It was paired with a Darius Milhaud opera, `` The Poor Sailor '', set to a libretto by Jean Cocteau, a kind of Grand Guignol by the sea, a sailor returns, unrecognized, and gets done in by his wife.

Salieri's first full opera was composed during the winter and carnival season of 1770 ; Le donne letterate and was based on Molière's Les Femmes Savantes ( The Learned Ladies ) with a libretto by Giovanni Gastone Boccherini a dancer in the court ballet, and a brother of the famous composer.

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

Again a classic of Renaissance literature was the basis of the libretto by Boccherini, in this case a comic mock-epic by Tassoni, in which a war between Modena and Bologna ensues over a stolen bucket.

This uneven work was followed by another popular comedic success La locandiera ( Mine Hostess ), an adaptation of the classic and popular spoken stage comedy La locandiera by Carlo Goldoni, the libretto was prepared by Domenico Poggi.

Da Ponte would write his first opera libretto for Salieri, Il ricco d ' un giorno ( A Rich Man for a Day ) in 1784, it was not a success.

However the failure of this work was more than made up for with his next Parisian opera Tarare with a libretto by Beaumarchais.

His last opera was a German language singspiel Die Neger, ( The Negroes ), a melodrama set in colonial Virginia with a text by Georg Friedrich Treitschke ( the author of the libretto for Beethoven's Fidelio ) performed in 1804 and was a complete failure.

The libretto was mainly written in early 1927 and the music was finished in the spring of 1929, although both text and music were partly revised by the authors later.

The libretto was performed in an original translation by Michael Feingold ; the production was directed by Alvin Epstein.

The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas D ' Urfey ( 1653 – 1723 ), a number of whose collected ballads they used in their work.

Around this time, he composed individual numbers to a libretto by Vincenza Mombelli called Demetrio e Polibio, which was handed to the boy in pieces.

The libretto for Tancredi was an arrangement by Gaetano Rossi of Voltaire's tragedy Tancrède.

The libretto of this opera by Giovanni Schmidt was in many of its incidents an anticipation of those presented to the world a few years later in Sir Walter Scott's Kenilworth.

The libretto, a version of Pierre Beaumarchais ' stage play Le Barbier de Séville, was newly written by Cesare Sterbini and not the same as that already used by Giovanni Paisiello in his own Barbiere, an opera which had enjoyed European popularity for more than a quarter of a century.

The libretto was by Étienne Jouy and Hippolyte Bis, but their version was revised by Armand Marrast.

Edgar failed: it was a bad story and Fontana's libretto was poor.

Puccini completed the score of La rondine, to a libretto by Giuseppe Adami in 1916 after two years of work, and it was premiered at the Grand Théâtre de Monte Carlo on 27 March 1917.

In 1889, for his final examination at the end of his course of study, he submitted his opera Gina, with a libretto by Enrico Golisciani which was adapted from the old French play Catherine, ou La Croix d ' or by Baron Anne-Honoré-Joseph Duveyrier de Mélésville ( 1787 — 1865 ).

The composer adapted the libretto from the East Slavic epic The Lay of Igor's Host, which recounts the campaign of Russian prince Igor Svyatoslavich against the invading Polovtsian tribes in 1185.

George Bernard Shaw wrote that Gilbert, who had earlier adapted Offenbach's Les brigands, drew on that work also for his new libretto.

Alban Berg adapted Georg Büchner's play Woyzeck for the libretto of Wozzeck.

The libretto of a musical, if the musical is adapted from a play ( or even a novel ), may even borrow their source's original dialogue liberally-much as Oklahoma!

1937 ; libretto by composer, adapted from " Lulu " plays of Frank Wedekind under # Germany | Germany above ); Korngold, Erich Wolfgang: Die tote Stadt ( The Dead City ; libretto by composer and Paul Schott ; actor Fritz banters and sings in the guise and costume of Pierrot — an ironic counterpart to the lovelorn main character, Paul ).

* French — Margoni, Alain: Pierrot, or The Secrets of the Night ( 1990 ; libretto by Rémi Laureillard adapted from Michel Tournier ; see above under Fiction ).

In 1795 the Spanish composer Vicente Martín y Soler wrote La capricciosa corretta, an opera buffa with libretto by Lorenzo Da Ponte, partly adapted from the play.

In 1953, Vittorio Giannini adapted the play into an opera buffa, with a libretto by Giannini and Dorothy Fee.

Poulenc himself adapted the libretto from Bernanos ' text.

Losey then married the former Patricia Mohan, who adapted Lorenzo Da Ponte's libretto for Don Giovanni, and Nell Dunn's play Steaming.

* Giuseppe Verdi's last opera, Falstaff, with a libretto by Arrigo Boito, is based on the play, although, as with most operas adapted from the theatre, there are significant differences as to characters and plot.

Faustina performed in the September 1735 premiere of Tito Vespasiano ( another adapted Metastsio libretto ) at Pesaro.

The libretto is adapted from E. T. A.

* The Postman Always Rings Twice ( opera ), a 1982 opera with a libretto adapted from the novel by Colin Graham and music by Stephen Paulus

The play was adapted as an opera libretto by the author and set to music by composer Gottfried von Einem, entitled Der Besuch der alten Dame and translated as The Visit of the Old Lady, and was first performed in 1971.

The libretto of John Barnett's 1834 opera, The Mountain Sylph, is also adapted from Trilby, via the ballet La Sylphide.

The French libretto was adapted from Maurice Maeterlinck's Symbolist play Pelléas et Mélisande.

The Italian libretto was adapted by an unknown hand from that by Silvio Stampiglia for an earlier opera of the same name by Giovanni Bononcini in 1694.

In 1781 Gluck produced a German version of the opera, Iphigenia in Tauris, for the visit of the Russian Grand Duke Paul to Vienna, with the libretto translated and adapted by Johann Baptist von Alxinger in collaboration with the composer.

* 1831: Le philtre, adapted by Felice Romani into the libretto for Donizetti ' sL ' elisir d ' amore.

* 1902: Adriana Lecouvreur ( written in collaboration with Ernest Legouvé ) was adapted into a libretto by Arturo Colautti for Francesco Cilea's Adriana Lecouvreur

The anonymous Italian libretto was based on a work by Antonio Salvi, which in turn was adapted from Canti 5 and 6 of Ludovico Ariosto's Orlando Furioso.