Giuseppe Haydn

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La fedeltà premiata

Dramma giocoso

Haydn13

Information about the opera

Original title

LA FEDELTA PREMIATA. DRAMMA GIOCOSO PER MUSICA. DA RAPPRESENTARSI NELL' APERTURA DEL NUOVO TEATRO DI S. A. IL PRINCIPE NICOLO D' ESTERHAZY DI GALANTHA. L' AUTUNNO DELL' ANNO 1780. 

The libretto in the new edition of 1782 bears the following title: 
LA FEDELTA PREMIATA. DRAMMA PASTORALE GIOCOSO. MUSICA DEL SIG. GIUSEPPE HAIDEN. DA REPRESENTARSI IN ESZTERHAZ L'ANNO, 1782.

In the second version in 1782, Haydn is mentioned for the first time on the title page of the libretto.

Classification
III. period 10. opera / series XXV:10 / Hob. XXVIII:10
Opera type
Dramma giocoso per musica (1780) | Dramma pastorale giocoso (1782) / Opera semiseria
Number of acts
3
Occasion of composition

Opening of the prince’s opera house, which had been rebuilt after the fire.

Year
1780 and 1782
World premiere
25 February 1781 1. edition; September 1782 2. edition
Place of world premiere
Prince’s Opera House at Esterháza Palace
Number of performances

Mit 36 Aufführungen gehört La fedeltà premiata zu den am meist gespielten Opern am Fürstenhof. Die 1. Fassung wurde nur im Jahre 1781 aufgeführt, aber zwischen Februar und September 1781 ganze 17-mal (allein im März 1781 8-mal!). Demnach wurde die 2. Fassung zwischen September 1782 und dem letzten Mal, am 29. Juni 1784 19-mal aufgeführt. Ein interessantes Detail, welches wesentlich ist, ist das Faktum, dass zwischen dem 26. Februar 1784, dem Premierendatum der Armida und der letzten der rund 30 Aufführung des Orlando paladino im Oktober 1784, "die" drei Opern der III. Periode parallel aufgeführt wurden. 
Beachtenswert ist die Aufführung einer deutschen Bearbeitung von La fedeltà premiata unter dem Titel Die belohnte Treue am 18. Dezember 1784 im Kärntnertortheater in Wien.

Score

La fedeltà premiata - Dramma pastorale giocoso
1. und 2. Halbband
Editor: Günter Thomas; Reihe XXV, Band 10;
1968, G. Henle Verlag München

Status of score
complete
Information about score

Das Autograph ist nur fragmentarisch erhalten. Die Oper konnte aber dank einer authentischen Abschrift, die in der Biblioteca Nazionale Universitaria di Torino aufgefunden wurde, rekonstruiert werden.
In der Henle-Partitur von 1970 (mitsamt dem "Kritischen Bericht"), der einzigen, derzeit erhältlichen Urtextausgabe dieser Oper, weist der Herausgeber Günter Thomas23 auf die verschiedenen Fassungen hin und stellt dieses Faktum auch "als besonderes Problem" dar. Das mag sicher im Bezug auf die Edition dieser Partitur aus verschiedenen Quellen stimmen, nicht jedoch hinsichtlich des Beweggrundes, der Haydn zum Erstellen der verschiedenen Fassungen veranlasste.
Wo liegen also die für diese Homepage bzw. für Aufführungen relevanten Unterschiede der zwei Fassungen von 1781 und 1782?
Sie finden sich vor allem in den Arien zweier Rollen: Die der Fillide/Celia und der des Grafen Perrucchetto.
Um eine Erklärung dafür zu erhalten, muss man die Ensemblesituation in dieser Zeit beleuchten. 1780, also das Jahr der Komposition von La fedeltà premiata, markiert den Beginn der III. Periode. Zum letzten Mal hat Fürst Nikolaus das Sänger-Ensemble Haydns (fast) vollständig ausgewechselt. Für dieses erste neue Ensemble mit den Premierensängern Anna Maria Jermoli, Guglielmo ]ermoli, Teresa Taveggia, Benedetto Bianchi, Costanza Valdesturla, Leopold Dichtler, Antonio Pesci, Costanza Valdesturla konzipierte er die 1. Fassung, die, wie bekannt, im Februar 1781 zur Aufführung gelangte. 
Doch in diesem Jahr 1781 sollten noch einmal Auswechslungen im Sänger-Ensemble stattfinden. Das Ehepaar Jermoli verließ den Hof endgültig. Somit musste Haydn die Hauptrollen der Fillide/Celia und des Fileno neu besetzten, was er mit der grandiosen Metilda Bologna bzw. mit Antonio Spezioli exquisit bewerkstelligen konnte. Auch Teresa Taveggia quittierte die Arbeit, was zu einer Neubesetzung der Amarante führte. Maria Antonia Specioli, die Ehefrau von Antonio Specioli übernahm diesen Part. Des Weiteren verließ Antonio Pesci, seines Zeichens Melibeo, die Hofmusik und wurde durch Domenico Negri nachbesetzt. Doch einen der gewichtigsten Partitureingriffe nahm Haydn nach dem Abgang Benedetto Bianchis vor. Mit seiner Nachbesetzung durch Vincenzo Moratti änderte Haydn ein wenig den Charakter der Bass-Rolle des Grafen Perrucchetto. Die Talente eines Vincenzo Moratti mussten Haydn tief beeindruckt haben. So transponierte er die erste Arie des Perrucchetto vom Bass in den Tenor, und verschob den Charakter noch mehr in Richtung buffa durch die Änderung der Taktart vom C zum tänzerischen 3/4. Wie sehr Haydn dem schauspielerischen Talent eines Moratti "nachkomponierte", erkennt man besonders gut in der nächsten Oper Orlando paladino, in der Rolle des Pasquale. Eine ebenso wichtige Anpassung erfuhr die Rolle der Fillide/Celia. Haydn durfte sie höher transponieren, was dem dramatischen Charakter dieser Rolle besser entspricht. Metilda Bolognas Talent sei es gedankt. Diese Sängerin wird in der Folge zu einer der wichtigsten in Haydns Opernschaffen und ihn zur "sängerspezifischen" Konzeption der Rollen Angelica im Orlando paladino und Armida inspirieren. Spätestens mit der Rückkehr einer Barbara Ripamonti 1784 wird man - wenn auch nur zwei Jahre lang - "vom" Haydn-Ensemble schlecht hin reden können.
Was die "übrigen problematischen" Änderungen anbelangt, von denen Günter Thomas sprach beziehen sich jene auf Korrekturen und/oder Kürzungen, die der Interpret letztendlich bewerten muss. Man kann aber damit Haydns Absichten recht genau verfolgen. Die verschiedenen Änderungen (durch Vi-de oder ossia gekennzeichnet) basieren wohl auf Erfahrungen, gewonnen aus der ersten Aufführungsserie der 1. Fassung.

Persons

Opernkapitel Premiata 1

Persons

Staff of period III
Ensemble of period III
Opera roles
Fillide / Celia Sotto il finto nome di Celia, amante di Fileno Sopran soprano
Fileno Amante di Fillide tenor
Amaranta Donna vana e boriosa soprano
Conte Perrucchetto Uomo di amore stravagante bass
Nerina Ninfa volubile in amore, innamorata di Lindoro soprano
Lindoro Fratello di Amaranta, addetto à servigj del Tempio, innamorato prima di Nerina, e poi di Celia tenor
Melibeo Ministro del Tempio di Diana, innamorato di Amaranta bass
Diana   soprano
Cast / Interlocutori
Orchestration
1|2|0|1 – 2|(2) – 1 – str.
Orchestra cast
1|2|0|1 – 2|0 – 1 – str.
Number of orchestra musicians
1|2|0|1 – 2|0 – 1 – str.(6|4|2|2|2)
Cast
flute Zacharias Hirsch
oboe Vittorino Colombazzo, Zacharias Pohl
basoon Joseph Steiner
horn Martin Rupp, Anton Eckhart
timpani Caspar Peczival
violin/viola Luigi Tomasini (cm), Nicolò Mestrino, Antonio Rossetti, Franz Menzel, Peter Fux, Joseph Purcksteiner, Joseph Hofmann, Joseph Dietzl, Franz Pauer, Joseph Oliva, Christian Specht (viola), Vito Ungricht (viola)
violoncello Anton Kraft, Valentin Bertoja
double bass Johann Dietzl, Carl Schiringer 

Libretto

Opernkapitel Premiata 2

Libretto

Libretto

Haydn’s libretto is based on Giambattista Lorenzi’s ‘L’infedeltà Fedele’, which Domenico Cimarosa used in the opera of the same name (Commedia per musica) of 1779. The change of title from ‘L’infedeltà fedele’ to ‘La fedeltà premiata’ was probably chosen to avoid any confusion with the original opera by Cimarosa. Haydn altered certain scenes, combining two roles into one (Nerina also ‘contains’ the role of Viola), and also deleted or replaced others, above all making them suitable for Esterház. In other words, the often-coarse Neapolitan dialect was translated into standard Italian.

Arrangement of libretto
Unbekannt
Mutazione di scene

In der Fassung 1782:
NELL' ATTO PRIMO
Bosco sacro a Diana. Gran tempio ed ara nel mezzo. Lateralmente altre piccole are rusticamente costrutte, ed ornate di fiori, sulle quali ardono i fuochi sagri. Gran marmo in un lato, ov' è scritto l'oracolo. 
Giardino magnifico ornato di statue e fontane. Gran scalinata in prospetto per cui s'ascende ad altro delizioso giardino. 
Boschetto.
Bosco ombroso.

NELL' ATTO SECONDO
Boschetto. 
Montuosa. 
Orrida grotta.

NELL' ATTO TERZO
Atrio.
Campagna con lago in prospetto, da cui sorge un mostro, che si trasforma in un grottesco, ove comparisce Diana, cambiandosi pure nel medesimo tempo la scena tutta in magnifico tempio dedicato alla dea. 
L'azione si finge nelle campagne di Cuma.

Opera parts

Opernkapitel Premiata 3

Opera parts

    1. Sinfonia
ATTO PRIMO      
      SCENA I
    2. Introduzione Coro Nerina e Soprano, Lindoro e Tenore, Melibeo e Basso
Bella Dea  
      (Introduzione) Melibeo Tacete 
      SCENA II
      (Introduzione) Amaranta Prendi, prendi o Cintia 
      (Introduzione) Coro Amaranta, Nerina e Soprano, Lindoro e Tenore, Melibeo e Basso Bella Dea 
    3. Recitativo Melibeo, Amaranta, Nerina, Lindoro Non più 
      SCENA III
      (Recitativo) Amaranta, Lindoro, Melibeo 
Melibeo, a dispetto die quella impertinente 
    4. Aria Lindoro Già mi sembra 
      SCENA IV
    5. Recitativo Melibeo, Amaranta Di tuo fratello 
    6. Aria e Recitativo accompagnato Amaranta, Melibeo 
Per te m'accese amore 
    7. Aria Perrucchetto Salva, salva … aiuto, aiuto 
    8. Recitativo Melibeo, Perrucchetto, Amaranta 
Signor, per ristorarvi 
    9. Aria Melibeo Mi dica, il mio signore 
      SCENA V
    10. Recitativo Perrucchetto, Amaranta Corpo di Bacco! 
      SCENA VI
    11. Aria Fileno Dove, o Dio 
    12. Recitativo Fileno Chi mai provò nell’alma 
      SCENA VII
      (Recitativo) Nerina, Fileno Che amabil giovinetto! 
    13. Aria Nerina E' Amore di natura 
      SCENA VIII
    14. Aria Celia Placidi ruscelletti 
    15. Recitativo Celia Misera Fille 
      SCENA IX
      (Recitativo) Nerina, Melibeo, Fileno, Celia 
Vedi colei, che dorme? 
      SCENA X
      (Recitativo) Lindoro, Melibeo, Fileno, Celia 
Lo vedi quel briccone? 
      SCENA XI
      (Recitativo) Amaranta, Perrucchetto, Celia, Fileno, Melibeo, Lindoro 
Cosa fu? Che rumore? 
    16. Aria Fileno Miseri affetti miei 
      SCENA XII
    17. Recitativo Amaranta, Lindoro, Celia, Melibeo, Perrucchetto 
È partito 
      SCENA XIII
      (Recitativo) Amaranta, Perrucchetto, Nerina, Lindoro 
Perfido conte 
    18. Aria Amaranta Vanne… fuggi… traditore! 
      SCENA XIV
    19. Recitativo Melibeo, Celia Non occorrono pianti 
      SCENA XV
      (Recitativo) Celia, Nerina Misera me, qual legge! 
    20. Aria Celia Deh soccorri un infelice 
      SCENA XVI
    21. Recitativo Nerina, Perrucchetto Ah, pur troppo m'avveggo 
    22. Aria Perrucchetto Coll'amoroso foco 
      SCENA XVII
    23. Recitativo Amaranta, Melibeo E si sdegna di più! 
    24. Finale Amaranta, Lindoro, Melibeo 
Questi torti, questi affronti 
      (Finale) Celia, Lindoro Ah non tremarmi tanto 
      (Finale) Amaranta, Nerina, Lindoro, Perrucchetto, Melibeo 
Ah villana 
      (Finale) Celia, Amaranta, Lindoro, Perrucchetto, Melibeo 
Lasciami 
      (Finale) Celia, Amaranta, Fileno, Perrucchetto, Melibeo 
Se non si trova, oh dio 
      (Finale) Celia, Amaranta, Fileno, Lindoro, Perrucchetto, Melibeo 
T'intendo, si, spietata 
      (Finale) Celia, Amaranta, Nerina, Fileno, Lindoro, Perrucchetto, Melibeo 
Aiutatemi 
       
ATTO SECONDO      
      SCENA I
    25. Recitativo Celia, Fileno, Nerina Numi, pietà 
      SCENA II
      (Recitativo) Melibeo, Nerina, Lindoro Pur ti ritrovo alfine
    26. Aria Lindoro Non vi sdegnate 
    27. Recitativo Nerina, Melibeo E chi potrà soffrire 
      SCENA III
      (Recitativo) Amaranta, Perrucchetto, Melibeo Non odo 
      SCENA IV
      (Recitativo) Melibeo, Nerina A me simile affronto 
    28. Aria Melibeo Sappi, che la bellezza 
      SCENA V
    29. Recitativo Nerina, Fileno, Celia, Lindoro Venga Fileno pur 
    30. Aria Fileno Se da'begli occhi tuoi 
      SCENA VI
    31. Recitativo Nerina, Lindoro, Celia Già la fera è ne' lacci
    32. Aria Nerina Volgi pure ad altr’oggetto
      SCENA VII
    33. Recitativo Celia, Lindoro Ah quali acerbi detti!
      SCENA VIII
      (Recitativo) Melibeo, Amaranta, Perrucchetto, Lindoro, Fileno 
Ecco, amici, le selve
    34. Coro di cacciatori Soprano, Tenoro, Basso
Più la belva nel bosco non freme
    35. Recitativo Melibeo, Lindoro, Perrucchetto, Amaranta Al tempio
    36. Aria Perrucchetto Di questo audece ferro
    37. Coro di cacciatori Soprano, Tenoro, Basso
Più la belva nel bosco non freme
      SCENA IX
    38a. Recitativo accompagnato Fileno Bastano, bastano i pianti
    38b. Aria and Recitative accompagnato Fileno Recida il ferro istesso
      SCENA X
    39a. Recitativo Celia, Nerina Amica, favellasti con Fileno?
    39b. Recitativo accompagnato Celia Ah come il core
    39c. Aria Celia Ombra del caro bene
      SCENA XI
    40. Recitativo Melibeo, Nerina E Fileno?
      SCENA XII
      (Recitativo) Nerina, Perrucchetto Ah tu, pietoso amore
      SCENA XIII
      (Recitativo) Nerina, Melibeo, Amaranta, Lindoro 
Ecco, eseguiti sono i cenni tuoi
    41a. Recitativo accompagnato Amaranta Barbaro Conte
    41b. Aria Amaranta Dell'amor mio fedele
      SCENA XIV
    42. Recitativo Nerina, Melibeo, Fileno, Lindoro Ah temo, il tuo periglio
    43. Finale Nerina, Fileno, Lindoro Quel silenzio e quelli pianti
      (Finale) Amaranta, Nerina, Fileno, Lindoro 
Si vada ... si soccorra ...
      (Finale) Amaranta, Nerina, Fileno, Lindoro, Melibeo 
Queste due vittime
      (Finale) Amaranta, Nerina, Celia, Fileno, Lindoro, Perrucchetto, Melibeo 
Perfido cielo ingrato
      (Finale) Amaranta, Nerina, Celia, Fileno, Lindoro, Perrucchetto, Melibeo 
Via si vada
       
ATTO TERZO      
      SCENA I
    44. Recitativo Celia, Fileno Del mio Fileno in odio
    45. Duetto Celia, Fileno Ah se tu vuoi, ch'io viva
      SCENA II
    46. Recitativo Melibeo, Perrucchetto Pastori in sulla sponda
      SCENA III
      (Recitativo) Amaranta, Melibeo, Lindoro, Perrucchetto 
Amici olà, fermate
      SCENA IV
      (Recitativo) Lindoro, Melibeo Ah pietà
      SCENA V
      (Recitativo) Lindoro Chi vide mai nel mondo
      SCENA VI
      (Recitativo) Amaranta, Perrucchetto Misera, è questo il lago
      SCENA VII
      (Recitativo) Melibeo, Celia, Perrucchetto, Amaranta 
Pastori, il suo flagello
      SCENA VIII
      (Recitativo) Fileno, Celia, Amaranta, Lindoro, Melibeo, Perrucchetto 
Amici, si sospenda
      SCENA ULTIMA
    47a. Recitativo accompagnato
Melibeo, Celia, Amaranta, Fileno, Lindoro, Perrucchetto, Diana
Misero me!
    47b. Coro Soprano, Celia, Tenore, Basso Quanto più diletta

Synopsis

Opernkapitel Premiata 4

Synopsis

Act 1
A group of nymphs and shepherds have gathered around the temple of the goddess Diana in Cuma, an idyllic region near Naples, and ask the goddess for mercy.
Meanwhile, the temple priest Melibeo welcomes Amaranta, who wishes to offer two doves as a sacrifice to the goddess. She is enlightened by Melibeo about a curse with serious consequences, which is recorded in an inscription. Because of the crime of one of Diana’s priestesses, a pair of lovers must be sacrificed to the Lake Avernus monster every year until a heroic soul voluntarily offers themselves. The monster has devoured its victims ten times, and the next sacrifice is due.
The temple priest explains this to Amaranta, whom he has his eye on, adding that priests are exempt from the sacrifice law. This is the beginning of Melibeo’s pursuit of Amaranta, who seemingly accepts his advances, but only to achieve one thing: she wants Melibeo to get her brother Lindoro to marry the shepherdess Celia. Although Lindoro is engaged to Nerina, he still wants Celia, who has only recently joined the community
The nymph Nerina, on the other hand, complains bitterly to Amaranta about Lindoro, who hasn’t paid any attention to her since Celia’s appearance. Melibeo agrees to Amaranta’s plan, much to Lindoro’s delight.
However, Melibeo unexpectedly has a competitor for Amaranta. Her false declarations of love are interrupted by the arrival of Count Perruccheto, who is being pursued by robbers. As soon as he is safe, he begins to court Amaranta, who takes a liking to him.
Scene change: The young shepherd Fileno is desperate. In Nerina he finds a sympathetic fellow sufferer to whom he can tell his sad story. Shortly before their wedding, his fiancée Fillide had been bitten by a snake and died. Since then, he has been wandering around in the wilderness, accompanied by a longing for death.
In return, Nerina tells him her story about her lover Lindoro who has taken a liking to a certain Celia and therefore wants to leave her. Fileno offers to help Nerina, who asks him to persuade Celia to leave Lindoro. Neither of them know at this point that Fillide and Celia are one and the same person.
Meanwhile, Celia tends her sheep and laments her fate. Her lover Fileno has disappeared, while she herself travels under the assumed name of Celia to look for him. She falls asleep. Meanwhile, Fileno himself appears, led by Nerina. First, he chases away the cowardly Lindoro, who jealously wants to guard the sleeping Celia, and then he approaches the girl. When she wakes up, they recognise each other. But Celia notices Lindoro and the priest Melibeo watching what is happening in the background. She quickly realises that they are both in danger of being sacrificed to the lake monster as lovers, so she denies Fileno, who does not recognise the danger and now considers Celia to be unfaithful and tries to stab her. However, Celia is able to defend herself. Amaranta and Perrucchetto, who wishes to solve matters in his own rough way, become involved in this fight. However, blinded by passion and the need for safety, the lovers continue arguing.
The scheming priest Melibeo, on the other hand, has not failed to notice the true relationship between Celia and Fileno and is already making sacrifice plans. After a powerful aria, Fileno gives way in desperation, but Celia follows him, afraid he might hurt himself.
Meanwhile, a grotesque sideshow opens up. Amaranta is angry about the womaniser Perruchetto, who runs first after Celia, and then after Nerina.
Melibeo gives Celia the choice of either marrying Lindoro or being thrown to the monster along with Fileno. Celia complains to Nerina, but she cannot expect any help from her. To Celia’s surprise, Melibeo has her lover Fileno brought to her in chains in order to blackmail her. When Fileno hears that Celia is getting married to Lindoro – which is what Melibeo wants – he is seized with rage. However, the threat of the monster seals Celia’s lips. As chaos breaks out, a band of satyrs rushes in on the group and kidnaps Celia.  

Act 2
Fileno, freed from his chains by Nerina, pursues the satyrs with the shepherds. However, Celia herself is able to flee from them. In the confusion, Nerina develops an affection for Fileno, which makes it easier for her to stand up to the dismissive and smug Lindoro.
Since Perrucchetto has managed to quickly become reconciled with Amaranta after an insincere suicide attempt, the jealous Melibeo decides to act quickly to defeat him. His plan is to win back his beloved Amaranta. Nerina should fall in love with Fileno, which she has already done, and Celia should surrender to Lindoro to take revenge on Fileno. After all, Amarante had promised him her hand at the beginning of the opera if their perfidious wedding plan was successful. Subsequently, Melibeo gives Nerina insidious advice on how to win Fileno’s heart. In his own words, pride and honour play no role here.  Fileno, for his part, now courts Nerina to take revenge on the supposedly unfaithful Celia, who, as he has noticed, can hear him. As soon as he leaves, Celia complains bitterly to Nerina, who only advises her to let go of Fileno.
A hunt is organised in honour of Diana. Perrucchetto appears, pursued by a bear, and flees up a tree. Amaranta, for her part, is saved from a wild boar by Fileno. Perrucchetto climbs down from the tree and – since Fileno has retired – boasts of being the brave rescuer. However, Lindoro has observed what happened and exposes Perrucchetto as a liar.
Fileno, driven by desperation, finally decides to seek death. Before ending his life with a spear, he carves a message into a tree that grows next to a ‘dreadful grotto’: Per Fillide infidel morì Fileno (For Fillide, the unfaithful one, Fileno died). However, since his spear is broken, he leaves the place to look for a rock from which he can throw himself. Celia reads this and suspects Fileno to be in the cave. She enters to prevent his suicide.
Melibeo’s intrigue is nearing success. At Melibeo’s behest, Nerina lures Perrucchetto to the cave into which Celia has just gone to look for her Fileno. Melibeo explains that the goddess has chosen a new pair of victims. Dressed in sacrificial robes and flowers, Celia and Perrucchetto are led out. Amaranta wavers between pity and anger at the unfaithful count. Nerina is filled with remorse, while Fileno feels contempt for Celia. The unscrupulous Melibeo warns them to hurry, because Diana shouldn’t be kept waiting. The act closes with general consternation and thunder that heralds the wrath of the goddess.

Act 3
Celia tries in vain to convince her beloved Fileno of her innocence. Amaranta and Lindoro, informed by Nerina of Melibeo’s intrigues, seek to dissuade him from his disastrous plan. They point out to Melibeo that Diana has not chosen the couple but that he selfishly made the choice. However, Melibeo is not deterred by their arguments.
When all hope for Celia and Perrucchetto seems lost, Fileno offers himself as a willing sacrifice, but less out of love for Celia than out of revenge. Through his death, she will have to live on and come to terms with the fact that he has sacrificed himself for her. As he rushes forward to throw himself into the lake, the scene suddenly changes: Diana appears and, in accordance with the oracle, lifts the curse that weighs on Cuma. It had been imposed because a wicked priestess had stolen a heart from the temple and run off with a lover. Mollified by Fileno’s deed, Diana restores the long-awaited harmony. Fileno wins his Fillide, Amaranta will marry Perrucchetto, while the malicious priest Melibeo is pierced by arrows. 24

Libretto

1757

1. Periode
Hob.I:1

1757/1758

1. Periode
Hob.I:37

1757-1759

1. Periode
Hob.I:18
Hob.I:2

1757-1760

1. Periode
Hob.I:4
Hob.I:27

1758-1760

1. Periode
Hob.I:10
Hob.I:20

1761/1762

1. Periode
Hob.I:36
Hob.I:33

1766

4. Periode

1771

4. Periode
Hob.I:52
Hob.I:42

1774/1775

5. Periode
Hob.I:68

1776

5. Periode
Hob.I:61

1777/1778

5. Periode
Hob.I:53 "L'Impériale"

1778/1779

5. Periode
Hob.I:71

1780

5. Periode
Hob.I:74
Hob.I:62

1781

5. Periode
Hob.I:73 "La chasse"

1787

8. Periode
Hob.I:89

-1788

8. Periode
Hob.I:88

1788

8. Periode
Hob.I:90
Hob.I:91

1789

8. Periode
Hob.I:92 "Oxford"

1793

10. Periode
Hob.I:99

1794

10. Periode
Hob.I:102

1796

1799

1801

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I. Periode
Acide
 
I. Periode
 
I. Periode
 
I. Periode
La canterina
I. Periode
 
I. Periode
Lo speziale
 
I. Periode
 
I. Periode
Le pescatrici
 
I. Periode
 
I. Periode
 
II. Periode
 
II. Periode
 
II. Periode
 
II. Periode
Il mondo della luna
 
II. Periode
 
III. Periode
 
III. Periode
La fedeltà premiata
 
III. Periode
Orlando paladino
 
III. Periode
Armida
 
III. Periode
La vera costanza II