matters. With an interesting table of key characteristics as found in four con-
temporary composers.- Clark, Caryl Leslie. “The opera buffaFinales of Joseph Haydn.” Ph.D. diss.,
Cornell U., 1991. xi, 447p. - Debly, Patricia Anne. “Joseph Haydn and the dramma giocoso.” Ph.D. diss.,
U. of Victoria, 1993. ix, 389p.
See also Heartz (#2134).
Individual Works
Armida
- Rice, John A. “Sarti’s Giulio Sabino, Haydn’s Armida,and the Arrival of opera
seriaat Esterháza.” Haydn Yearbook15 (1985): 181–198.
Opera seria,although popular elsewhere, was slow to reach Vienna, Paris, or
Esterháza. Giulio Sabino,by Giuseppe Sarti (1781), was the first to be staged
in Esterháza, in 1783. It is thoroughly discussed here and shown to have influ-
enced Haydn’s first effort in the genre, Armida. - McClymonds, Marita P. “Haydn and the opera seriaTradition: Armida.” In
Napoli e il teatro(#2534), 191–206.
Compares Haydn’s setting of the story with versions of Anfossi, Jommelli, Sac-
chini, and Cherubini. Haydn’s had the fewest stage effects and no ballet. He
shared with those Italian composers a “formal and stylistic tradition,” but
many differences are found. Key relations and instrumentation are given spe-
cial attention.
Il mondo della luna
- Thomas, Günter. “Observations on Il mondo della luna.” In Haydn Studies
(#1011), 144–147.
A concise but varied approach to the opera, considering alternate versions,
sources, later borrowings, and preparations for the premiere. - Thomas, Günter. “Zu Il mondo della lunaund La fedeltà premiata: Fassungen
und Pasticcios.” Haydn-Studien2 (1969/1970): 122–126.
Offers evidence that the second version of Il mondowas the one performed at
the premiere in 1777 and examines different settings of the same arias. Sug-
gests that personnel changes required alterations in La fedeltà.
Orlando paladino
ASO42 (1982).
La vera costanza
- Melkus, Eduard. “Haydn als Dramatiker am Beispiel der Oper La vera
costanza.” In Joseph Haydn: Bericht(#1012), 256–276.
Praises the dramaturgy of the work and compares Haydn’s theatrical craft
with Mozart’s. Argues that the Haydn operas are worthy to stand beside his
202 Opera