Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev5b preface
Rev5c gier
Rev5d dohring
Rev5e sautter
Rev5a avantpropos
Rev5f klaper
Rev5g salvia
Rev5h salva
Rev5i schneider
Rev5j quetin
Rev5k degott
Rev5l moel
Rev5m overbeck
Rev5n cazaux
Rev5o zegowitz
Rev5p herz
Rev5q schindler
Rev5r muller
Rev5s braune
Rev5t banoun
Rev5v preuss
Rev5 livret
Rev5u moron

Licinio imperatore, an opera with a libretto by Matteo Noris and music (now lost) by Carlo Pallavicino, is a highly atypical work as regards both the sumptuous and costly productions that were the norm at the Teatro San Giovanni Gristostomo, and that theatre’s habit of presenting only decorous subjects. This was the first attempt to introduce a comic and satirical subject into Venice’s most important theatre. Noris had already experimented with this sort of subject in operas for the theatre of SS. Giovanni e Paolo (including Dionisio in 1681 and Bassiano in 1682). The libretto of Licinio, remarkable for its solid structure, reveals the author’s great skill in writing for the theatre. Noris was particularly attracted by comic subjects, something which caused the censoring of his Demone amante in 1687. But he continued to write further works in this vein until the end of the century, in spite of increasing pressures for a reform of the opera libretto.

Le livret en question

N° 5 h

Marco Rosa Salva

Università di Bologna

Licinio imperatore, Un dramma di soggetto comico per il S. Giovanni Grisostomo


Albert Gier
Albert Gier - Etudes récentes sur le livret

Sieghart Döhring
Sieghart Döhring - Ein Schlüsselbegriff der Librettoanalyse

Daniela Sautter
Daniela Sautter - Element einer pietà-Poetik


Michael Klaper
Michael Klaper - Der Beginn der Operngeschichte in Paris

Adrian La Salvia
Adrian La Salvia - Die erste Auffürung einer Tragédie en musique

Marco Rosa Salva
Marco Rosa Salva - Licinio imperatore

Herbert Schneider
Herbert Schneider - Voltaire als Librettist

Laurine Quetin
Laurine Quetin - Lucio Silla, Lucio Cornelio Silla Dittatore

Pierre Degott
Pierre Degott - "Procurerò di ritornar inglese"

Sylvie Le Moël
Sylvie Le Moël - L'Europe romanesque dans le livret d'opéra-comique et de Singspiel

Anja Overbeck
Anja Overbeck - Auf der Suche nach dem "Libretto-Idiom"

Chantal Cazaux
Chantal Cazaux - Alexandre Soumet, Felice Romani

Bernd Zegowitz
Bernd Zegowitz - Kein Librettist in eigener Sache

Joachim Herz
Joachim Herz - Operndramaturgie versus Schauspieldramaturgie

Andrea Schindler
Andrea Schindler - Wagners Erben

Anja Müller
Anja Müller - The Lords of the Rings

Isolde Braune
Isolde Braune - Zum Phänomen des Sprachversagens bei S Wagner

Bernard Banoun
Bernard Banoun - Livret et esthétique le l'opéra dans les années 1920

Thorsten Preuss
Thorsten Preuss - Die Erzählung als Libretto


Nicolas Moron
Nicolas Moron - La Suite vocale d'après L'Ange de feu