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
Rev7 haydn
Rev7a preface
Rev7n scholz
Rev7j leblanc
Rev7i esquier
Rev7h siegert
Rev7g gasche
Rev7f degott
Rev7k poor
Rev7m haselbock
Rev7b gruber
Rev7c gier
Rev7e winckler
Rev7d kalmar
Rev7l anton

Joseph Haydn’s operas for the court of Eszterháza illustrate that representation should be regarded as a relative and not as an absolute phenomenon: After the formal opening of the opera house in Eszterháza with Lo speziale in 1768, the main stage works performed for special occasions (weddings, state visits, etc.) were composed by the court music director. The introduction of a regular season in 1776 coincides – probably not accidentally – with the abolition by Joseph II of the Italian court opera in Vienna (J. Rice); the introduction of the opera seria in 1783 took place ultimately, at the same time as the reintroduction of the Italian opera buffa in Vienna.

If the repertoire before 1783 consisted mainly of opera buffa, this can be explained by the institutional situation in Eszterháza, which, after the assumption of power of Prince Nikolaus “the magnificent”, became the centre of courtly representation, but not of central administration; this remained in Eisenstadt. Therefore, and because of its lonely location at Lake Neusiedler, the palace kept its character as summer residence. The opera buffa was the genre which was normally cultivated in places like this (like, for instance, at the country seat of the Florentine grand duke in Poggio a Caiano). The texts were nonetheless subject to certain requirements; on the Eszterháza stage it was necessary to avoid dialect passages as well as sexual allusions or inappropriate behaviour.

Joseph Haydn und Europa

N° 7 h

Christine Siegert

Universität Bayreuth

Opera buffa als spätabsolutistische Repräsentation



Gottfried Scholz
Gottfried Scholz - Gottfried von Swieten und Joseph Haydn

Jean-Marc Leblanc
Jean-Marc Leblanc - La musique de Haydn dans les traités en France

Suzel Esquier
Suzel Esquier - Haydn et ses biographes

Christine Siegert
Christine Siegert - Opera buffa als spätabsolutische Repräsentation

David Gasche
David Gasche - Bearbeitungen für Harmoniemusik

Pierre Degott
Pierre Degott - English language in Haydn’s German oratorios

János Poór
János Poór - Haydns Ungarn

Lukas Haselböck
Lukas Haselböck - Vivaldi und Haydn

Gerold Gruber
Gerold Gruber - Joseph Haydn - Kick off - Event

Albert Gier
Albert Gier - Joseph Haydn und die Libretti seiner Opern

Gerhard Winkler
Gerhard Winkler - „Gott erhalte“ – Rossini – Paris 1825

János Kalmar
János Kalmar - Nikolaus II. Esterházy

Ulrike Anton
Ulrike Anton - Johann Nepomuk Hummel