the first Italian opera performed in English in Britain, at Covent Garden. [It
was also the first opera staged in Africa and in Asia.] Holmes notes the changes
in story and character through the various versions.- Schmierer, Elisabeth. “Piccinni’s Iphigénie en Tauride: ‘chant périodique’and
Dream Structure.” COJ4-2 (July 1992): 91–118.
Piccinni’s arias represent the form ideal of his time, referred to as chant péri-
odique. He was more concerned with “the shape of an entire aria” than with
strictly musical procedures. Schmierer compares a scene from this opera with
the parallel scene in Gluck’s setting. The two operas were the focus of the
querelle(see #2257ff. and Rushton, #904). Another comparison of the Gluck-
Piccinni versions is in Francesco Degrada, “Due volti di Ifigenia,” Chigiana 32
(1975): 165–233. - Allroggen, Gerhard. “Piccinnis Origille.” Analecta musicologica15 (1975):
258–297.
A long synopsis of the comic opera, premiered at the Teatro Nuovo, Naples, in - Technical observations on aria form, orchestral music, and key rela-
tions, with extended musical examples.
See also Henze-Döhring (#1307).
Ildebrando Pizzetti (1880–1968)
- Pizzetti, Bruno. Ildebrando Pizzetti: Cronologia e bibliografia. Parma: La
Pilotta, 1980. 531p. No ISBN. ML410 .P7 P7.
A detailed life chronology, with a thorough worklist. References to reviews of
performances and other notices. Name index. - Gatti, Guido Maria. Ildebrando Pizzetti.Trans. David Moore. London: D.
Dobson, 1951. 124p. ML410 .P7 G2.
First Italian edition, 1934; second edition (Turin: Parovia, 1955). A life and
works, with p.15–61 on the operas. Genesis and program notes, with some
technical comments and musical examples. Worklist, bibliography, no index. - Santi, Piero. “Il mondo della Dèbora.” Rassegna musicale32 (1962): 151–168.
Genesis of the opera Dèbora e Jaéle,with technical notes on the music.
Carlo Francesco Pollarolo (ca. 1653–1722)
- Termini, Olga Ascher. “Carlo Francesco Pollarolo: His Life, Time, and Music,
with Emphasis on the Operas.” Ph.D. diss., U. of Southern California, 1970.
728p. - Termini, Olga Ascher. “Carlo Francesco Pollarolo: Follower or Leader in
Venetian Opera?” Studi musicali8 (1979): 233–272.
Late baroque Italian opera had a stylistic change, from Venetian to the
Neapolitan tradition. The complete picture of the transition is missing because
individual composers need to be studied. Pollarolo is among the neglected.
Termini offers “a corrected biography and an overview of Pollarolo’s operatic
Carlo Francesco Pollarolo 271