3. - Schlösser-Magazin

green vines, and mystifyingly bound together
with ivy, twisted around the whole length of the
vines. The sea is visible in the distance.
Leucippo: The scene is set in Arcadia, in a sacred
forest dedicated to the Lycian Jupiter and the
regions adjacent to it. The outmost forecourt of
the temple of Diana, decorated with cypresses.
The sacred forest, next to a large space seen in
perspective, where the alter to the Lycian Jupiter
stands. An open field on the bank of the river. On
one side, this river can be seen falling steeply, on
the other side, however, a pleasant countryside
with laurels
Alceste: Temple of Apollo
La buona figliuola: A sumptuous garden,
bordering on the marquis’ palace in the distance.
Bushes. Agreeable fields with trees and hills
L’isola d’amore: The sea coast with festive
decorations. A large arch of roses and greenery
in the centre. A forecourt on one side behind the
arch. In front of the arch on the other side, the
view of a temple with an altar and a portrayal
of love. A small wood near the temple. A temple
with portrayals of Bacchus and Love. An altar
centre-stage. A garden. The floor of a deep valley
with mountains in the distance
Gli stravaganti: A forest
L’amore artigiano: A garden
La contadina in corte: Landscape with fruit
tress. A hill in the background. A number of
farmhouses on the sides. Small wood with rural
fountain on one side. Room at ground level with
an exit to a garden
L’isola d’Alcina: A magnificent garden with a
fountain in the middle of it
Das Milchmädgen und die beiden Jäger (The
milkmaid and the two hunters): The stage
represents a thick forest. Right at the front there
is a tall tree and, on the left at some distance, an
old hut.
L’amante di tutte: A rural region with a palace
and a farmhouse on one side
Amor vincitore: The scene is a delightful
landscape. Green trees in the background. Forest
on one side and cliffs with a rural fountain on
the other
L’Endimione: Landscape with trees, grottos and
waterfalls. Cliffs surrounded by trees with a
V. Report on the Music Historical Importance: Dr. Bärbel Pelker
view of the sea in the background. Forest with
mountains in the background near Silvano’s
grotto
L’incognita perseguitata: A garden. A field with
shepherds’ dwellings. Hanging gardens
L’Arcadia conservata: Apollo’s temple built by
Evandern on the steep slopes of Mount Palatinus.
The buildings rise up above the entrance to the
“Oracle” and the shady laurels over the holy
forest surrounding it (opera performed on
the temple of Apollo, which still exists in the
gardens)
Alceste: A garden full of urns and statues and, at
some distance, the royal palace resting on Doric
columns
Zemira e Azor: Forested location between cleft
cliffs in Azor’s fenced-in magic garden. Grotto
on the left. Façade of Azor’s enchanted palace,
looking towards a delightful, elegant garden. A
throne centre-stage
La festa della rosa: Delightful countryside
with a beach in the background. Peasants on
the opposite bank busy repairing the damage
cause by a heavy storm. High mountains in the
background. The beach is dominated by a small
hill rising up above it front-stage to the left, but
not as high as the other hill on the opposite river
bank which people can walk on.
Considering the compositions, there was no
other summer residence anywhere in Europe
where the range of operas performed was as vast
as in Schwetzingen: Opera buffa, Opéra comique
or German musical plays – “the Schwetzingen
repertoire brought the history of European opera
into focus, as if under a magnifying glass” 26 .
Whereas during the 1750s court society was
entertained with the operas “L’isola disabitata”
(1754), “Il Don Chisciotte” (1755), “I Cinesi”
(1756) and “Le nozze d’Arianna” (1756) by
Ignaz Holzbauer as well as Baldassare Galuppi’s
successful operas “Il filosofo di campagna”
(1756) and “Le nozze” (1757), Musical Europe
descended on Schwetzingen in the course of
26 Silke Leopold: Europa unterm Brennglas. Oper in Schwetzingen
zur Zeit Carl Theodors. In: Hofoper in Schwetzingen, p. 57.
This work includes a detailed, fundamental interpretation of
the Schwetzingen opera repertoire in the European context, pp.
55–70
V.
217