111:. The work was notably the first Italian language opera written specifically for the English theatre. A tremendous success with the public, a further 12 performances were immediately scheduled after its premiere; at the end of the run, popular demand was such that two more were added. The opera was played at the theatre in most seasons until 1716–17, and Pilotti-Schiavonetti was the only singer from the original cast that appeared in all 47 performances of the opera up to that point.
60:, possibly five. Three of the roles that Handel wrote specifically for her were sorceresses, and the demands of those roles indicate that she possessed an exceptional voice capable of both dramatic power and technical agility. She is said to have had a bitter rivalry with the Queen's other leading soprano,
88:. It was there that the couple first made the acquaintance of Handel during the composer's early career in Germany. The couple came to London in 1710 when Giovanni took a position as a court musician for Sophia's brother,
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Evidently
Pilotti-Schiavonetti's voice and skill as an actress impressed Handel, as the composer went on to compose at least three more roles for the soprano. She created parts in the world premieres of Handel's
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Soon after arriving in
England, Pilotti-Schiavonetti was offered a position at the Queen's Theatre. She made her debut with the company in November 1710 in
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under the direction of her husband. They then returned to
Hanover where Giovanni died in 1730, followed by Elisabetta in 1742.
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Pilotti-Schiavonetti was born in Italy sometime during the last quarter of the 17th century. She was married to the
Venetian
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174:, the Princess of Wales. She and her husband returned to Germany a few years later. They were committed to the court at
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56:'s accession in 1714) from 1710 to 1717. She is best remembered today for creating roles in at least four operas by
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Giovanni
Schiavonetti. Prior to their careers in England, the couple worked as musicians in the court of
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A letter from 1716 described
Pilotti-Schiavonetti as a servant of
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in 1726 where
Elisabetta sang in several comic operas, including
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Polymath of the baroque: Agostino
Steffani and his music
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280:Music at the Court of George II (r. 1727-1760)
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52:(it later became the "King's Theatre" after
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434:18th-century Italian women opera singers
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294:(2008). Laura Williams Macy (ed.).
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297:The Grove Book of Opera Singers
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354:Originally published in 1987
36:who was associated with the
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367:The New Kobbé's opera book
330:Handel's operas: 1704–1726
278:Daub, Peggy Ellen (1985).
255:Dean and Knapp, pp. 182–83
90:George II of Great Britain
86:Sophia Dorothea of Hanover
429:Italian operatic sopranos
284:Cornell University Press
16:Italian operatic soprano
392:Oxford University Press
340:Oxford University Press
302:Oxford University Press
264:Dean and Knapp, p. 156
58:George Frideric Handel
382:Timms, Colin (2003).
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172:Caroline of Ansbach
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121:(1712, Amarilli),
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176:Stuttgart
50:Haymarket
365:(2000).
326:(1995).
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272:Sources
161:Etearco
153:Ambleto
149:Antioco
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108:Rinaldo
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