giustificata in 1701.
18 John Rosselli, Singers of Italian Opera: The History of a Profession (Cambridge: Cambridge University Press, 1992), 42.
19 William Dale, Tschudi the Harpsichord Maker (London: Constable and Company, 1913), 32‒34.
20 Anne Schnoebelen, ‘Pistocchi, Francesco Antonio Mamiliano [‘Il Pistocchino’]’, in GMO, accessed 11 November 2014; John H. Roberts, ‘Handel and the Shepherds of Ansbach’, in Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday, ed. David Rosen/Claire Brook (Hillsdale: Pendragon Press, 2003), 232.
21 Daniela Tarabra, European Art of the Eighteenth Century, trans. Rosanna M. Giammanco Frongia (Los Angeles: Getty Publications, 2008), 302.
22 Naomi Adele André, Voicing Gender: Castrati, Travesti and the Second Woman in Early-Nineteenth-Century Italian Opera (Bloomington: Indiana University Press, 2006), 37.
23 Reinhard Strohm, ‘Vivaldi’s career as an opera producer’, in id., Essays on Handel and Italian Opera (Cambridge: Cambridge University Press, 1985), 122‒63: 138; Anne Desler, ‘Il novello Orfeo’. Farinelli: Vocal Profile, Aesthetics, Rhetoric. PhD dissertation (University of Glasgow, 2014), 103‒11, http://theses.gla.ac.uk/5743/1/2014deslerphd.pdf, accessed 3 January 2015. See Appendix B2, the vocal lines of three arias sung by Bernacchi: ‘Quel fiume che in mente’ (Frugoni/Vinci, Medo I/1, Parma 1728); ‘Taci, o di morte’ (Frugoni/Vinci, Medo I/8, Parma 1728) and ‘Nella foresta Leon invitto’ (Frugoni/Vinci, Medo III/6, Parma 1728), 339‒41.
24 Bernacchi was an alto and pupil of the Bologna schoolʼs famous master, Antonio Pistocchi who introduced him ornamentations of the instrumental kind. Bernacchi adopted them to such a degree that in the end Pistocchi complained about him: ‘Tristo a me, io tʼho insegnato a cantare, e tu vuoi suonare!’ / ‘Poor me! I taught you to sing and you want to play (i.e. like one plays an instrument)!’ Winton Dean, ‘Bernacchi, Antonio Mariaʼ, in GMO, accessed 19 August 2014; see Vincenzo Manfredini, Regole armoniche, o sieno precetti regionati (Venice: 1775), 7; also Julianne Baird, ‘An Eighteenth-Century Controversy About the Trill: Mancini v. Manfredini’, Early Music 15/1 (February 1987), 36‒45: 39.
25 Eleanor Selfridge-Field, A New Chronology of Venetian Opera and Related Genres, 1660‒1760, (Stanford/CA: Stanford UP, 2007), 67.
26 Ibid., 350.
27 Luigi Riccoboni, An Historical and Critical Account of the Theatres in Europe, (London: Waller/Dodsley, 1741), 74.
28 Ibid., 74.
29 ‘A chaque théatre on exécute deux opéras par hiver, quelquefois trois; si bien que nous comptons en avoir environ huit pendant notre séjour. Ce sont chaque année des opéras nouveaux et de nouveaux chanteurs. On ne veut revoir, ni une pièce, ni une ballet, ni une décorations, ni un acteur, que l’on a déja vu une autre année, à moins que se ne soit quelque excellent opéra de Vinci, ou quelque voix bien fameuse’. Romain Colomb (ed.), Le President de Brosses en Italie, vol. ii (Paris: 1858), 358.
30 Josse de Villeneuve, Lettre sur le mécanisme de l’opéra italien, 1756, quoted in Henri Bédarida, Melanges de Musicologie (Paris: 1933); see Kurt Sven Markstrom, The Operas of Leonardo Vinci, Napoletano (Hillsdale: Pendragon, 2007), 61.
31 Riccoboni, An Historical and Critical Account, 75. The opera referred to is Carlo Francesco Pollarolo’s Il pastore d’Anfriso (1695).
32 Alessandro Piazza, Teatro (1702), oil on canvas. Worcester, MA, Worcester Art Museum. It might refer to a rehearsal performance of Gaspariniʼs Tiberio, imperatore d’Oriente (Venice, 1702) at SantʼAngelo. See Bruno Forment, ʻAn enigmatic souvenir of Venetian operaʼ, Early Music 38/3 (August 2010), 387‒401.
33 John Rosselli, ʻSociology of Opera’, in GMO, accessed 12 December 2014.
34 Riccoboni, An Historical and Critical Account, 82.
35 Ibid., 53.
36 Francois Maximilien Misson writes, in his New Voyage to Italy (London, 1714), about gondolieri by whom the vacant places were filled up. See Reinhard Pauly, ‘Benedetto Marcello’s Satire on Early 18th‒Century Opera’, The Musical Quarterly 34/2 (April 1948), 222‒33: 225.
37 ‘Darò porta franca ogni sera al Medico, Avvocato, Speciale, Barbiere, Marangone, Compadre, ed Amici suoi con loro Famiglie per non restar mai a Teatro vuoto e per tal effetto pregherà Virtuosi e Virtuose, Maestro di Cappella, Suonatori, Orso, Comparse, etc., di voler condurre parimente ogni sera cinque o sei Maschere per uno senza Biglietti’. Benedetto Marcello, Il teatro alla moda (Venice: 1720), Agl’Impresari; id., ‘Il Teatro Alla Moda – Part II’, trans. Reinhard G. Pauly. The Musical Quarterly 35/1 (January 1949), 85‒105: 86.
38 ‘Anderanno all’Opera col Pegno, posponendo ogni sera un quarto d’ora, e così vedranno tutta l’Opera in dodici sere. Frequenteranno Comedie per manco spesa e non baderanno all’Opera ne pure la prima sera, toltone che a qualche mezz’Aria della Prima Donna, alla Scena dell’Orso, ai Lampi, alle Saette, etc. Faranno la Corte a’ Virtuosi dell’uno e dell’altro sesso, per entrar seco loro senza Biglietto, etc. etc. etc. etc.’ Marcello, Il teatro alla moda, Alle Maschere; id., ‘Il Teatro Alla Moda – Part II’, 104.
39 ‘ “Faut-il s’étonner” me disait un jour Tartini, “si la plupart du temps le récitatif de nos opéras ne vaut rien, lorsque le musicien donne tout son soin à la composition des airs, et broche à la hâte tout ce qui est de déclamation?” Pour moi, je les excuse, aujourd’hui que les spectateurs ont si bien pris l’habitude de ne pas écouter le récitatif’. Colomb (ed.), Le President de Brosses en Italie, vol. ii, 360; see Enrico Fubini, Music & Culture in Eighteenth-Century Europe (Chicago and London: The University of Chicago Press, 1994), 206.
40 Villeneuve, Lettre sur le mécanisme de l’opéra italien, 1756, cited in Bédarida, Melanges de Musicologie; see Markstrom, The Operas of Leonardo Vinci, 61.
41 ‘The Theatres at Venice commonly