* Armida abbandonata ( Naples, 1770 ) – libretto by Francesco Saverio de ' Rogati

* Rinaldo in Armida abbandonata by Niccolò Jommelli ( Naples, 1780 )

* Giuseppe Maria Buini – Armida abbandonata

* Armida abbandonata by Giovanni Maria Ruggieri ( Venice, 1707 )

* Armida abbandonata by Giuseppe Maria Buini ( Bologna, 1716 )

* Armida abbandonata by Antonio Bioni ( Prague, 1725 )

* Armida abbandonata ( 1770 ) by Jommelli

The libretto to Armida was by Marco Coltellini the house poet for the imperial theaters.

Armida was translated into German and widely performed, especially in the northern German states, where it helped to establish Salieri's reputation as an important and innovative modern composer It would also be the first opera to receive a serious preparation in a piano and vocal reduction by Carl Friedrich Cramer in 1783.

Armida was soon followed by Salieri's first truly popular success ; a commedia per musica in the style of Carlo Goldoni La fiera di Venezia ( The Fair of Venice ).

His opera ' Rinaldo and Armida ' has recently been published in the Recent Researches of the Music of the Baroque Era series ( A-R Editions ), edited by Steven Plank.

At the beginning of the 20th century, the Casa de Cultura Jesús Reyes Heroles was inhabited by María Concepción Armida, who is being considered for beatification by the Catholic Church.

* Rinaldo in Armida by Josef Mysliveček ( Milan, 1780 )

Rinaldo and Armida, by Francois Boucher, 1734 ; this painting gained Boucher entrance to the Academie ( Louvre Museum )

He contributed to the society's exhibitions upwards of three hundred portraits and other works, among them being " The Enchantress Armida ", exhibited in 1831 ; " Haidee aroused from her Trance by the sound of Music ", 1834 ; " Eros ", 1836 ; " Italian Boys playing at the National Game of Mora " and the " Prisoner of Chillon ", 1837 ; " The Scene in St. Peter's, Rome, from Byron's Deformed Transformed ", 1839 ; " The Convent of St. Isidore: the Monks giving away provisions ", 1841 ; and a " Scene in a Spanish Posada in Andalusia ", 1843.

Rinaldo and Armida, by François Boucher.

The witch Armida ( modeled on Circe in Homer and the witch Alcina in Ariosto's epic ) enters the Christian camp asking for their aid ; her seductions divide the knights against each other and a group leaves with her, only to be transformed into animals by her magic.

Two Christian knights seek out the hidden fortress, brave the dangers that guard it and, by giving Rinaldo a mirror of diamond, force him to see himself in his effeminated and amorous state and to return to the war, leaving Armida heartbroken.

* Armida by Benedetto Ferrari ( Venice, 1639 ) music lost

* Armida by Marco Marazzoli ( Ferrara, 1641 )

* Amori di Rinaldo con Armida by Teofilo Orgiani ( Brescia, 1697 ) music lost

* Armida al campo by Giuseppe Boniventi ( Venice, 1708 )

* Armida regina di Damasco by Teofilo Orgiani ( Verona, 1711 ) music lost

* Armida in Damasco by Giacomo Rampini ( Venice, 1711 )

* Armida al campo d ' Egitto by Antonio Vivaldi ( Venice, 1718 )

* Armida delusa by Giuseppe Maria Buini ( Venice, 1720 )

* Das eroberte Jerusalem, oder Armida und Rinaldo by Georg Caspar Schurmann ( Brunswick, 1722 )

* L ' Armida immaginaria ( summer 1777 Naples Teatro ( San Giovanni ) dei Fiorentini )

In addition, Farnese commissioned various oil paintings from Carracci, including his Rinaldo and Armida now in the Capodimonte Museum in Naples.

* Armida by Gioacchino Rossini ( Naples, 1817 )

Though her voice soon began to show signs of strain, Colbran continued to have a fertile career, creating the roles of Armida ( Armida ), Elcia ( Mosè in Egitto ), Zoraide ( Ricciardo e Zoraide ), Ermione ( Ermione ), Elena ( La donna del lago ), Anna ( Maometto II ), and Zelmira ( Zelmira ), all written by Rossini for Naples.

* 1724: Didone abbandonata by Domenico Sarro

* 1740: Didone abbandonata by Baldassare Galuppi

* 1747: Didone abbandonata by Niccolò Jommelli

* 1762: Didone abbandonata by Giuseppe Sarti

* 1770: Didone abbandonata by Niccolò Piccinni

* 1823: Didone abbandonata by Saverio Mercadante

* Didone abbandonata ( Rome, 1847 ) – libretto by Metastasio

Under her wing, Metastasio produced libretto after libretto, and they were rapidly set by the greatest composers in Italy and Austria, establishing the transnational tone of opera seria: Didone abbandonata, Catone in Utica, Ezio, Alessandro nell ' Indie, Semiramide riconosciuta, Siroe and Artaserse.

For instance, Goehr's Arianna uses the libretto of a lost opera by Monteverdi, Arianna abbandonata, and conjures up sonorities reminiscent of the Italian Renaissance.

1792 saw Storace produce the boldest of his operatic projects, Dido, Queen of Carthage, with a libretto by Prince Hoare after Metastasio's Didone abbandonata.

However, before the national debate caused by the Viola case, a 1964 satire directed by Pietro Germi, Seduced and Abandoned ( Sedotta e abbandonata ), treated the Sicilian custom as a dark comedy.

Indeed, it ranks with Demofoonte and Didone abbandonata, dramas excelled in popularity only by Artaserse and Alessandro nell ' Indie.