2001•Unpublished venueRequires access
The Opera
Judith Milhous, Gabridla Dideriksen, Robert D. Hume
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Abstract
Abstract The Pantheon was established by its aristocratic backers with a distinct artistic plan for the opera company: opera seria rather than the increasingly more popular opera buffa was to form the core of the repertoire. The company’s financial problems, the failure to engage a house composer capable of creating major new works, as well as illness amongst the opera seria singers soon enforced a much greater reliance on opera buffa, with almost three quarters of all performances during the 1790-91 season given over to that genre. Moreover, only one opera was specifically created for the Pantheon. Had O’Reilly succeeded in bringing Mozart or Paisiello to London, the repertoire might well have taken on a completely different shape.