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Terradellas's most productive years were during his tenure at San Giacomo, as evidenced by the two operas and the impressive list of religious works. These two operas, while very different in several stylistic features, are very representative works. Certainly, two finer works than these would be difficult to find.
Terradellas's setting of "Semiramide" was performed during the Carnival of 1746 in Florence. It is interesting that six arias from this opera were published by Walsh in London, while only two manuscript arias have been found in continental libraries. These arias were evidently taken by him when he traveled to Lonon a few months later and were incorporated, along with arias from Merope and Artaserse in the collection Dudici arid e due duetti.
This is the only publication of music by Terradellas during his lifetime, which is certainly a plus for London's musical scene.
Certainly Terradellas found the artistic climate in London quite different from that of Italy. Italy was the hub (so to speak)of operatic activity with its most important theaters in Rome, Naples, Venice and Florence, although every town of any size had an opera theater. London, on the other hand, was fairly remote from the opera centers at this time. Even Handel, who was backed by the king, experienced difficulty from time to time. Opera did not have the long and continuous history in London that it had in Italy, and therefore it did not flourish as in Italy. In order to understand Terradellas's sojourn in England, we must look at events of the preceding seasons.
Lampugnani left London during June 1744 after several very successful seasons. Lord Middlesex, then producing operas at the Haymarket Theatre, was faced with the task of bringing from the continent a comparable talent. Gluck came to London during the autumn of 1745. On January 7, 1746 La Caduta dei giganti with the libretto by the Abbate Francesco Vanneschi, was performed. It was in reality a pasticcio (made up of pieces from various operas) with arias borrowed from the composer's earlier operas, Tigrane, Ipermestra, and Sofonisba. The opera was repeated no more than five times, a clear case of failure. During March his Artamene was performed with arias from Demoföonte, Tigrane and Sofonisba, the libretto having been written by Bartolomeo Vitturi for Tommaso Albinoni (Venice, 1740) and arranged by Francesco Vanneschi for London. This opera was even less successful than the first. (Einstein, pp.35-37)
Charles Burney notes the indifference of the public toward opera in London during these years, when their interests were being absorbed by native playwrights such as Colley Cibber. Any opera venture during these years was to prove unfortunate for the producer. Handel had learned this unfortunate lesson several years earlier. As Horace Walpole said in a letter dated December 5, 1746,
We have operas, but no company at them; the Prince and Lord Middlesex impresarii. Plays only are in fashion: at one house the best company that perhaps ever were together, Quinn,
Garrick, Mrs.Pritchard, and Mrs. Cibber. (Burney, p.846)
Letters and other literature of the period attest to the vast financial losses suffered by producers of opera. Lord Middlesex had a passion for producing operas, and he was willing to sacrifice his own fortune and the fortunes of others to bring new works to the stage. He invited Terradellas to come to London for the 1746-47 season. His arrival was celebrated by the inclusion of one of his arias, Merope II,12 (Artaserse II,7) in the pasticcio, Anibale in Capua.
This opera was the first of four subscriptions planned by Lord Middlesex and his partners, six nights in November, ten in December, seventeen in January (not involving Terradellas), and fourteen in March. (Burney, p.846)
Anibale, as with the following operas, was performed on Tuesday and Saturday nights. The exact dates were as follows: (Van Lennep, Part 3, Vol.2, pp.1260-67.
Tuesday, November 4 Saturday, November 8 Tuesday, November 18
Saturday, November 22 Tuesday, November 25 Saturday, November 29
The performances began at 6:00 P.M., and the opera included ballet. For the third performance, the advertisement announced the inclusion of some new arias. (Ibid.)
On December 2, 1746, the rehearsal of Mitridate was announced.
The subscribers to the second subscription for operas, are desired to take notice, that on Thursday morning next will be a General Rehearsal of the new opera called Mitridate upon the stage, agreeable to the
printed Proposals, and doors will be open'd at Ten, and the Rehearsal will begin at Eleven of the Clock. No persons will be admitted without a Subscriber's ticket, and each ticket will admit four persons. (Van Lennep, p.1268)
Sources
Burney, Charles. A General History of Music (with critical and historical notes by Frank Mercer). New York: Harcourt, Brace & Co., [1935].
(This work was originally published in London in four volumes between 1774 and 1789.)
Einstein, Alfred. Gluck. (New York: Collier Books, 1962)
Van Lennep, William. The London Stage: 1660-1800. Carbondale, Ill.: Southern Illinois University Press, 1965) (8 vols.)
The edit also changed the year of birth/baptism from 1711 to 1713; apparently, there is some uncertainty about it. I used the edit summary "please rewrite more encyclopedically ('We may certainly assume'?) & with proper citations." -- Michael Bednarek (talk) 03:40, 6 June 2015 (UTC)[reply]
There is no question about his birthdate. I simply forgot to change it in 2011. Carreras i Bulbena's research established the correct birthdate in 1908, but few people read Catalan, so the incorrect birthdate has continued to be used by some. I am trying to do a first class job on this article, but following your guidelines slows me down a bit. The notations are placed in the text for now, but I will change them to footnotes (as they are in my thesis) as soon as I can. All I ask is that you be patient with me and save the criticism for later. I intend to do a first class job on this, but it takes time. My thesis is 140 pp., and includes a lot of information which is not generally known. This field has not been very well covered, and I am trying to rectify that problem. So much of what I plan for this article has never been covered in print. I am thinking of doing other related articles, but I want to finish this one first. I will make my additions to this location if you wish, and if you are really unhappy with the finished product, simply omit the entire article. I am not doing this for fame or fortune. I simply want to share what I have learned during the more than 50 years that I have been involved in this research. This thesis has been very influential, and if you check my name on the internet, you will find a lot of references to it. Not only that, but since this paper has come to light, two of the composer's operas have been recorded — Preceding unsigned comment added by Kenneth Groeppe (talk • contribs) 09:31, 18 June 2015
