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Difference between revisions of "Duchess Maria Antonia of Bavaria"
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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: | ||