Vienna: [Ghelen], 1762. Small quarto. Newly bound in full marbled boards with printed title label to spine.
1f. (recto half-title, verso blank), 1f. (recto blank, verso fine full-page frontispiece engraved by A[nton] Tischler, 1f. (recto fine engraved title within decorative border by Tischler after Joseph Biderman, verso blank), [i] (Argomento), [i] (Personaggi), , [i] (blank) pp.
With fine engraved headpieces by Tischler, engraved decorative initials to the opening of each act, and fine engraved tailpieces by Schmutzer, Mansfelt, and Tischler.
Named cast includes singers Giuseppe Tibaldi (Porsenna), Marianna Bianchi (Clelia), Gaetano Guadagni (Orazio), Clementina Baglioni (Larissa), Carlo Nicolini (Tarquinio), and Antonio Giacomazzi (Mannio) and dancers Luisa Bodin, Camilla Paganini, Lucia Fabbris, Onorato Viganò, Francesco Turchi, Pasquale Jaquemain, Giuseppe Hornung, Giovanni, Hoppe, Giacomo Heloing, Giustina Campioni, Giovanni Duprè, Maria Ester Boccherini, Vincenzo Boccherini, Vincenzo Turchi, Teresa Vismara, and Antonio Gobert.
The work was directed by Giuseppe Ercolini, with the ballet by Gasparo Angiolini, set designs by Giovanni Maria Quaglio, machinery by Pietro Rizzino and Gabriele du Clos, and costumes by Augusto Gennaer and Giorgio Speck.
Very slightly worn; title trimmed within platemark at lower margin.
An exceptionally attractive, fresh, and clean copy overall.
First Edition. Sonneck 1100. Steiger Titel-Katalog p. 1230 (opus 3). Loewenberg column 259. Sartori 23960 (4 copies only). OCLC (3 copies in the U.S., 1 in Poland)
An opera seria in three acts to a libretto by Pietro Metastasio, Il Trionfo di Clelia was first performed in Vienna at the Burgtheater on April 27, 1762.
" ... [It] was ... distinguished by lavish scenery and dance. Performed 21 times, it celebrated the birth of a daughter to Joseph and Isabella of Parma."
"For several decades [Hasse] was the most widely admired composer of opera seria in Italy and German-speaking lands. His finest operas, written between the mid-1720s and the late 1760s, represent a highly systematized, rational style; they were handsomely produced and sung at leading theatres. Festival operas and vocal chamber works were composed for weddings and similar occasions at the Habsburg court in Vienna during the 1760s, by which time Hasse had come to be associated stylistically with the librettist Metastasio. Qualities described today as neo-classical also pervade his Dresden oratorios, his Venetian sacred works and his later flute music probably for Berlin; much of his music exhibits dramatic effects of harmony, orchestration and vocal line. He was able to compose at great speed, and his skill at adjusting to the voice of each singer was highly prized. Bel canto was for him always the sine qua non of great music, and to the beautiful display of the human voice all else was subordinated..." David J. Nichols and Sven Hansell in Grove Music Online. Item #32135
Price: $1,750.00 other currencies