Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE ( © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 22 January 2021

Abstract and Keywords

This chapter traces how often-performed canonic works did not emerge in London’s King’s Theatre until the end of the eighteenth century, seen in the special popularity of opera buffa. From its opening in 1704, the King’s Theatre offered only operas written and produced in Italy, and it was unusual for a piece to be kept on stage for more than five years. The piece that broke that rule was La buona figliuola, the setting by Niccolò Piccinni of Carlo Goldoni’s libretto on Samuel Richardson’s novel Pamela. First performed in Rome in 1760, the opera was given in London almost every year from 1766 to 1796, and ten other pieces in that genre also appeared unusually often. This chapter is paired with Jennifer Hall-Witt’s “Repertory opera and canonic sensibility at the London Opera, 1820–1860.”

Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.