- Lippmann, Friedrich. “Haydns opere serie: Tendenzen und Affinitäten.” Studi
musicali12 (1983): 301–331.
Considers Haydn’s affinity for Italian types of serious opera to have been use-
ful in forming his individuality as a musical dramatist. Criticizes modern crit-
ics who have found fault with Haydn for his Italianate tendencies. - Lippmann, Friedrich. “Haydn und die opera buffa: Vergleiche mit italienis-
chen Werken gleichen Textes.” In Joseph Haydn: Tradition(#1013), 113–140.
The three comic operas by Haydn are compared with those of similar texts by
Italian composers Piccinni, Cimarosa, and Paisiello. Haydn’s settings tend to
have more serious elements, less broad humor, and fewer buffaclichés. - Lawner, George. “Form and Drama in the Operas of Joseph Haydn.” Ph.D.
diss., U. of Chicago, 1959. 241p. - Hunter, Mary K. “Haydn’s Aria Forms: A Study of the Arias in the Italian Operas
Written at Esterháza, 1766–1783.” Ph.D. diss., Cornell U., 1982. xv, 550p. - Hunter, Mary K. “Haydn’s Sonata-Form Arias.” Current Musicology37/38
(1984): 19–32.
Melodic and structural analysis of selected arias, comparing them to instru-
mental compositions. Despite the difference of media, there are strong similar-
ities in such areas as thematic development. - Hunter, Mary K. “Text, Music, and Drama in Haydn’s Italian Opera Arias:
Four Case Studies.” JM7 (1989): 29–57.
Takes two buffaarias and two seriaarias and considers their form in relation
to the dramatic situations involved. The serious roles seem more associated
with the sonata form. - Wirth, Helmut. Joseph Haydn als Dramatiker: Sein Bühnenschaffen als
Beitrag zur Geschichte der deutschen Oper.Wolfenbüttel: Georg Kallmeyer, - 197p. ML410 .H4 W5.
A wide-ranging study, dealing with opera background in Vienna, Italian influ-
ences, comparisons with Gluck, structure, style, characterization, and dra-
maturgy. Extensive lists of manuscripts, printed materials, and other sources. - Badura-Skoda, Eva. “Haydns Opern: Anmerkungen zur Aufführungspraktis-
chen Problemen der Gegenwart.” Oesterreichisches Musikzeitung 37:3/4
(March–April 1982): 162–167.
Outlines the performance problems faced by today’s directors and singers: the
roles are as difficult to sing as Mozart’s, tempo and dynamics are not estab-
lished, ornamentation practice is not always clear, cadenzas have to be accom-
modated to the style of works in different periods. Haydn met similar
challenges in his own productions. - Steblin, Rita. “Key Characteristics and Haydn’s Operas.” In Joseph Haydn:
Bericht(#1012), 91–100.
Examines ideas of Haydn’s time about keys and their effects and relates those
thoughts to actual practice in Haydn’s works. Finds him to be flexible in such
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