Vincenzo Fabrizi - Works

Works

A list of Fabrizi’s known works, together with genre, librettist, and date and place of first performance:

  • I tre gobbi rivali (intermezzo, libretto by Carlo Goldoni, 1783, Naples)
  • La ncessità non ha legge (opera buffa, 1784, Bologna)
  • I due castellani burlati (opera buffa, libretto by Filippo Livigni, 1785, Bologna)
  • La sposa invisibile (intermezzo, 1786, Rome)
  • La contessa di Novara (opera buffa, libretto by Giovanni Bertati, 1786, Venice)
  • L'amore per interesse (opera buffa, libretto by Giovanni Bertati, 1786, Padua)
  • Chi la fa l'aspetti ossia I puntigli di gelosia (opera buffa, libretto by Filippo Livigni, 1786, Florence)
  • La nobiltà villana (opera buffa, 1787, Rome)
  • Gli amanti trappolieri (opera buffa, libretto by Giuseppe Palomba, 1787, Naples)
  • Il convitato di pietra ossia il Don Giovanni (opera buffa, libretto by Giovanni Battista Lorenzi, 1787, Rome)
  • Il viaggiatore sfortunato in amore (dramma giocoso, libretto by Bellani, 1787, Rome)
  • Il caffè di Barcellona (opera buffa, 1788, Barcellona)
  • Il Colombo e La scoperata delle Indie (farsa per musica, 1788, Rome)
  • L'incontro per accidente ossia Il maestro di cappella (opera buffa, libretto by Giovanni Maria Diodati, 1788, Naples)
  • Impresario in rovina (dramma giocoso, libretto by Antonio Piazza, 1797, Casale Monferrato)

Read more about this topic:  Vincenzo Fabrizi

Famous quotes containing the word works:

    And when discipline is concerned, the parent who has to make it to the end of an eighteen-hour day—who works at a job and then takes on a second shift with the kids every night—is much more likely to adopt the survivor’s motto: “If it works, I’ll use it.” From this perspective, dads who are even slightly less involved and emphasize firm limits or character- building might as well be talking a foreign language. They just don’t get it.
    Ron Taffel (20th century)

    The difference between de jure and de facto segregation is the difference open, forthright bigotry and the shamefaced kind that works through unwritten agreements between real estate dealers, school officials, and local politicians.
    Shirley Chisholm (b. 1924)

    We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.
    Clive Bell (1881–1962)