? » (Choeur des Prêtresses)
• Act 1 - Scène 2 - 1. « Dieux ! le malheur en tous lieux suit mes pas » (Thoas, Iphigénie)
• Act 1 - Scène 2 - 2. Air: « De noirs pressentiments » (Thoas)
• Act 1 - Scène 3 & 4 - « Les dieux apaisent leur courroux » (ch. des Scythes, Iphig., Thoas, Scythe)-« Et vous, à vos dieux tutélaires»
• Act 1 - Scène 4.5 - Ballet
• Act 1 - Scène 5 - « Malheureux ! quel dessein à vous-mêmes contraire » (Thoas, Pylade, Oreste)
• Act 1 - Scène 6 - « Il nous fallait du sang » (choeur des Scythes)
• Act 2 - Scène 1 - 1. « Quel silence effrayant ! » (Pylade, Oreste)
• Act 2 - Scène 1 - 2. Air: « Dieux qui me poursuivez » (Oreste)
• Act 2 - Scène 1 - 3. « Quel langage accablant » (Pylade)
• Act 2 - Scène 1 - 4. Air: « Unis dès la plus tendre enfance » (Pylade)
• Act 2 - Scène 2 - « Etrangers malheureux, il faut vous séparer ! » (le Ministre du sanctuaire, Pylade, Oreste)
• Act 2 - Scène 3 - 1. « Dieux protecteurs de ces affreux rivages » (Oreste)
• Act 2 - Scène 3 - 2. « Le calme rentre dans mon coeur ! » (Oreste)
• Act 2 - Scène 4 - « Vengeons et la nature et les dieux en courroux ! » (les Euménides, Oreste)
• Act 2 - Scène 5 - « Je vois toute l'horreur » (Iphigénie, Oreste, les Prêteresses)
• Act 2 - Scène 6 - 1. « Ô ciel ! de mes tourments » (Iphigénie)
• Act 2 - Scène 6 - 2. Air avec choeur: « Ô malheureuse Iphigénie ! » (Iphigénie, choeur des Prêtresses)
• Act 2 - Scène 6 - 3. « Honorez avec moi ce héros qui n'est plus ! » (Iphigénie)
• Act 2 - Scène 6 - 4. Air avec choeur: « Contemplez ces tristes apprêts » (choeur des Prêtresses, Iphigénie)

• Orfeo & Euridice: Atto II, Scena II. Ballo
• Orfeo & Euridice: Atto II, Scena II. "Che puro ciel!" (Orfeo)
• Orfeo & Euridice: Atto II, Scena II. "Vieni ai regni del riposo" (Coro)
• Orfeo & Euridice: Atto II, Scena II. Ballo [II]
• Orfeo & Euridice: Atto II, Scena II. "Anime avventurose" (Orfeo)
• Orfeo & Euridice: Atto II, Scena II. "Torna, o bella, al tuo consorte" (Coro)
• Orfeo & Euridice: Atto III, Scena I. "Vieni! Segui i miei passi" (Orfeo, Euridice)
• Orfeo & Euridice: Atto III, Scena I. "Vieni, appaga il tuo consorte!" (Orfeo, Euridice)
• Orfeo & Euridice: Atto III, Scena I. "Qual' vita è questa mai" (Orfeo)
• Orfeo & Euridice: Atto III, Scena I. "Ecco un nuovo tormento!" (Orfeo, Euridice)
• Orfeo & Euridice: Atto III, Scena I. "Che farò senza Euridice?" (Orfeo)
• Orfeo & Euridice: Atto III, Scena I-II. "Ah! finisca e per sempre" (Orfeo, Amore, Euridice)
• Orfeo & Euridice: Atto III, Scena III. Ballo ultimo. Maestoso
• Orfeo & Euridice: Atto III, Scena III. Ballo. Grazioso
• Orfeo & Euridice: Atto III, Scena III. Ballo. Allegro
• Orfeo & Euridice: Atto III, Scena III. Ballo. Andante
• Orfeo & Euridice: Atto III, Scena III. Ballo. Allegro [II]
• Orfeo & Euridice: Atto III, Scena III. "Trionfi Amore, e il mondo intiero" (Coro, Orfeo, Amore, Euridice)

• Iphigénie en Tauride, Act I : Intro And Chor, 'Grands Dieux Soyez-nous Secourables'
• Iphigénie en Tauride, Act I : Recitative, 'Iphigenie, O Ciel'
• Iphigénie en Tauride, Act I : Chor, 'O Songe Affreux'
• Iphigénie en Tauride, Act I : Aria, 'O Toi, Qui Prolongeas Mes Jours'
• Iphigénie en Tauride, Act I : Chor, 'Quand Verrons-nous Tarir Nos Pleurs'
• Iphigénie en Tauride, Act I : Recitative, 'Dieux Le Malheur En Tous Lieux Suit Mes Pas'
• Iphigénie en Tauride, Act I : Aria, 'De Noirs Pressentiments'
• Iphigénie en Tauride, Act I : Chor, 'Les Dieux Apaisent Leur Courroux', Recitative, 'Malheureuse', Chorus, 'Les Dieux Apaisent Leur Courroux', Recitative, 'Dieux Etouffez En Moi Le Cri De La Nature'
• Iphigénie en Tauride, Act I : Chor, 'Il Nous Fallait Du Sang'
• Iphigénie en Tauride, Act I : Ballet
• Iphigénie en Tauride, Act I : Recitative, 'Malheureux, Quel Dessein'
• Iphigénie en Tauride, Act I : Chor, 'Il Nous Fallait Du Sang'
• Iphigénie en Tauride, Act II : Recitative, 'Quel Silence Effrayant'
• Iphigénie en Tauride, Act II : Aria, 'Dieux Qui Me Poursuivez', Recitative, 'Quel Langage Accablant'
• Iphigénie en Tauride, Act II : Aria, 'Unis Des La Plus Tendre Enfance'
• Iphigénie en Tauride, Act II : Recitative, Entrangers Malheureux'
• Iphigénie en Tauride, Act II : Recitative, 'Dieux Protecteurs De Ces Affreux Rivages'
• Iphigénie en Tauride, Act II : Aria, 'Le Calme Rentre Dans Mon Chor'
• Iphigénie en Tauride, Act II : Ballet-Pantomine
• Iphigénie en Tauride, Act II : Chor And Dance, 'Vengeons Et La Nature'
• Iphigénie en Tauride, Act II : Recitative, 'Je Vois Toute L'horreur'
• Iphigénie en Tauride, Act II : Chor, 'Patrie Infortunee'
• Iphigénie en Tauride, Act II : Aria, 'O Malheureuse Iphigenie', Recitative, 'Honorez Avec Moi'
• Iphigénie en Tauride, Act II : Chor, 'Contemplez Ces Tristes Apprets'

• Ouverture
• Act 1, Scene 1 - Choeur "Ah! dans ce bois tranquille"
• Act 1, Scene 1 - Récit 'Vos plaintes, vos regrets' (Orphée)
• Act 1, Scene 1 - Pantomime
• Act 1, Scene 1 - Choeur "Ah! dans ce bois lugubre et sombre"
• Act 1, Scene 1 - Récit "Eloignez-vous" (Orphée)
• Act 1, Scene 1 - Ritournelle
• Act 1, Scene 2 - Récit "Eurydice, Eurydice! Ombre chère" (Orphée)
• Act 1, Scene 2 - Air "Objet de mon amour" (Orphée)
• Act 1, Scene 2 - Récit "Eurydice, Eurydice, de ce doux nom"
• Act 1, Scene 2 - Air "Accablé de regrets"
• Act 1, Scene 2 - Récit "Divinités de l'Achéron"
• Act 1, Scene 3 - Récit "L'Amour vient au secours" (L'Amour)
• Act 1, Scene 3 - Air "Si les doux accords de ma lyre" (L'Amour)
• Act 1, Scene 3 - Récit "Dieux! je la reverrais" (Orphée, L'Amour)
• Act 1, Scene 3 - Air "Soumis au silence" (L'Amour)
• Act 1, Scene 4 - Récit "Qu'entends-je ? Qu'a-t-il dit ?"
• Act 1, Scene 4 - Air "Amour, viens rendre à mon âme"
• Act 2, Scene 1 - Danse des Furies
• Act 2, Scene 1 - Choeur des Furies: "Quel est l'audacieux ?"
• Act 2, Scene 1 - Danse des Furies
• Act 2, Scene 1 - Choeur des Furies (Reprise)
• Act 2, Scene 1 - Air avec choeur "Laissez-vous toucher par mes pleurs"
• Act 2, Scene 1 - Air "La tendresse qui me presse"
• Act 2, Scene 1 - Danse des Furies

• Alceste (Italian version): Act II, Scene 1. "Ferma. Perchè abbandoni"
• Alceste (Italian version): Act II, Scene 1. "Parto, ma senti!"
• Alceste (Italian version): Act II, Scene 2. "Partì, sola restai"
• Alceste (Italian version): Act II, Scene 2. "Chi mi parla?"
• Alceste (Italian version): Act II, Scene 2. "E vuoi morire, oh misera"
• Alceste (Italian version): Act II, Scene 2. "Dunque vieni"
• Alceste (Italian version): Act II, Scene 2. "Uditemi, fermate!"
• Alceste (Italian version): Act II, Scene 2. "Non vi turbate, no"
• Alceste (Italian version): Act II, Scene 2. "Pantomime of the Numi infernali"
• Alceste (Italian version): Act II, Scene 3. "Dal lieto soggiorno"
• Alceste (Italian version): Act II, Scene 3. Dance
• Alceste (Italian version): Act II, Scene 3. "Or che morte il suo furore"
• Alceste (Italian version): Act II, Scene 3. Dance
• Alceste (Italian version): Act II, Scene 3. "Dal lieto soggiorno"
• Alceste (Italian version): Act II, Scene 4. "Signor, mai più sincero"
• Alceste (Italian version): Act II, Scene 5. "Adorata consorte"
• Alceste (Italian version): Act II, Scene 5. "Ah perché con quelle lagrime"
• Alceste (Italian version): Act II, Scene 5. "Consorte! Alceste!"
• Alceste (Italian version): Act II, Scene 5. "No, crudel, non posso vivere"
• Alceste (Italian version): Act II, Scene 6. "Oh tenerezza! oh amore!"
• Alceste (Italian version): Act II, Scene 6. "Oh, come rapida"
• Alceste (Italian version): Act II, Scene 6. "E il cor non mi si spezza!"
• Alceste (Italian version): Act II, Scene 6. "Così bella! Così giovane!"
• Alceste (Italian version): Act II, Scene 6. "Vesta, tu che fosti"
• Alceste (Italian version): Act II, Scene 6. "Oh, come rapida"
• Alceste (Italian version): Act II, Scene 6. "Oh casto, oh caro nuzial mio letto"
• Alceste (Italian version): Act II, Scene 6. "Così bella, così giovane!"
• Alceste (Italian version): Act II, Scene 6. "Regina, ecco I tuoi figli"
• Alceste (Italian version): Act II, Scene 6. "Ah mia diletta madre"
• Alceste (Italian version): Act II, Scene 6. "Figli, diletti figli!"
• Alceste (Italian version): Act II, Scene 6. "Ah, per questo"
• Alceste (Italian version): Act II, Scene 6. "Oh, come rapida"

• Armide: Ouverture
• Armide: Act I Scene 1: I. Duo "Dans un jour de triomphe" (Phénice, Sidonie)
• Armide: Act I Scene 1: II. Air "Je ne triomphe pas" (Armide)
• Armide: Act I Scene 1: III. Duo "Qu'importe qu'un captif manque" (Sidonie, Phénice)
• Armide: Act I Scene 1: IV. Air "Les enfers ont predit cent fois" / Recitative "Un songe affreux" (Armide)
• Armide: Act I Scene 1: V. Air "Vous troublez-vous d'une image legere" (Sidonie)
• Armide: Act I Scene 2: I. Introduction et Recitatif "Armide, que le sang qui m'unit avec vous" (Hidraot)
• Armide: Act I Scene 2: II. Air "Je vois de pres la mort" (Hidraot)
• Armide: Act I Scene 2: III. Air "La chaine de l'hymen m'etonne" (Armide)
• Armide: Act I Scene 2: IV. Air "Pour vous, quand il vous plait" (Hidraot)
• Armide: Act I Scene 2: V. Recitatif "Contre mes ennemis" (Armide, Hidraot)
• Armide: Act I Scene 2: VI. Air "Si je dois m'engager un jour" (Armide)
• Armide: Act I Scene 3: I. Choeur et soli "Armide est encore plus aimable" / "Nos ennemis" / "Suivons Armide, et chantons" (Coryphées, Hidraot, peuples de Damas, Phénice, Sidonie)
• Armide: Act I Scene 3: II. Andante
• Armide: Act I Scene 4: I. Soli et choeur "O ciel! O disgrâce cruelle!" (Aronte, Armide, Hidraot, Sidonie, Phénice, peuples des Damas)
• Armide: Act I Scene 4: II. Choeur "Poursuivons jousqu'au trepas" (Armide, Sidonie, Phénice, Hidraot, Aronte, peuples des Damas)
• Armide: Act II Scene 1: I. Introduction et recitatif "Invincible heros" (Artémidore, Renaud)
• Armide: Act II Scene 1: II. Air "Le Repos me fait violence" (Renaud) / Duo "Fuyez les lieux ou reigne Armide" (Artémidore, Renaud) / Air "J'aime la liberte" (Renaud)
• Armide: Act II Scene 2: I. Introduction et Recitatif "Arretons-nous ici" (Hidraot, Armide)
• Armide: Act II Scene 2: II. Duo et recitative "Esprits de haine et de la rage" / "Dans le piege fatal notre ennemi s'engage" (Armide, Hidraot)
• Armide: Act II Scene 3: I. Air "Plus j'observe ces lieux" (Renaud)
• Armide: Act II Scene 4: I. Trio "Au temps heureux ou l'on sait plaire" (Une Naïade, deux coryphées en écho)
• Armide: Act II Scene 4: II. Choeur avec danse "Ah! Quelle erreur, quelle folie" (Coryphées)
• Armide: Act II Scene 4: III. Moderato
• Armide: Act II Scene 4: IV. Air "On s'etonnerait moins" (Une Bergère)
• Armide: Act II Scene 4: V. Choeur avec danse "Ah! Quelle erreur, quelle folie" Nymphes, bergers, bergères)
• Armide: Act II Scene 5: I. Introduction et Recitatif "Enfin, il est en ma puissance" (Armide)
• Armide: Act II Scene 5: II. Air "Ah! Quelle cruaute de lui ravir le jour!" (Armide)
• Armide: Act II Scene 5: III. Air "Venez, secondez mes desirs" (Armide)
• Armide: Act III Scene 1: I. Air "Ah!. Si la liberte me doit etre ravie" (Armide)
• Armide: Act III Scene 2: I. Duo et Recitatif "Que ne peut point votre art?" / "Votre amitie dans mon sort s'interesse" (Phénice, Sidonie, Armide)
• Armide: Act III Scene 2: II. Air "De mes plus doux regards Renaud sutse defendre" (Armide)
• Armide: Act III Scene 2: III. Trio "Que votre art serait beau!" (Phénice, Sidonie, Armide)
• Armide: Act III Scene 3: I. Air "Venez, venez, Haine implacable!" (Armide)
• Armide: Act III Scene 4: I. Recitatif "Je responds a tes voeux" (La Haine)
• Armide: Act III Scene 4: II. Air et Choeur "Plus on connait l'amour" (La Haine, la suite de la Haine)
• Armide: Act III Scene 4: III. Andante
• Armide: Act III Scene 4: IV. Air et choeur "Amour, sors pour jamais" (La Haine, la suite de la Haine)
• Armide: Act III Scene 4: V. Introduction, Soli et Choeur "Sors, sorsde sein d'Armide" (La Haine, Armide, la suite de la Haine)
• Armide: Act III Scene 4: VI. Solo et Choeur "Suis l'amour, puisque tule veux" (La Haine, la suite de la Haine)
• Armide: Act III Scene 4: VII. Air "O ciel! Quelle horrible menace!" (Armide)

• Ouvertüre zu "Iphigenie auf Tauris" (feat. conductor: Alberto Lizzio)
• Triosonaten für zwei Violinen und Basso Continuo Nr. 1 in C-Dur: Largo
• Triosonaten für zwei Violinen und Basso Continuo Nr. 1 in C-Dur : Presto
• Triosonaten für zwei Violinen und Basso Continuo Nr. 1 in C-Dur : Poco allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 2 in g-Moll: Andante
• Triosonaten für zwei Violinen und Basso Continuo Nr. 2 in g-Moll: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 2 in g-Moll: Menuett
• Triosonaten für zwei Violinen und Basso Continuo Nr. 3 in A-Dur: Andante
• Triosonaten für zwei Violinen und Basso Continuo Nr. 3 in A-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 3 in A-Dur: Minuetto affettuoso
• Triosonaten für zwei Violinen und Basso Continuo Nr. 4 in B-Dur: Andante
• Triosonaten für zwei Violinen und Basso Continuo Nr. 4 in B-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 4 in B-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 5 in Es-Dur: Andante
• Triosonaten für zwei Violinen und Basso Continuo Nr. 5 in Es-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 5 in Es-Dur: Menuett
• Triosonaten für zwei Violinen und Basso Continuo Nr. 6 in F-Dur: Andante
• Triosonaten für zwei Violinen und Basso Continuo Nr. 6 in F-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 6 in F-Dur: Menuett
• Triosonaten für zwei Violinen und Basso Continuo Nr. 7 in E-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 7 in E-Dur: Andante
• Triosonaten für zwei Violinen und Basso Continuo Nr. 7 in E-Dur: Allegro
• Triosonaten für zwei Violinen und Basso Continuo Nr. 8 in F-Dur: Moderato ed espressivo
• Triosonaten für zwei Violinen und Basso Continuo Nr. 8 in F-Dur: Allegro

• Orphée et Eurydice : Ouverture
• Orphée et Eurydice : 'Ah! dans ce bois tranquille'
• Orphée et Eurydice : 'Vos plaintes, vos regrets'
• Orphée et Eurydice : Pantomime
• Orphée et Eurydice : 'Ah! dans ce bois lugubre et sombre'
• Orphée et Eurydice : 'Eloignez-vous'
• Orphée et Eurydice : Ritournelle
• Orphée et Eurydice : 'Eurydice, Eurydice! Ombre chere'
• Orphée et Eurydice : 'Objet de mon amour'
• Orphée et Eurydice : 'Eurydice, Eurydice, de ce doux nom'
• Orphée et Eurydice : 'Accable de regrets'
• Orphée et Eurydice : Divintes de l'Acheron'
• Orphée et Eurydice : 'L'Amour vient au secours'
• Orphée et Eurydice : 'Si les doux accords'
• Orphée et Eurydice : 'Dieux! je la reverrais!'
• Orphée et Eurydice : 'Soumis au silence'
• Orphée et Eurydice : 'Qu'entends-je?'
• Orphée et Eurydice : 'Amour, viens rendre a mon ame'
• Orphée et Eurydice : Danse des Furies
• Orphée et Eurydice : 'Quel est l'audacieux'
• Orphée et Eurydice : Danse des Furies
• Orphée et Eurydice : 'Quel est l'audacieux'
• Orphée et Eurydice : 'Laissez-vous toucher par mes pleurs'
• Orphée et Eurydice : 'Qui t'amene en ces lieux'
• Orphée et Eurydice : 'Ah! la flamme que me devore'
• Orphée et Eurydice : 'Par quels puissants accords'
• Orphée et Eurydice : 'La tendresse que me presse'
• Orphée et Eurydice : 'Quels chants doux et touchants'
• Orphée et Eurydice : Danse des Furies

• Don Juan: Sinfonia
• Don Juan: No. 1. Andante grazioso
• Don Juan: No. 2. Andante
• Don Juan: No. 3. Allegro maestoso
• Don Juan: No. 4. Allegro furioso - Adagio
• Don Juan: No. 5. Allegro forte risultoso - Andante - Allegretto
• Don Juan: No. 6. Risoluto moderato
• Don Juan: No. 7. Gavotte
• Don Juan: No. 8. Brillante
• Don Juan: No. 9. Allegretto
• Don Juan: No. 10. Moderato
• Don Juan: No. 11. Giusto
• Don Juan: No. 12. Allegro - Presto
• Don Juan: No. 13. Andante grazioso
• Don Juan: No. 14. Andante
• Don Juan: No. 15. Presto
• Don Juan: No. 16. Allegretto - Presto - Andante - Tempo primo
• Don Juan: No. 17. Andante
• Don Juan: No. 18. Allegro giusto
• Don Juan: No. 19. Moderato
• Don Juan: No. 20. Andante
• Don Juan: No. 21. Grazioso
• Don Juan: No. 22. Allegretto
• Don Juan: No. 23. Moderato - Presto - Moderato - Presto
• Don Juan: No. 24. Risoluto e moderato
• Don Juan: No. 25. Allegro - Allegro giusto - Allegro
• Don Juan: No. 26. Andante staccato
• Don Juan: No. 27. Allegro
• Don Juan: No. 28. Allegretto
• Don Juan: No. 29. Andante staccato
• Don Juan: No. 30. Larghetto
• Don Juan: No. 31. Allegro non troppo
• Semiramis: Sinfonia
• Semiramis: No. 1. Andante
• Semiramis: No. 2. Allegro
• Semiramis: No. 3. Moderato
• Semiramis: No. 4. Moderato, grazioso
• Semiramis: No. 5. Moderato
• Semiramis: No. 6. Maestoso
• Semiramis: No. 7. Grazioso
• Semiramis: No. 8. Maestoso
• Semiramis: No. 9a. Affettuoso
• Semiramis: No. 9b. Affettuoso
• Semiramis: No. 10. Adagio - Più adagio
• Semiramis: No. 11. Affettuoso
• Semiramis: No. 12. Adagio
• Semiramis: No. 13. Allegro maestoso
• Semiramis: No. 14. Adagio - Allegro - Allegro assai

• Orfeo ed Euridice: Overture
• Orfeo ed Euridice: Act I. "Ah, se intorno a quest'urna funesta"
• Orfeo ed Euridice: Act I. "Basta, basta, o compagni!"
• Orfeo ed Euridice: Act I. Dance: Larghetto
• Orfeo ed Euridice: Act I. "Ah, se intorno a quest'urna funesta"
• Orfeo ed Euridice: Act I. "Chiamo il mio ben così"
• Orfeo ed Euridice: Act I. "T'assiste Amore!"
• Orfeo ed Euridice: Act I. "Gli sguardi trattieni"
• Orfeo ed Euridice: Act I. "Che disse? che ascoltai?"
• Orfeo ed Euridice: Act II. Dance: Maestoso / "Chi mai dell'Erebo"
• Orfeo ed Euridice: Act II. "Deh! placatevi con me"
• Orfeo ed Euridice: Act II. "Misero giovane"
• Orfeo ed Euridice: Act II. Dance: Andante
• Orfeo ed Euridice: Act II. "Che puro ciel, che chioro sol"
• Orfeo ed Euridice: Act II. "Vieni a' regni del riposo"
• Orfeo ed Euridice: Act II. Dance: Andante
• Orfeo ed Euridice: Act II. "Anime avventurose"

• Iphigénie en Aulide : Ouverture
• Iphigénie en Aulide : Acte I, Scène 1. "Diane impitoyable"
• Iphigénie en Aulide : Acte I, Scène 1. "Brillant auteur de la lumière"
• Iphigénie en Aulide : Acte I, Scène 2. "C'est trop faire de résistance"
• Iphigénie en Aulide : Acte I, Scène 2. "D'une sainte terreur" / "Tu veux que par ma main tremblante"
• Iphigénie en Aulide : Acte I, Scène 2. "Nommez-nous la victime"
• Iphigénie en Aulide : Acte I, Scène 3. "Vous voyez leur fureur extrême"
• Iphigénie en Aulide : Acte I, Scène 3. "Peuvent-ils ordonner?"
• Iphigénie en Aulide : Acte I, Scène 3. "Vous oseriez être parjure?"
• Iphigénie en Aulide : Acte I, Scène 4. "Au faîte des grandeurs"
• Iphigénie en Aulide : Acte I, Scène 4. "Dieux cruels!"
• Iphigénie en Aulide : Acte I, Scène 4. "Que d'attraits!" / "Que d'attraits!"
• Iphigénie en Aulide : Acte I, Scène 5. "Que j'aime à voir ces hommages flatteurs"
• Iphigénie en Aulide : Acte I, Scène 5. "Demeurez dans ces lieux"
• Iphigénie en Aulide : Acte I, Scène 5. "Non, jamais"
• Iphigénie en Aulide : Acte I, Scène 5. "Les vœux dont ce peuple m'honore"
• Iphigénie en Aulide : Acte I, Scène 5. "Mouvement de passepied"
• Iphigénie en Aulide : Acte I, Scène 6. "Allez, il faut venger notre gloire offensée"
• Iphigénie en Aulide : Acte I, Scène 6. "Armez-vous d'un noble courage"
• Iphigénie en Aulide : Acte I, Scène 7. "L'ai-je bien entendu?"
• Iphigénie en Aulide : Acte I, Scène 7. "Hélas! mon cœur sensible!"
• Iphigénie en Aulide : Acte I, Scène 8. "En croirai-je mes yeux?"
• Iphigénie en Aulide : Acte I, Scène 8. "Iphigénie, hélas!"
• Iphigénie en Aulide : Acte I, Scène 8. "S'il est vrai"
• Iphigénie en Aulide : Acte I, Scène 8. "Cruelle, non jamais"
• Iphigénie en Aulide : Acte I, Scène 8. "Mon trouble, mes soupçons"
• Iphigénie en Aulide : Acte I, Scène 8. "Ne doutez jamais de ma flamme"
• Iphigénie en Aulide : Acte II, Scène 1. "Rassurez-vous, belle Princesse" / "Vous essayez en vain" / "Rassurez-vous, belle Princesse" / "Vous essayez en vain"
• Iphigénie en Aulide : Acte II, Scène 1. "Par la crainte et par l'espérance"
• Iphigénie en Aulide : Acte II, Scène 2. "Ma fille, votre hymen s'apprête" / Scène 3. "Les auteurs de vos jours"
• Iphigénie en Aulide : Acte II, Scène 3. Marche
• Iphigénie en Aulide : Acte II, Scène 3. "Rival de ma valeur"
• Iphigénie en Aulide : Acte II, Scène 3. "Chantez, célébrez votre reine"
• Iphigénie en Aulide : Acte II, Scène 3. "Achille est couronné"
• Iphigénie en Aulide : Acte II, Scène 3. "Ami sensible, ennemi redoutable"
• Iphigénie en Aulide : Acte II, Scène 3. Danse : Air gai
• Iphigénie en Aulide : Acte II, Scène 3. Ballet : Passacaille

• Iphigénie en Tauride: Act I, Scene 1. Introduction et choeur "Grands Dieux! soyez-nous secourables"
• Iphigénie en Tauride: Act I, Scene 1. Récitatif "Iphigénie, ô ciel!" / Choeur "Ô songe affreux!" / Récitatif "Ô race de Pélops"
• Iphigénie en Tauride: Act I, Scene 1. Air "Ô toi qui prolongeas mes jours" / Choeur "Quand verrons-nous tarir nos pleurs?"
• Iphigénie en Tauride: Act I, Scene 2. Récitatif "Dieux! le malheur en tous lieux suit mes pas" / Air "De noirs pressentiments"
• Iphigénie en Tauride: Act I, Scene 3. Choeur "Les Dieux apaisent leur courroux" / Récitatif "Dieux! étouffez en moi" / Scene 4. Récitatif "Et vous, à vos Dieux tutélaires" / Choeur "Il nous fallait du sang"
• Iphigénie en Tauride: Act I, Scene 4. Ballet / Scene 5. Choeur "Il nous fallait du sang"
• Iphigénie en Tauride: Act II, Scene 1. Récitatif "Quel silence effrayant!"
• Iphigénie en Tauride: Act II, Scene 1. Air "Dieux qui me poursuivez" / Récitatif "Quel langage accablant"
• Iphigénie en Tauride: Act II, Scene 1. Air "Unis dès la plus tendre enfance"
• Iphigénie en Tauride: Act II, Scene 2. Récitatif "Etrangers malheureux" / Scene 3. Récitatif "Dieux protecteurs"
• Iphigénie en Tauride: Act II, Scene 3. Air "Le calme rentre dans mon cœur"
• Iphigénie en Tauride: Act II, Scene 4. Pantomime / Choeur et danse "Vengeons et la nature et les Dieux"
• Iphigénie en Tauride: Act II, Scene 5. Récitatif "Je vois toute l'horreur" / Scene 6. Choeur "Patrie infortunée"
• Iphigénie en Tauride: Act II, Scene 5. Air et choeur "Ô malheureuse Iphigénie!!"
• Iphigénie en Tauride: Act II, Scene 5. Récitatif "Honorez avec moi ce héros" / Choeur "Contemplez ces tristes apprêts" / Air "Ô mon frère"

• Act I - Oh, wenn in diesen dunklen Hainen
• So klag' ich ihren Tod
• Grausame Götter!
• Deines Harfenspiels Harmonien
• Mit Freuden den Willen der Götter erfüllen
• Act II - Wer ist der Sterbliche?
• Ach, erbarmt euch mein
• Sein sanftes Trauerlied
• Furientanz
• Reigen der seligen Geister
• Diese Augen sind seligem Frieden und der Ruhe nur geweiht
• Oh sel'ge, beglückte Schatten
• Komm und vertrau meiner Treue
• Welch' grausame Wandlung
• Ach, welch schreckliche Prüfung!
• Ach, Ich habe sie verloren
• So mag der tiefe Schmerz mit meinem Leben enden!
• Triumph sei Amor

• Bauci e Filemone: Atto di Aristeo: Introduzione
• Bauci e Filemone: Atto di Aristeo: Recitativo e dovro sempre
• Bauci e Filemone: Atto di Aristeo: Recitativo popoli a lui soggetti
• Bauci e Filemone: Atto di Aristeo: Aria ati, quell'alma agitata
• Bauci e Filemone: Atto di Aristeo: Recitativo si vezzosa cidippe
• Bauci e Filemone: Atto di Aristeo: Recitativo o del patria peneo
• Bauci e Filemone: Atto di Aristeo: Aria cidippe, tu sei madre
• Bauci e Filemone: Atto di Aristeo: Recitativo cosi risponde
• Bauci e Filemone: Atto di Aristeo: Aria cirene, nocchier che in mezzo all'onde
• Bauci e Filemone: Atto di Aristeo: Recitativo impaziente attendo
• Bauci e Filemone: Atto di Aristeo: Cavatina aristeo, numi offesi, ombre sdegnate
• Bauci e Filemone: Atto di Aristeo: Sinfonia
• Bauci e Filemone: Atto di Aristeo: Recitativo meco venite, amici
• Bauci e Filemone: Atto di Aristeo: Coro, del figlio d'apollo
• Bauci e Filemone: Atto di Aristeo: Recitativo tuona il cielo a sinistra
• Bauci e Filemone: Atto di Aristeo: Aria aristeo, cessate, fuggite
• Bauci e Filemone: Atto di Aristeo: Coro, eccheggiar s'odano
• Bauci e Filemone: Atto di Aristeo: Recitativo d'aristene I presagi
• Bauci e Filemone: Atto di Aristeo: Recitativo fra le tue braccia, o madre
• Bauci e Filemone: Atto di Aristeo: Terzetto cirene, cidippe, aristeo, fosti ognor l'amato bene
• Bauci e Filemone: Atto di Aristeo: Coro, accompagni la coppia felice

• ouverture
• choeur
• choeur
• air
• pantomime
• recitatif
• recitatif
• recitatif
• recitatif
• recitatif
• solo
• air
• choeur
• ballet
• recitatif
• recitatif

Born: 1714-07-02

Died: 1787-11-15

• timeline:
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• 2004
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• timeline:
• 2012
• 2011
• 2010
• 2009
• 2008
• 2007
• 2006
• 2005
• 2004
• 2003
• 2002
• 2001