1 (return)
[ It is not known when this term came into use—both before and after others were customary: Dramma musicale, dramma per musica, melodramma [Footnote Menestrier]. Des reprÉsentations en musique (Paris, 1684), p. 248.]

2 (return)
[ Rochlitz, FÜr Freunde d. Tonk., I., p. 262. Winterfeld, Gabrieli, II., p. 12. Kiesewetter, Schicks. d. welt. Gesanges, p. 24. E. O. Lindner, Zur Tonkunst, p. 1.]

3 (return)
[ "Daphne" was adapted by Opitz, and composed by H. SchÜtz as the first German opera; it was performed in Torgau, 1627 (FÜrstenau, Zur Gesch. d. Musik in Dresden, I., p. 97).]

4 (return)
[ Æsthetic criticism forms the chief part of Steff. Arteagas' well-known work, Le Rivoluzioni del Teatro Musicale Italiano (Bologna, 1783-88. Ven., 1785, three vols.; translated by Forkel. Leipzig, 1782. 8). Less authentic are G. W. Fink, Wesen u. Gesch. d. Oper (Leipzig, 1835), G. Hogarth's Memoirs of the Opera (Lond., 1855), S. Edwards' History of the Opera (London, 1862).]

5 (return)
[ Cf. Winterfeld, Zur Gesch. heil. Tonkunst, II., p. 337,]

6 (return)
[ An old copy of his Telemacco indicates it as "opera centesima nona, recitata in Capranica l'anno 1718."]

7 (return)
[ Villarosa, Memoria dei Compositori di Musica del Regno di Napoli (Neap. 1840).]

8 (return)
[ Ant. Groppo, Catal. di tutti Drammi per Musica recitati ne' Teatri di Venezia dell' a 1637-1745 (Ven., 1745).]

9 (return)
[ [Al. Machiavelli] Serie cronologica dei Drammi recitati su de' publ. Teatri di Bologna dell' a 1600-1737 (Bol.f 1737).]

10 (return)
[ Burney, Reise, I., p. 293. Cramer, Magaz. f. Mus., II., p. 50. Kelly, Remin., I., p. 65.]

11 (return)
[ An account of the scheme of Italian opera is given in the Lettre sur le MÉcanisme de l'OpÉra Italica (Naples, 1756).]

12 (return)
[ Many interesting remarks may be found in Vine. Manfredini's Regole Armoniche (Veo., 1797), IV., 6, p. 119, dello stile serio.]

13 (return)
[ Metastasio, Opp. post., I., p 357.]

14 (return)
[ J. Brown, Letters upon the Poetry and Music of the Italian Opera (Edinb., 1789), p. 29.]

15 (return)
[ Goldoni enumerates the practical directions given to him for writing an operatic libretto. MÉm., I., p. 102.]

16 (return)
[ Mancini gives an account of the more important among them. Rifl. prat, sul canto fig., p. 14.]

17 (return)
[ Even in 1752 Metastasio bitterly complains of this perversion of dramatic] Binging (Opp. post., II., pp. 94, 99, 215, 330).]

18 (return)
[ GrÉtry declares that he once saw a singer go behind the scenes to suck an orange, while another on the stage continued to address him as though he were present (MÉm., I., p. 119).]

19 (return)
[ GrÉtry, MÉm., I., p. 114.]

20 (return)
[ Arteaga (cap. 12) gives a graphic account of the downfall of the opera, which had been incessantly bewailed ever since the publication of Marcello's bitter satire, Il Teatro alla modo (Ven., 1722, 1738). Cf. Le Brigandage de la Musique Italienne (Amst., 1780).]

21 (return)
[ Raguenet (ParallÈle des Italiens et des FranÇois, 1702, § 26, in Mattheson's Musik. Kritik, I., p. 141).]

22 (return)
[ Metastasio, Opp. post., II., p. 145.]

23 (return)
[ Metastasio, Opp. post., I., p. 282.]

24 (return)
[ Arteaga, Rivol., 13 t., II., p. 172 (II., p. 239, trans.), contradicted by Manfredini (Dif. d. Mus. Med., p. 128. Cf. Rousseau, Dictionn. de Mus., Ouverture. Weber, Hinterl. Schr., I., p. 68).]

25 (return)
[ Rousseau, Diet, de Mus., Orchestre. Kandler, Vita di Hasse, I. Furstenau, Zur Gesch. d. Mus. in Dresden, II., p. 290.]

26 (return)
[ Sacchi, Vita di C. Broschi (Ven., 1784), p. 8. Burney, Reise, I., p. 153.]

27 (return)
[ Ap. Zeno, Lettres, IV., p. 21.]

28 (return)
[ Arteaga, Rivol., 10, I., p. 67 (II., p. 56).]

29 (return)
[ Metastasio, Opp. post., II., p. 409.]

30 (return)
[ GrÉtry, MÉm., I., p. 114.]

31 (return)
[ Cf. Arteaga, I., p. 69 (II., p. 58). Goldoni, MÉm., I., p. 176.]

32 (return)
[ Arteaga's criticism (Le Riv., c. 11) is in the main correct. Hiller's (Ueber Metastasio u. seine Werke. Leipzig, 1786) is far more partial. See also Rousseau, Dictionn. de Mus., GÉnie; Jacobs Nachtr. zu Sulzer, III., p. 95; Herder, Briefe z. Bef. d. Hum., VII., p. 117; A W. Schlegel, Vorles, 16 W, V., p. 350.]

33 (return)
[ Karajan, Aus Metastasio's Hofleben (Vienna, 1861).]

34 (return)
[ Burney remarks how the character of Metastasio is 'displayed in all his works (Reise, II., p. 170).]

35 (return)
[ Metastasio, Opp. post., I., p. 384.]

36 (return)
[ He mentions trifling compositions (Opp. post., I., pp. 386, 402); some are printed—e.g., 36 Canoni (Vienna Artaria, 1782).]

37 (return)
[ Metastasio, Opp. post., I., p. 384.]

38 (return)
[ Metastasio, Opp. post., II., p. 47.]

39 (return)
[ Metastasio, Opp. post., II., p. 329. Cf. Mancini, Rifl. prat, sul canto fig., p. 234. Goldoni, MÉm., I., 20, p. 110. Hagedom was of opinion that some of Metastasio's operas were perfect tragedies (Werke, V., p. 113), and Bodmer agreed with him (Ibid., p. 184).]

40 (return)
[ Metastasio, Opp. post., II., p. 355. In an interesting letter to Hasse (Opp. post., I., p. 344), he dissects his Attilio Regolo, which Hasse was about to compose, so that he may grasp the musical characteristics; he enters into detail so minutely as to leave no doubt of his familiarity with musical technicalities.]

41 (return)
[ Metastasio, Opp. post., II., pp. 38, 355.]

42 (return)
[ Ap. Zeno writes in his own justification (Lett., III., p. 91): "Ho caricata poi l' opera di sentiment!, poichÈ questi sono ciÖ che piÙ piace alla Corte e mas-simamente al Padrone." Metastasio complains of Farinelli's writing an opera for the court ladies, who would only play virtuous parts (Opp. post., II., p. 39).]

43 (return)
[ Zeno (Lett., II., p. 413; VI., pp. 100, 194, 287) and Metastasio (Opp. post., II., III., p. 164) complain bitterly of this. As an instance: to a finished opera for five characters a sixth was required to be added (Opp. post., II., p. 37).]