1 All paraphrases or direct quotations are translated into English by the reviewer.Google Scholar

2 A revision of the London chapter has been published under the title ‘Adapted to the Modern Stage: “La clemenza di Tito” in London’, Cambridge Opera Journal, 7 (1995), 1–22.Google Scholar

3 Carl Dahlhaus, ‘Drammaturgia dell'opera italiana’, La drammaturgia musicale (Bologna, 1986), 77–162; see also his ‘Zeitstrukturen in der Oper, Die Musikforschung, 34 (1981), 2-11.Google Scholar

4 Scnici, p. 2, cites the Italian translation of Gian Antonio de Toni: Carl Dahlhaus, Fondamenti di storiografia musicale (Fiesole, 1980), 204. I have referred to, but modified, the English translation of J. B. Robinson: Foundations of Music History (Cambridge, 1983), 164. Dahlhaus's original publication is Grundlagen der Musikgeschichte (Cologne, 1977).Google Scholar

5 Scnici, p. 13. The reference is to John A. Rice, Mozart: La clemenza di Tito (Cambridge, 1991).Google Scholar

6 See Durante, Sergio, ‘Quando Tito divenne Titus: Le prime traduzioni della “Clemenza” mozartiana ed il ruolo di Friedrich Rochlitz’, Festschrift Max Lütolf zum 60. Geburtstag, ed. Bernhard Hangartner and Urs Fischer (Basic, 1994), 247–58.Google Scholar

7 The aria is found in I-Nc Rari 5.5.35 (ff. 75-84') as well as in the Lobkowitz Archive (CR-Pnm X.D.b.95), where it is attributed to Weigl.Google Scholar

8 Sergio Durante, ‘Mozart and the Idea of “Vera opera”: A Study of La clemenza di Tito’ (Ph.D. dissertation, Harvard University, 1993), 98.Google Scholar

9 Ibid.; Paologiovanni Maione, ‘“La clemenza di Tito”: Due apocrifi ottocenteschi per le scene napoletane’, Bericht über den Internationalen Mozart-Kongress, Salzburg 1991 (Mozart Jahrbuch, 1991), 742–54; Helga Lühning, Titus-Vertonungen im 18. Jahrhundert, Analecta musicologica, 20 (Laaber, 1983), 108-30.Google Scholar

10 Oddly enough, the computer disk containing the revisions of his dissertation that Senici kindly sent me before the publication of his work included several footnotes correcting the misinformation. These had been added after hearing my paper, ‘Mozart's La clemenza di Tito in the Early Ottocento: The Making of a Pasticcio’, at the annual meeting of the American Musicological Society in Montreal, November 1993.1 must presume that the editors at Brepols refused to include footnotes citing unpublished works.Google Scholar