ABSTRACT
The pasticcio Tigranes which represents the collaborative efforts of Francesco Bartolomeo Conti, Francesco Gasparini, Giuseppe Maria Orlandini, and Antonio Vivaldi, was brought to the Hamburg stage in 1719. On 23 February 1736, four years after Francesco Conti’s death, the première of his oratorio Gioseffo, che interpretata i sogni took place in the court chapel. The letter indicates that after Conti was transferred from the ecclesiastical to the secular authorities, he would have to pay 1000 guilders to compensate the cleric whom he had beaten. In Printz Jodelet, Reinhard Keiser abandoned his usual manner of composing in order to imitate the new Italian style found in Conti’s operas. Conti’s reputation as a composer of comedy was well respected at the Braunschweig-Wolfenbüttel court, as evidenced by the particular dramatic works chosen for revivals there in a twenty-year period extending from 1720 to 1740. Conti may have contributed a third set of intermezzos for Braunschweig.
