Didone come soggetto nel dramma per musica

The proceedings contain papers from the 3rd annual edition of the conferences on Italian operas in Bohemia in the 18th century, organized by the Department of Music History of the EÚ ASCR, the Center for Baroque Culture in Český Krumlov and Mozart's Society, in this context with the modern premiere of the opera on the theme of the Carthaginian queen Dido composed by Antonio Boroni (1738-1792) in 1768 in Prague. The conference took place on September 16-17, 2017 under the name Didone as an opera inspiration in Český Krumlov. Reinhard Strohm (University of Oxford and Vienna) began with a paper on rituals and their secularized form in opera scenes, while Manfred Hermann Schmid (University of Tübingen and Munich) compared the music set-up of Dido's final suicide scene in various 18th-century operas. Andrea Chegai (University of La Sapienza in Rome) analyzed the nuances in the different profiling of the Carthaginian queen's personality in Italian opera from 1726-1749, and Antonella D’Ovidio (University of Florence) focused on Dido's setting music by Niccolo Jommelli. T. Volek confronted the contradictory relationship between the aesthetic norm of the operatic kind of dramma per musica and the demand for a happy ending ("lieto fine") of the story set to music. M. Jonášová reported on Boroni's Dido, especially on the Ah non lasciarmi aria, in comparison with the musical rendering by Mozart, Guglielm and Perez. Wolfgang Hochstein (Hochschule für Musik Hamburg) discussed Dido in two musicals by Hasse and the theatrologist Andrea Sommer-Mathis (Österreichische Akademie der Wissenschaften in Vienna) documented the performance of the "intermezza musicale" La fuga d’Enea 1729 at Vienna's Kärtnertortheater