Vol.53,No.Supplementum(2018)

The brothers Ferdinand III and Leopold Wilhelm, their attitude towards their teacher Giovanni Valentini and towards poetry and music

Herbert Seifert
https://doi.org/10.5817/MB2018-S-1

Music-related sources from the correspondence between Rome and the Viennese Court : new material concerning Antimo Liberati, Alessandro Stradella and other Italian musicians from the Baroque era

Marko Deisinger
https://doi.org/10.5817/MB2018-S-2

Viva eterno Leopoldo! : Italian birthday serenatas by Johann Heinrich Schmelzer

Petr Slouka
https://doi.org/10.5817/MB2018-S-3

Vienna's Ursuline Convent and the Via Allemagna : travel, music, letters

Janet K. Page
https://doi.org/10.5817/MB2018-S-4

Musica transaplina : text and music transfer in Antonio Caldara's Cantata and Serenata repertoire

Andrea Zedler, Magdalena Boschung
https://doi.org/10.5817/MB2018-S-5

The Giovanni Bononcini's Opera Muzio Scevola (1710) and the Johann Joseph Fux' Festa teatrale Costanza e Fortezza (1723) : from a music dramma to an allegory

Irena Veselá
https://doi.org/10.5817/MB2018-S-6

The chaste Penelope and the angry Odysseus : course of a tragicomic opera action between Vienna and northern Italy

Livio Marcaletti
https://doi.org/10.5817/MB2018-S-7

"Mezzanità de' caratteri e dello stile"? : the tragicommedia per musica North and South of the Alps

Konstantin Hirschmann
https://doi.org/10.5817/MB2018-S-8

Francesco Borosini (*ca. 1690, † after 1756) : life and career of a tenor in the early Settecento

Emilia Pelliccia
https://doi.org/10.5817/MB2018-S-9

Die glückliche Vorbedeutung and Aristheus : unknown libretti of German-language operas performed in the Kärntnertortheater in Vienna in 1741

Jana Perutková
https://doi.org/10.5817/MB2018-S-10

The Teatro Sant'Angelo : cradle of fledgling opera troupes

Eleanor Selfridge-Field
https://doi.org/10.5817/MB2018-S-11

Italian musicians at the court of Emericus Esterházy in Preßburg and contacts with the Imperial Court Ensemble in Vienna

Ladislav Kačic
https://doi.org/10.5817/MB2018-S-12

Between Venice, Lubowla in Spiš and Kraków : Prince Teodor Lubomirski – an enthusiast of Italian opera (a preliminary study)

Anna Ryszka-Komarnicka
https://doi.org/10.5817/MB2018-S-13

Andrea Bernasconi's earliest operatic music on its way north of the Alps

Metoda Kokole
https://doi.org/10.5817/MB2018-S-14

Orlandini's Antigona (vendicata) : transformation of a Venetian opera on its transalpine journey

Jana Spáčilová
https://doi.org/10.5817/MB2018-S-15

Pietro Metastasio's and Johann Adolf Hasse's L'eroe cinese in Warsaw (1754)

Alina Żórawska-Witkowska
https://doi.org/10.5817/MB2018-S-16

The Passion Oratorio "La morte di Cristo" attributed to Johann Adolf Hasse and its musical-historical context

Steffen Voss
https://doi.org/10.5817/MB2018-S-17

Between Venice, Rome and Versailles – Italian castratos going astray?

Margret Scharrer
https://doi.org/10.5817/MB2018-S-18

Classy scene for connoisseurs or snobby meeting point? : considerations upon the repertoire and functions of the Thun Theatre in Prague during the years 1781-1784

Marc Niubo
https://doi.org/10.5817/MB2018-S-19

Albinoni for lute : transcriptions of Italian music for the Munich Princesses Josepha Maria and Maria Josepha of Bavaria

Berthold Over
https://doi.org/10.5817/MB2018-S-20

"Italianità" as a musical phenomenon in the baroque Europe : on opera and cantata in France and Germany

Hermann Jung
https://doi.org/10.5817/MB2018-S-21

"weil es eine der Geheimnisse von Rom" : the Mozarts as prevented bearers of Allegris miserere

Thomas Hochradner
https://doi.org/10.5817/MB2018-S-22

Oratorios performed at the holy sepulchre in the Bohemian Lands and Austria in the 18th century (Part II) : on the issue of transferring sepolcri and the possibilities of their semi-staged or staged performance

Jana Perutková
https://doi.org/10.5817/MB2018-S-23