Not seen. The theater was a poor rival to La Scala but did have premieres of
La sonnambulaand Anna Bolena.- Paglicci Brozzi, Antonio. Il Regio Ducal Teatro di Milano nel secolo XVIII.
Milan: Ricordi, 1894. 129p. ML1733.8 .M5 P3.
A history of the theater, with detailed chronology. - Viale Ferrero, Mercedes. “Torino e Milano nel tardo settecento: Repertori a
confronto.” In I vicini di Mozart(#90), v.1, 99–138.
Considers operas performed at La Scala and the Teatro Canobbiana in Milan,
and at the Teatro Regio and Teatro Carignano in Turin, for the period 1778– - There was little overlapping of repertoire between the two cities. Of 282
comic operas given in one or the other city, only 95 were staged in both. And
there was little concordance in opera seriaeither. Economic and political rea-
sons are proffered, along with full chronologies for the four theaters.
Modena
- Tardini, Vincenzo. I teatri di Modena.Modena: Gorghieri, Pellequi,1899–1902.
3v. Supplement (1903) bound in v.3. ML1733.8 .M6 T2.
The first two volumes are concerned with spoken dramas, the third is about
opera. Chronology from 1594 (Orazio Vecchi’s madrigal-comedy, L’Amfipar-
naso)to 1903, with casts. Name and title index. Earlier years are tabulated in
Alessandro Gandini, Cronistoria dei teatri di Modena dal 1539 al 1871(Mod-
ena: Tipografia Sociale, 1873; 3v.). - Gherpelli, Giuseppe. L’opera nei teatri di Modena.Modena: Artioli, 1988.
298p. ML1733.8 .M6 G43.
An illustrated narrative of the stage, with a chronology of each theater. Bibli-
ography, index of names and titles.
Naples (Napoli; German: Neapel)
- Degrada, Francesco. “L’opera napoletana.” In Barblan (#76), part 1, v.1, 237–
The best recent study of opera in Naples and the operatic style associated with
its composers. Covers terminology, theaters, management, conservatories,
social aspects, composers, and technical elements of the works.
- Downes, Edward O. D. “The Neapolitan Tradition in Opera.” In Report of
the Eighth Congress of the International Musicological Society, New York,
1961,ed. Jan La Rue, 277–284 (Kassel: Bärenreiter, 1961).
The designation “Neapolitan school” was long applied to operas by com-
posers of Naples (among them Porpora, Vinci, Leo, Pergolesi, Traetta, Pic-
cinni, Sacchini, Paisiello, Alessandro Scarlatti, and Cimarosa) in the 18th
century. Downes questioned the validity of this concept, and other scholars
have followed. It is not clear whether Neapolitan composers had a style distin-
guishable from that of other regions.
Italy 469