recency, and scholarly approach. Covers genesis of The Beggar’s Opera,its
reception, and its place in theater history; also deals with other works by Gay.
Backnotes, expansive index, no bibliography.- Benini, Aroldo. L’operosa dimensione scapigliata di Antonio Ghislanzoni. Atti
del Convegno di Studi svoltosi a Milano, a Lucca, a Caprena Bergamasco nel-
l’autunno 1993. Milan: Istituto per la Storia del Risorgimento Italiano, 1995.
277p.
Papers dealing with the life and varied output of Ghislanzoni, who is mostly
remembered for the libretto to Aida. - Gossett, Philip. “Verdi, Ghislanzoni, and Aida: The Uses of Convention.”
Critical Inquiry1 (1974): 291–334.
A look at the genesis of the libretto, through the extensive correspondence (35
letters from Verdi to Ghislanzoni). Since the letters were published in the
wrong order in the Copialettere(#1813), Gossett organizes them into chrono-
logical sequence. - Emery, Ted.Goldoni as Librettist: Theatrical Reform and the “drammi giocosi
per musica.” New York: Peter Lang, 1991. xxvii, 237p. ISBN 0-8204-1230-9.
PQ4699 .E53.
A consideration of Goldoni’s early intermezzi, his “reform and counter-reform
libretti, 1748–1783,” comic operas, and Arcadian themes. With long accounts
of individual works, concentrating entirely on the texts. Backnotes, bibliogra-
phy of about 150 items, no index. - Mangini, Nicola. Bibliografia goldoniana, 1908–1957.Venice: Istituto per la
Collaborazione Culturale, 1961. 465p. PQ4697.5 .M3.
A continuation of Arnaldo della Torre, Saggio di una bibliografia delle opere
intorno a Carlo Goldoni, 1793–1907(Florence, 1908), giving 276 Italian edi-
tions of individual works; some 300 translations (arranged by language); and
literature about Goldoni (by year and author), covering 225 pages. No anno-
tations and a strikingly poor index. - Tocchini, Gerardo. “Libretti napoletani, libretti tosco-romani: Nascita della
commedia per musica goldoniana.” Studi musicali 26 (1997): 377–416.
Goldoni wrote 55 comic libretti from 1735 to 1779; they are listed here. Only
one dates from the period 1737–1748, the writer having fled Venice in 1743 to
avoid debtors’ prison. He practiced law in Pisa and Florence to 1748, then
returned to Venice and back to his texts. Tocchini considers the influence of
Gennarantonio Federico (librettist for Pergolesi and a leader in developing the
Neapolitan buffalibretto) on Goldoni. While in Florence Goldoni heard his
operas, and they formed an “apprenticeship” for his new mature style. - Heartz, Daniel. “Vis comica: Goldoni, Galuppi, and L’Arcadia in Brenta.” In
Muraro (#2576), 2, 33–73.
Galuppi’s comic opera L’arcadia in Brenta(Venice,1749) was the first of a
series he wrote with Goldoni. Heartz gives background on Venetian opera of
Libretti and Librettists 57