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LUCIO SILLA
DRAMA PER MUSICA
del signor cavaliere Amadeo Wolfgango Mozart, Accademico di Bologna e di Verona.
Nel Carnovale 1773, Milano.
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LUCIO SILLA DRAMMA PER MUSICA of Mr. Cavalier Amadeo Wolfgango Mozart, Member of the Academy of Bologna and of Verona. In the Carneval season 1773, Milan.
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ROYAL HIGHNESSES, We have spared no trouble, in the hope, that the present drama may earn the generous approval of Your Royal Highnesses. May you thus deign to regard it with that benevolence of which we have so many proofs. Flattered by this hope, we declare ourselves with deepest deference as Your Royal Highnesses' most devoted servants, and most obliged to highest thanks. The Associates of the Royal Ducal Theater |
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ARGUMENT The enmity between Lucio Silla and Caio Mario is historically known. Equally well known is the manner in which the former triumphed over his rival. One cannot deny Silla the reputation of a great warrier fortunate in all his military undertakings. But with cruelty, with avarice, with fickleness and with dissoluteness he cast a shadow over the renown of his bravery. His many love affairs made him a man who was as renowned for his gallantry as he was in war; and this proclivity accompanied him, as Plutarch attested, into his old age. Lucio Cinna, who was raised by him to the highest honor, in the intention of having in him an advisor and a supporter, hid under the cover of friendship the most implacable hatred for him. It was the tribune Aufidio, a deceptive flatterer, who urged Silla to the most shameful excesses. Between the inconstancy, the avarice and the cruelty that dominated him, he was later at times subject to those remorses that are not absent from a heart in which the lights of reason and the impulses of virtue are not totally extinguished. The bloodbaths, the usurped dictatorship, the ostracism and the death of so many citizens made ihm hateful to all Rome, but worthy of praise on the other hand was his voluntary abdication, with which he lay down the aegis of dictator, calling back to Rome all those who had been banned, and putting the tranquillity of an obscure private life before the rule of empire and all its glories. We learn also from history that the family of the Cecili was always most affectionately linked to the party of Caio Mario. Plutarchin Silla. |
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From such historic foundations comes the action in this drama, which in truth is among the greatest, as the always renowned and inimitable Abbot Pietro Metastasiohas rightly observed, who with his uncommon cordiality has deigned to honor the present dramatic composition with his fullest approbation. Since this comes from the profound reflection and from the long and glorious experience of the one and only master of the art, it should be the greatest of any praise to a young author. The scene is in Rome in the palace of Lucio Silla and in the places surrounding it. |
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ACTORS
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The poetry is by Mr. De Gamera, poet of the Royal Ducal Theater. |
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COMPOSERS AND DIRECTORS OF BALLETS
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Carried out by the following PRIMI BALLERINI SERI
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PRIMI BALLERINI GROTTESCHI
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BALLERINI DI MEZZO CARATTERE
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OTHER DANCERS
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FUORI DE' CONCERTI
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SCENERY CHANGES FIRST ACT Solitary enclosed place with many trees and decayed ruins. On the Bank of the Tiber. In the distance, view of the Quirinal Hill with a small temple at the summit. |
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Appartamenti destinati a Giunia con statue delle più celebri donne romane. Luogo sepolcrale molto oscuro con i monumenti degl'eroi di Roma. |
Giunia's apartments with statues of the most famous Roman women. Burial place, very dark, with the monuments of the heroes of Rome. |
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SECOND ACT Archway decorated with military trophies. Hanging gardens. The Capitol. |
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THIRD ACT Atrium leading to the prison. Hall. |
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FIRST BALLET The jealousy of the seraglio SECOND BALLET The school of necromancy THIRD BALLET Chaconne |
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Overtura
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Overture
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