Abstract

Torquato Tasso's 16th-century epic poem Gerusalemme liberata, the opera received its premiere on 26 February 1784, the year in which Prince Nicholas Esterhizy officially acknowledged the completion of his fairyland estate on the southern shores of the Neusiedlersee (in present-day western Hungary). Stage and costume records tell of the high costs associated with the re-creation of the magical isle of the Saracen enchantress at Eszterhiza. In a docu-

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