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  • I hope they find out too that I do not care, Seward too sues for reconcilement underhand ... so they do all; and I sincerely forgive them -- but, like the linnet in 'Metastasio' --

    Autobiography, Letters and Literary Remains of Mrs. Piozzi (Thrale) (2nd ed.) (2 vols.) Edited with notes and Introductory Account of her life and writings

  • He called Metastasio from Italy to compose the operas for his court.

    Among the Great Masters of Music Scenes in the Lives of Famous Musicians

  • Trapassi (1698-1782), better known as Metastasio, brought the melodrama to the ultimate perfection of which it is capable, investing it with tragic dignity and lyrical beauty.

    The Catholic Encyclopedia, Volume 8: Infamy-Lapparent

  • With a libretto by poet Piero Metastasio, the opera recounts the struggle of Roman emperor Tito (Titus) to remain true to his own virtuous convictions, eventually forgiving even those who betray him—including Vitellia, who wants to marry him and plots his murder when he rejects her; and his friend Sesto (Sextius), so in thrall to Vitellia that he agrees to do her bidding.

    An Ingeniously Staged 'Nose'

  • Philippe Jaroussky's selection of 15 arias from those works, all originally composed for castrati, and with librettos by either Metastasio or Apostolo Zeno, is an bold attempt at restitution.

    Caldara in Vienna – review

  • The lines of the Italian 'playwright, Metastasio, express in a simple way a great truth: "If anguish were written on the forehead, many who are envied would arouse pity."

    Cheerfulness (A psychosynthesis technique), by Roberto Assagioli

  • The words, from Metastasio, were tender and pathetic.

    The Curate and His Daughter, a Cornish Tale

  • Not altogether correct are the verses of the Italian poet Metastasio: "Word that comes from within, is no longer worth retracting; The arrow cannot be stopped, when it has left the bow."

    Archive 2008-07-06

  • His newest recording is Mozart's last opera, La Clemenza Di Tito, a strange hybrid of old and then-new styles in opera: Mozart was handed an old Metastasio libretto that had been set by many other composers in the past; he had it revised somewhat to incorporate more ensemble numbers, but the finished product was an odd combination of Mozart's dramatic ability with the basically undramatic style of baroque opera seria.

    Archive 2006-04-01

  • Thus we find ourselves facing the paradox that the eighteenth-century apostle of feeling could think of genius without the attribute of originality — indeed, it is in “imitating” Metastasio that a musician becomes



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