Musical Training and Composing
While in Munich, Maria Antonia studied music with renowned opera composers Giovanni Battista Ferrandini and Giovanni Porta. After moving to Dresden she continued her studies with Nicola Porpora and Johann Adolph Hasse. Indeed, opera played a major part throughout Maria Antonia’s life. The court of Munich celebrated her birth with a performance of the opera Amadis de Grecia (Pietro Torri). Her betrothal to Friedrich Christian was likewise celebrated with opera performances, including Hasse’s La Spartana generosa, sets by Bibiena, and Gluck’s opera Le nozze d’Ercole e d’Ebe. Shortly after moving to Dresden, she penned the libretto for Hasse’s oratorio, La conversione di Sant’Agostina (1750), in addition to her composing work. Her own compositional style shows a strong affinity for that of Hasse, especially his conception of opera seria. She also performed actively as a singer and keyboard player in court performances, including leading roles in both of her operas. In addition to her two operas, a number of arias, a pastorale, intermezzos, meditations and motets are attributed to her.
Read more about this topic: Duchess Maria Antonia Of Bavaria
Famous quotes containing the words musical, training and/or composing:
“There was something refreshingly and wildly musical to my ears in the very name of the white man’s canoe, reminding me of Charlevoix and Canadian Voyageurs. The batteau is a sort of mongrel between the canoe and the boat, a fur-trader’s boat.”
—Henry David Thoreau (1817–1862)
“It’s [motherhood] the biggest on-the-job- training program in existence today.”
—Erma Bombeck (20th century)
“A revolution is not the overturning of a cart, a reshuffling in the cards of state. It is a process, a swelling, a new growth in the race. If it is real, not simply a trauma, it is another ring in the tree of history, layer upon layer of invisible tissue composing the evidence of a circle.”
—Kate Millett (b. 1934)