- Mariano, Emilio. “Felice Romani e il melodramma.” In Opera and Libretto I
(#220), 165–209.
Biographical highlights on Romani; his implementation, with Bellini, of
reform principles in Il pirata(1827). The aim was to simplify the dramatic
structure and metrical elements. Normawas a model of reformed melodra-
maturgy. - Roccatagliati, Alessandro. “Felice Romani, Librettist by Trade.” COJ8-2
(July 1996): 113–146.
Describes Romani’s collaborations with impresarios, composers, singers,
administrators, stage designers, and journalists; success depended on smooth
relationships in all these areas. His specific works are discussed in this sense,
along with a useful account of the early-19th-century libretto. With 53 foot-
notes as guides to the earlier literature and relevant documents. - Rinaldi, Mario. Felice Romani dal melodramma classico al melodramma
romantico.Rome: De Santis, 1965. 533p. ML423 .R76 R58.
A footnoted life and works, with a list of the libretti, list of composes who
worked with Romani, and his own worklist. Minor bibliography, no index. - Murata, Margaret K. “Rospigliosiana, ovvero gli equivoci innocenti.” Studi
musicali1975: 130–143.
Rospigliosi wrote the texts for 11 operas staged in Rome. They are described
here, with Roman sources for them. Attribution problems are discussed, and
some are cleared up. - Murata, Margaret K. “Il carnevale a Roma sotto Clemente IX Rospigliosi.”
RIM12 (1977): 83–99.
Rospigliosi was pope in 1668–1669. This is a detailed view of the events and
festivals promoted by the pontiff, with descriptions of scenery, costumes, fur-
nishings, dancing, and performers. The 1669 festival is credited by Murata
with bringing on a resurgence of operatic life in Rome. Full documentation.
See also Murata (#446).
- Honolka, Kurt. Papageno: Emanuel Schikaneder, Man of the Theater in
Mozart’s Time. Trans. Mary Wilde; ed. Reinhard G. Pauly. Portland, Ore.:
Amadeus, 1990. 236p. ISBN 0-9313-4021-7. ML423 .S346 H613.
Schikaneder’s career is presented in a rich cultural context, organized around
the cities and theaters he worked in. The economic conditions of performers
are discussed. Influences on Schikaneder, as well as synopses of his plays and
libretti. Honolka raises the question: Is Die Zauberflötegreat because of
Schikaneder or in spite of him? Much on genesis and sources of the opera.
Analysis of its libretto shows variants from both Viennese and Italian comic
conventions. Worklist, bibliography, index.
See also Batley (#1333).
Libretti and Librettists 61