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Difference between revisions of "Duchess Maria Antonia of Bavaria"
Duchess Maria Antonia of Bavaria (view source)
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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 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). | ||