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Difference between revisions of "Duchess Maria Antonia of Bavaria"
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| education = {{plainlist| | | education = {{plainlist| | ||
*Giovanni Battista Ferrandini | *Giovanni Battista Ferrandini | ||
*Nicola | *[[Nicola Porpora]]}} | ||
| alma_mater = | | alma_mater = | ||
| occupation = Regent, entrepreneur, composer, librettist, poetess, singer, harpsichordist | | occupation = Regent, entrepreneur, composer, librettist, poetess, singer, harpsichordist | ||
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}} | }} | ||
Maria Antonia of Bavaria was a politician and entrepreneur. As the eldest remaining daughter of Charles Albert of Bavaria (later Charles VII, Emperor of the Holy Roman Empire), she received an excellent science and arts education. Her birth was celebrated with Pietro Torri's opera ''Amadis de Grecia''. In her youth in Munich, she received composition lessons from the renowned opera composers Giovanni Battista Ferrandini and [[Nicola Antonio Porpora]]. The festivities at her wedding to Frederick Christian of Saxony (1747) featured [[Christoph Willibald Gluck]]'s opera ''Le nozze d'Ercole'' e d'Ebe and [[Johann Adolf Hasse]]'s ''La Spartana generosa''. | '''Maria Antonia of Bavaria'''(18 July 1724 ‐ 23 April 1780) was a politician, musician, poetess, librettist, composer and entrepreneur. As the eldest remaining daughter of Charles Albert of Bavaria (later Charles VII, Emperor of the Holy Roman Empire), she received an excellent science and arts education. | ||
==Maria Antonia as an artist== | |||
Her birth was celebrated with Pietro Torri's opera ''Amadis de Grecia''. In her youth in Munich, she received composition lessons from the renowned opera composers Giovanni Battista Ferrandini and [[Nicola Antonio Porpora]]. The festivities at her wedding to Frederick Christian of Saxony (1747) featured [[Christoph Willibald Gluck]]'s opera ''Le nozze d'Ercole'' e d'Ebe and [[Johann Adolf Hasse]]'s ''La Spartana generosa''. | |||
In Dresden, she continued her musical studies with [[Johann Adolf Hasse]] and [[Nicola Porpora]] and felt particularly attached to the style of ''opera seria''. She appeared as a singer and harpsichordist in performances of her own works in this genre as well as in numerous performances at court. In 1747 she was admitted to the Accademia dell'Arcadia in Rome, an internationally active literary academy and institution for the reform of opera.[1] The members interacted with each other without regard to their class distinctions and, in the spirit of a simple, natural country life adopted shepherds' names (pseudonyms) for this purpose. Maria Antonia received the name ''Ermelinda Talea Pastorella Arcadi''a (ETPA). | In Dresden, she continued her musical studies with [[Johann Adolf Hasse]] and [[Nicola Porpora]] and felt particularly attached to the style of ''opera seria''. She appeared as a singer and harpsichordist in performances of her own works in this genre as well as in numerous performances at court. In 1747 she was admitted to the Accademia dell'Arcadia in Rome, an internationally active literary academy and institution for the reform of opera.[1] The members interacted with each other without regard to their class distinctions and, in the spirit of a simple, natural country life adopted shepherds' names (pseudonyms) for this purpose. Maria Antonia received the name ''Ermelinda Talea Pastorella Arcadi''a (ETPA). | ||
Among many other artists and scientists, she also supported the Kapellmeister Johann Gottlieb Naumann and the painter family Mengs.''(Abbridged from Wikipedia)'' | Among many other artists and scientists, she also supported the Kapellmeister Johann Gottlieb Naumann and the painter family Mengs.''(Abbridged from Wikipedia)'' | ||
Among her works are: | Among her works are: | ||
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*''Talestri, regina delle Amazzoni'' (opera, performed in 1760 at Nymphenburg, libretto and music by Maria Antonia); | *''Talestri, regina delle Amazzoni'' (opera, performed in 1760 at Nymphenburg, libretto and music by Maria Antonia); | ||
*''La conversione di Sant'Agostino'' (oratorio, performed in Dresden in 1750, libretto by Maria Antonia, music by Johann Adolf Hasse). | *''La conversione di Sant'Agostino'' (oratorio, performed in Dresden in 1750, libretto by Maria Antonia, music by Johann Adolf Hasse). | ||
== | ==Maria Antonia of Bavaria in Philippe Jaroussky's discography, filmography and performance history== | ||
===Studio albums=== | ===Studio albums=== | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
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|- | |- | ||
| | | [[2020]] | ||
| | | [[Il rimorso opprime il seno|"Si, solo a te mio dio" ... "Il rimorso opprime il seno"]] | ||
| | | [[La Vanità del Mondo (Album)]] | ||
|} | |} | ||
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See the respective program page for a list of possible recordings. | See the respective program page for a list of possible recordings. | ||
===Complete list of musical pieces using words by | ===Complete list of musical pieces using words by Maria Antonia of Bavaria=== | ||
This listing only reflects the musical pieces performed by Philippe Jaroussky. | This listing only reflects the musical pieces performed by Philippe Jaroussky. | ||
{| class="wikitable sortable" style="zebra" | {| class="wikitable sortable" style="zebra" | ||
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|- | |- | ||
| | | [[2020]] | ||
| | | [[Johann Adolph Hasse]] | ||
| | | [[Il rimorso opprime il seno|"Si, solo a te mio dio" ... "Il rimorso opprime il seno"]] | ||
| | | [[La conversione di Sant' Agostino]] | ||
| | | [[La Vanità del Mondo (Album)]] | ||
| | | 1750<ref name="Wiki"/> | ||
|} | |} | ||
==References== | ==References== | ||
{{Reflist|refs= | {{Reflist|refs= | ||
<ref name="Wiki"> | |||
{{cite web | {{cite web | ||
|url=https://de.wikipedia.org/wiki/Maria_Antonia_von_Bayern | |url=https://de.wikipedia.org/wiki/Maria_Antonia_von_Bayern | ||
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|archive-date={{date|2021-10-06|DMY}} | |archive-date={{date|2021-10-06|DMY}} | ||
|quote=}} | |quote=}} | ||
</ref> | |||
}} | }} | ||