Metastasio, Pietro

(pyĕ`trō mātästä`zēō), 1698–1782, Italian poet and librettist, whose original name was Antonio Bonaventura Trapassi. A prodigy at poetic improvisation, he became court poet at Vienna in 1729. He wrote melodious lyric verse; a masque, Gli orti esperidi (1721–22); and librettos of many operas, including Didone abbandonata (1724), Artaserse (1730, tr. 1761), La clemenza di Tito (1734, tr. 1811), and Il re pastore (1751, tr. 1765). These librettos were set to music by many composers, including Gluck, Handel, Mozart, Pergolesi, and Rossini. Metastasio, with Apostolo Zeno, whom he succeeded as imperial poet laureate at Vienna, created the rigid opera seria (see operaopera,
drama set to music. Characteristics

The libretto may be serious or comic, although neither form necessarily excludes elements of the other. Opera differs from operetta in its musical complexity and usually in its subject matter.
..... Click the link for more information. ). His melodrama Attilio Regolo (1750) is generally considered his masterpiece.

Bibliography

See his Dramas and Other Poems (3 vol., tr. 1800).

Metastasio, Pietro

(pseudonym of Pietro Trapassi). Born Jan. 3, 1698, in Rome; died Apr. 12, 1782, in Vienna. Italian poet and opera librettist.

In 1730, Metastasio became court poet of Vienna. His opera libretti are classical examples of opera seria. Almost all 18th-century composers who wrote operas on historical and mytho-logical themes—as well as composers of pastorals, serenades, and cantatas—used his texts, which were noted for their lofty imagery, subtle depiction of the lyrical states of the heroes, poetic refinement of language, and compositional balance.

Among Metastasio’s 27 opera libretti (dramma per musica) that were repeatedly set to music were Didone abbandonata (1724), Siroe (1726), Ezio (1728), Semiramide riconosciuta (1729), Alessandro neWIndie (1729), Artaserse (1730), Demetrio (1731), Demofoonte (1733), La clemenza di Tito (1734), Giro riconosciuto (1736), Temistocle (1736) Antigone (1743), and I! re pastore (1751).

REFERENCES

Stendhal. “Zhizneopisaniia Gaidna, Motsarta i Metastazio.” Sobr. soch., vol. 8. Moscow, 1959. (Translated from French.)
Russo, L. Metastasio. Ban, 1921.

单词	metastasio, pietro
释义	DictionarySeeMetastasio Metastasio, Pietro Metastasio, Pietro (pyĕ`trō mātästä`zēō), 1698–1782, Italian poet and librettist, whose original name was Antonio Bonaventura Trapassi. A prodigy at poetic improvisation, he became court poet at Vienna in 1729. He wrote melodious lyric verse; a masque, Gli orti esperidi (1721–22); and librettos of many operas, including Didone abbandonata (1724), Artaserse (1730, tr. 1761), La clemenza di Tito (1734, tr. 1811), and Il re pastore (1751, tr. 1765). These librettos were set to music by many composers, including Gluck, Handel, Mozart, Pergolesi, and Rossini. Metastasio, with Apostolo Zeno, whom he succeeded as imperial poet laureate at Vienna, created the rigid opera seria (see operaopera, drama set to music. Characteristics The libretto may be serious or comic, although neither form necessarily excludes elements of the other. Opera differs from operetta in its musical complexity and usually in its subject matter. ..... Click the link for more information. ). His melodrama Attilio Regolo (1750) is generally considered his masterpiece. Bibliography See his Dramas and Other Poems (3 vol., tr. 1800). Metastasio, Pietro (pseudonym of Pietro Trapassi). Born Jan. 3, 1698, in Rome; died Apr. 12, 1782, in Vienna. Italian poet and opera librettist. In 1730, Metastasio became court poet of Vienna. His opera libretti are classical examples of opera seria. Almost all 18th-century composers who wrote operas on historical and mytho-logical themes—as well as composers of pastorals, serenades, and cantatas—used his texts, which were noted for their lofty imagery, subtle depiction of the lyrical states of the heroes, poetic refinement of language, and compositional balance. Among Metastasio’s 27 opera libretti (dramma per musica) that were repeatedly set to music were Didone abbandonata (1724), Siroe (1726), Ezio (1728), Semiramide riconosciuta (1729), Alessandro neWIndie (1729), Artaserse (1730), Demetrio (1731), Demofoonte (1733), La clemenza di Tito (1734), Giro riconosciuto (1736), Temistocle (1736) Antigone (1743), and I! re pastore (1751). REFERENCES Stendhal. “Zhizneopisaniia Gaidna, Motsarta i Metastazio.” Sobr. soch., vol. 8. Moscow, 1959. (Translated from French.) Russo, L. Metastasio. Ban, 1921.
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