References
www.apostolozeno.it (Venceslao versions of 1703–1725 and 1744)www.progettometastasio.it (Metastasio’s libretti – original versions)www.variantiallopera.it www.corago.unibo.it (an online catalogue of Italian libretti with links to many complete texts; bibliographical references to all the Venceslao productions can be found there – see titles Venceslao, Vincislao, Il fratricida innocente, and La Lucinda fedele)- Bellina, A.L., ‘The Pasticci Tree: Manual and Computing Solutions’, in B. Over and G. zur Nieden (eds), Operatic Pasticcios in 18th-Century Europe: Contexts, Materials and Aesthetics, Bielefeld, transcript Verlag, 2021, pp. 719–732.
- Cross, E., ‘Vivaldi and the Pasticcio: Text and Music in Tamerlano’, in I. Fenlon and T. Carter (eds), Con che soavità. Studies in Italian Opera, Song and Dance, 1580–1740, Oxford, Clarendon Press, 1995, pp. 275–311.
- Dean, W. ‘Handel’s “Sosarme”, a Puzzle Opera’, in F.W. Sternfeld, N. Fortune and E. Olleson (eds), Essays on Opera and English Music. In Honour of Sir Jack Westrup, Oxford, Basil Blackwell, 1975, pp. 115–147.
- Freeman, D.E., The Opera Theater of Count Franz Anton von Sporck in Prague, Stuyvesant, N.Y., Pendragon Press, 1992.
- Polin, G., ‘Le “Opere / che al dosso degli attor non sono tagliate / riescon per ordinario impasticciate”. Riflessioni sullo status del testo spettacolare melodrammatico nel Settecento’, in G. Pitarresi (ed.), Responsabilità d’autore e collaborazione nell’opera dell’Età barocca. Il Pasticcio, Reggio Calabria, Laruffa Editore, 2011, pp. 325–363.
- Ryszka-Komarnicka, A., ‘Apostolo Zeno’s Venceslao (Venice 1703) and its Pasticcio Version Vincislao re di Polonia (London 1717): A Case Study with Stops in Florence, Milan and Naples’, in B. Over and G. zur Nieden (eds), Operatic Pasticcios in 18th-Century Europe: Contexts, Materials and Aesthetics, Bielefeld, transcript Verlag, 2021, pp. 621–657.
- Ryszka-Komarnicka, A., ‘Between Venice, Lubowla in Spiš and Kraków: Prince Teodor Lubomirski – An Enthusiast of Italian Opera (A Preliminary Study)’, Musicologica Brunensia, vol. 53, supplementum, 2018, pp. 189–203,
https://doi.org/10.5817/MB2018-S-13 (accessed 12 September 2021). - Ryszka-Komarnicka, A., Pasticcio Vincislao in Livorno (1720): Between Stars’ Repertoires and Vivaldian Operas,
https://www.pasticcio-project.eu/stories/vincislao (forthcoming). - Ryszka-Komarnicka, A., Rok 1725: ‘Venceslao – opera regia Apostola Zena na zaalpejskich dworach w Pradze, Krakowie, Monachium i Wiedniu’ [Venceslao – Apostolo Zeno’s opera regia at the Transalpine Courts in Prague, Cracow, Munich, and Vienna], Barok. Historia – Literatura – Sztuka, no. 1 (53), 2019, pp. 73–92.
- Selfridge-Field, E., A New Chronology of Venetian Opera and Related Genres, 1660–1760, Stanford, Stanford University Press, 2007.
- Spáčilová, J., ‘Současný stav libret italské opery na Moravě v 1. polovině 18. stoleti’ [The Current State of Italian Opera Librettos from the First Half of the 18th Century Kept in Moravia], Acta Musicologica, vol. 2, 2006,
http://acta.musicologica.cz/06-02/0602s06.html (accessed 12 September 2021). - Strohm, R., ‘Domenico Terradellas: Merope (Roma 1743)’, in L’opera Italiana nel Settecento, Venezia, Saggi Marsilio, 1991, pp. 241–251.
- Strohm, R., ‘Handel’s Pasticci’, in R. Strohm, Essays on Handel and Italian Opera, Cambridge, Cambridge University Press, 1985, pp. 164–211.
- Urbani, S., Il Venceslao di Zeno e Caldara (1725): invenzione del dramma, tradizione del testo, libretto e partitura, PhD thesis, Università di Bologna, 2017.
- Żórawska-Witkowska, A., ‘O muzykologicznych pożytkach z badania librett. Kilka refleksji polskiego historyka muzyki’ [On the Advantages of Libretto Studies to a Musicologist: Several Reflections of a Polish Music Historian], in E. Nowicka and A. Borkowska-Rychlewska (eds), Libretto i przekład [Libretto and Translation], Poznań, Poznańskie Towarzystwo Przyjaciół Nauk, 2015, pp. 25–40.