@ David Himbara In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788.Two important musicologists, Georges du Parc Poulain Saint-Foix and Theodor Wyzewa, in their monumental monograph on Mozart in five volumes, report a detailed comparison between the score of Anfossi's La finta giardiniera and that of Mozart. The two scholars note many similarities between the two works, noting that the Salzburger often followed the formal schemes of Anfossi's work and even took up its rhythmic invention. This work is also mentioned in the essay "Italian music in the eighteenth century" edited by Roberto Zanetti for Bramante publisher. Zanetti adds: "on the other hand, Mozart more generally adopted what is considered a characteristic of Anfossi's operas, that is, the division of the aria into two parts, of different tempo and rhythm", which is usually attributed to Mozart.
Scenografia carina e simpatica per questa versione integrale dell'opera. Preferisco però la versione " speedy " del Drottingholm thèatre, presente qui su youtube, anche se non è completa ed alcune arie risultano spostate.
@ David Himbara In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788.Two important musicologists, Georges du Parc Poulain Saint-Foix and Theodor Wyzewa, in their monumental monograph on Mozart in five volumes, report a detailed comparison between the score of Anfossi's La finta giardiniera and that of Mozart. The two scholars note many similarities between the two works, noting that the Salzburger often followed the formal schemes of Anfossi's work and even took up its rhythmic invention. This work is also mentioned in the essay "Italian music in the eighteenth century" edited by Roberto Zanetti for Bramante publisher. Zanetti adds: "on the other hand, Mozart more generally adopted what is considered a characteristic of Anfossi's operas, that is, the division of the aria into two parts, of different tempo and rhythm", which is usually attributed to Mozart.
