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In opera, the presence of a libretto seems to provide both motivation for these questions and ready answers.
I have compared the eighteenth-century libretti, which give a fair approximation of the changes made in 1754.
Apart from these three moments and other slight alterations in the recitative, the 1812 libretto closely resembles the 1806 version.
None of the other librettos consulted for this study contains a trace of the alteration, nor do any reviews mention that such a change occurred.
Accompanying such analyses we find stories within stories, plot summaries that present an (often complicated) opera in miniature, making the libretto manageable.
Eighty-nine little books, or libretti, produced for these semi-staged concerts over a 150-year period, have survived.
While he concedes 'undoubted musical qualities', he finds that the libretto renders the opera obsolete, no longer acceptable.
Some musicologists have argued for a relationship between the thirty-four chords and later musical statements in the opera, statements tied to both plot and libretto.
As the duet begins, the libretto's earlier language of visions and thought is almost entirely taken over by the language of sounds, listening, voices.
A chronological examination of die libretti demonstrates, however, a gradual demand for realism to the extent that writing and decor became more equally weighted.
They ground their interpretations in diverse historical documents including scores and librettos, political manifestos, poetry and medical texts.
All quotations from the libretto are from this edition, indicated by a page number in brackets.
Even though the libretto indicates each divertissement for the ballet, the dancers, here representing priests and demons, certainly also participated in the instrumental airs.
He laboriously rewrote the libretto as a legitimate account of the past and strove to display a reliable knowledge of his subject's historical sources.
Printed rubrics from the libretto are in italics; sung text is in inverted commas.
