Operatic Pasticcios in 18th Century Europe : Contexts Materials and Aesthetics Frontmatter Editorial Content Introduction The World of Pasticcio Reflections on Pre Existing T ext and Music Italian Pasticcio Opera 1700 1750 Practices and Repertoires 1. Pasticcio Principles in Different Arts Antoine Watteaus pasticci Pasticcio Practice in 18th Century German Theater Adaptations of Stage Directions and Stage Designs in Pietro Metastasio s drammi per musica Between Dwarfs and Giants. Aesthetics of the Pasticcio between London and Hamburg 2. Pasticcio vs. Pastiche The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work Pasticcio en littérature On the New Significance of the Pastiche in Copyright Law 3. Traveling Musicians Traveling Music A Voice of Two Cities: Francesco Borosini between the Habsburg Court and the Royal Academy Debts and Destiny New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business Italian operisti Repertoire and the aria di baule: Insights from the Pirker Correspondence Dido Abandoned Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera T roupe Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745 1765) 4. Local Conditions of Pasticcio Production and Reception Collaboration Arrangement Dressing: The Different Recipes for the pasticcio alla napoletana in the First Half of the 18th Century Production of Opera Pasticcios in Venice in the Early 18th Century. The Impresarios Role Artaserse (Rome 1721) Nicola Porporas First Pasticcio Singers of the V iennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios The Book of Pasticcios: Listening to Ormisdas Material Texts Borrowed Voices. Legal Ownership of Insertion Arias in 18th Century London Local Conditions of Pasticcio Production and Reception: Between Prague W rocław and Moravia The Graz 1740 Pasticcio Amor odio e pentimento: A Special Case or Mingottis s Common Practice A Granted Royal Wish or Carlo Goldoni s La buona figliuola with Music by Niccolò Piccinni and Il mercato di Malmantile with Music by Domenico Fischietti Staged in Warsaw in 1765 5. Pasticcio Practices Beyond Opera Bad Habits in Theater Late Forms of Operatic Pasticcios in Vienna Around 1800 Dance in Pasticcios Pasticcios in Dance Ballet Performance as Motivation for Pasticcio Practices Gluck s and Bertons Cythère assiégée (1775) The Use of Extracts of Mozart s Operas in Polish Sacred Music Pasticcio da chiesa: Transforming Opera Arias into an Oratorio The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid 18th Century 6. Pasticcio Between Philology and Materiality Apostolo Zenos Venceslao (Venice 1703) and its Pasticcio Version Vincislao re di Polonia (London 1717) A Case Study with Stops in Florence Milan and Naples The Musical and Physical Mobility of Material in Handel Sources Pasticcios in Darmstadt Christoph Graupner and the Use of Non domestic Librettos in the Early 18th Century Glucks Contribution to the Pasticcios Arsace and La finta schiava Digital Music Editions Beyond [Edited] Musical Text The pasticci Tree: Manual and Computing Solutions Ways of Replacement Loss and Enrichment Epilogue List of Contributors Index of Persons Index of Places In Early Modern times techniques of assembling compiling and arranging pre existing material were part of the established working methods in many arts. In the world of 18th century opera such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singers abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th century these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio contextualize it define its preconditions look at its material aspects and uncover its aesthetical principles