Individual Works
La fida ninfa
See #1952.
Il Giustino
See Strohm (#986).
Griselda
- Hill, John W. “Vivaldi’s Griselda.” JAMS31 (1978): 53–82. Reprinted in GL,
v.11.
Genesis, showing the adaptation by Goldoni of the original libretto by Apos-
tolo Zeno and the source in Boccaccio. The singer Anna Giro had some influ-
ence over the alterations, and the article deals with her contribution and
career.
See also #1952.
L’Olimpiade
See #1952.
Orlando
- Hill, John W. “Vivaldi’s Orlando: Sources and Contributing Factors.” In
Opera and Vivaldi(#1951).
Genesis, identifying all literary and musical sources. The libretto (after
Ariosto) was by Grazio Braccioli, whose text had been set by Giovanni Alberto
Ristori and produced by Vivaldi in Venice with some numbers of his own. In
later versions, more of the music was by Vivaldi, and in 1727 he wrote a new
score. This is all sorted out clearly by Hill.
See also #1952.
Tamerlano (Bajazet)
- Cross, Eric. “Vivaldi and the Pasticcio: Text and Music in Tamerlano.” In
“Con che soavità”(#2461), 275–311.
Vivaldi’s choice of material was sometimes a result of the singer involved or
the stimulus of a similar dramatic situation. He borrowed from himself and
other composers. Useful diagrams illustrate how certain singers came to domi-
nate in various settings (getting more arias and more time on stage). Footnotes
to the relevant pasticcio literature.
See also #1952.
Georg Joseph Vogler (1749–1814)
In GO: Der Kaufmann von Smyrna,v.8, and Lampedo,v.9.
364 Opera