source was a play by J. A. F. Ancelot and J. Y. Bonface Saintine, Têtes rondes et
cavaliers(1833). The similarities among these works are carefully laid out.La sonnambula
ASO178 (1997).
- Degrada, Francesco. “Prolegomeni a una lettura della Sonnambula.” In Il
melodramma italiano dell’ottocento: Studi e ricerche per Massimo Mila,319–
350 (Turin: Einaudi, 1977. ML1733.4 .M5).
Genesis of the libretto and program notes on the music. Useful citations of ear-
lier writings about the opera; 13 musical examples.
La straniera
ERO,v.2.
- Lippmann, Friedrich. “Su La straniera.” NRMI5 (1971): 565–605.
Genesis, reception, and analysis. Finds more merit than most commentators
have in this transition opera, citing some experimental ideas not repeated in
Bellini’s later works.
Georg Anton Benda (1722–1795)
Ariadne auf Naxosis in GO,v.4, and Romeo und Julieis in GO,v.5.
- Garrett, Edith Vogl. “Georg Benda, the Pioneer of the Melodrama.” In Studies
in Eighteenth-Century Music(#73), 236–242.
Considers Benda “the most successful composer of modern melodrama”
(which is a recitation accompanied by the orchestra). His Medeaand Ariadne
auf Naxoswere praised by Mozart. Benda’s orchestra engaged in word-painting;
he “reveled in expressing pathos.” Discusses the influence of the melodrama
on Die Zauberflöte, Fidelio, Der Freischütz,and others. - Bauman, Thomas. “Benda, the Germans, and Simple Recitative.” JAMS 34
(1981): 119–131.
Discusses an article published by Benda in 1783 or perhaps as early as 1776
(and reprints it in English). The controversy of that time in German opera was
whether to keep spoken dialogue or switch to recitative in the Italian seria
manner. Benda was opposed to simple recitative. A useful account of the aes-
thetic dispute is given, with full documentation. - Brückner, Fritz. Georg Benda und das deutsche Singspiel.Leipzig: Breitkopf
und Härtel, 1904. Also in SIMG5 (1903–1904): 571–621.
A detailed account of the emergence of Singspiel. Distinguishes between melo-
drama (opera) and monodrama (which puts music in a subsidiary, accompany-
ing role). Benda’s were monodrama. Descriptions of Ariadne auf Naxos,
Medea,and several of his Singspiele. Program notes and performance histo-
ries, appendix of Benda’s letters.
Georg Anton Benda 117