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Published online by Cambridge University Press: 16 February 2017
Giuseppe Sarti's opera buffa Fra i due litiganti il terzo gode was one of the great operatic successes of the late eighteenth century. First performed in Milan in September 1782, the opera was quickly taken up by theatres in other cities. In 1783 it began a long run at the Burgtheater in Vienna, where it had been performed more than sixty times by 1790. The opera was produced everywhere from Barcelona to Copenhagen, from Rouen to St Petersburg, in languages including German, French and Danish. By 1800 Fra i due litiganti had been given more than eighty productions across all of Europe.
1 The duet had already been borrowed at least once before: it was used by William Shield in 1790 for his English opera The Czar, in which it was sung in English as ‘Should worldly cares oppressing’. It is not known how Shield got access to the music. See Fiske, Roger, English Theatre Music (Oxford: Oxford University Press, 1986), 541 Google Scholar.
2 Petrobelli, Pierluigi, ‘ Don Giovanni in Italia: la fortuna dell'opera ed il suo influsso’, in Colloquium ‘Mozart und Italien’ (Rom 1974), ed. Lippmann, Friedrich (Cologne: A. Volk, 1978), 30 Google Scholar. Claims of an earlier performance, at Florence in 1792, are extremely doubtful. See Loewenberg, Alfred, Annals of Opera, 1597–1940, two volumes (Geneva: Societas Bibliographica, 1943 Google Scholar; second, revised edition, 1955), volume 1, 454, and Petrobelli, ‘Don Giovanni in Italia’, 32–33.
3 Ponziani is said to be Roman by Sartori, Claudio, I libretti italiani a stampa dalle origini al 1800: catalogo analitico con 16 indici, seven volumes (Cuneo: Bertola & Locatelli, 1990), volume 7, 530Google Scholar. Most of the information in the following two paragraphs derives from Sartori and from Woodfield, Ian, Performing Operas for Mozart: Impresarios, Singers and Troupes (Cambridge: Cambridge University Press, 2012), especially 168–172 Google Scholar.
4 Woodfield, Performing Operas for Mozart, 65. Original German version in Litteratur- und Theater-Zeitung 5 (1782), 605.
5 Abert, Hermann, W. A. Mozart, trans. Stewart Spencer, ed. Eisen, Cliff (New Haven: Yale University Press, 2007), 1022 Google Scholar.
6 I am grateful to an anonymous reviewer for this suggestion.
7 Heartz, Daniel, ‘The Poet as Stage Director: Metastasio, Goldoni, and Da Ponte’, in Mozart's Operas, ed. and with contributing essays by Bauman, Thomas (Berkeley: University of California Press, 1990), 89 Google Scholar.
8 Beethoven's variations, for two oboes and English horn, were written in 1796 (WoO 28). Danzi's fantasy for clarinet and orchestra was published as 2 e Pot Pourri pour la Clarinette (Bonn and Cologne: N. Simrock, no date (c1818)). Parts can be found at the Petrucci Music Library website <imslp.org/wiki/Clarinet_Potpourri_No.2,_P.246_(Danzi,_Franz)> (26 July 2016). Paganini's capriccio for violin and orchestra, written in Vienna in 1828, is now lost; see Edward Neill, ‘Paganini, Nicolò’, in Grove Music Online <www.oxfordmusiconline.com> (26 July 2016). Berlioz's variations, for guitar, were published in 1828 and are now lost; see Holoman, Kern, Catalogue of the Works of Hector Berlioz (Hector Berlioz: New Edition of the Complete Works, volume 25) (Kassel: Bärenreiter, 1987), 56 (h30)Google Scholar. Liebmann's variations appear in the final movement of her Cello Sonata, Op. 11; see Nancy B. Reich, ‘Liebmann [née Riese], Helene’, in Grove Music Online <www.oxfordmusiconline.com> (26 July 2016). Parts can be found at the Petrucci Music Library website <imslp.org/wiki/Cello_Sonata,_Op.11_(Liebmann,_Helene)> (26 July 2016).