By Ian Woodfield
The Italian opera corporation in Prague controlled via Pasquale Bondini and Domenico Guardasoni performed a vital position in selling Mozart's operas in the course of the ultimate years of his lifestyles. utilizing a variety of fundamental assets which come with the excellent collections of eighteenth-century opera posters and live performance programmes in Leipzig and the Indice de' teatrali spettacoli, an almanac of Italian singers and dancers, this learn examines the once a year schedules, recruitment networks, casting rules and repertoire decisions of this significant corporation. Woodfield indicates how Italian-language performances of Figaro, Don Giovanni, Così fan tutte and l. a. clemenza di Tito flourished alongside the well known cultural axis linking Prague in Bohemia to Dresden and Leipzig in Saxony. the real half performed by way of live performance performances of operatic arias within the early reception of Mozart's works can be mentioned and new info is gifted in regards to the reception of Josepha Duschek and Mozart in Leipzig.
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Additional resources for Performing Operas for Mozart: Impresarios, Singers and Troupes
10. 7 (1784), IV, 104: ‘Die Gesellschaft hat an Herrn Hurka einen vortreflichen Tenoristen, an Herrn Günther einen bekanntlich braven komischen Sänger und Schauspieler, an Herrn Zucker einen recht guten Bassisten, so wie an Herrn Wagner einen guten Schauspieler für Bauern und komische Alte, der zugleich nicht übel singt. 1 (1784), 42. 2 (1785), 58: ‘Am 12ten eine Operette, von Bretzner, die Entführung aus dem Serail, componirt von Mozart, gefiel, ob sie gleich etwas schwer gesetzt war, allgemein, und ward durch Günthers Carricatur (war Osmin) und Mad.
Sächsischen Hoftheaters. ’ 58 Grenser, Geschichte der Musik, 51:  ‘Bondini stirbt. ’ 59 A detailed calendar of information, usually including the start and finish dates for each season, is given in Blümner, Geschichte des Theaters, 313–26. III, 574–83. I compiled Figure 1 on the basis of posters in the Stadtgeschichtliches Museum, but have added in from these sources a few details of additional visiting troupes (in the final column) for which no posters appear to have survived. 60 Their bills include: La serva padrona (5 January 1784); Il giocatore ravveduto (26 January 1784).
Nor is it mentioned in Grenser’s history, which includes summary details of most theatrical seasons from the 1780s. Bondini’s problems in Prague were not quickly resolved. 48 His inability to provide a good-quality programme of theatre to match that of the Dresden ensemble was starting to undermine his position. ’ Blümner, Geschichte des Theaters, 313–23, lists Gestewitz for the first time in 1784. I, 543. II, 160, names the director as Angelo Lazari. In the spring of 1785, their performances in Dresden did not go down well either.
Performing Operas for Mozart: Impresarios, Singers and Troupes by Ian Woodfield