‘Twittering and trilling’: Swedish reaction to Metastasio

Abstract

The performance of Metastasio's works in Sweden falls into four groups (see table 1); those associated with the little-known aristocratic composer Arvid Niclas von H6pken (1710-78); those opera librettos set by Francesco Uttini (1723-95); the two oratorio performances of the 1770s; and the early 19thcentury works related to La clemenza di Tito. For all practical purposes, Metastasio's works may be said to have arrived in Sweden with Francesco Uttini in the 1750s. However, von H6pken had produced two settings in the early 175os-one of II re pastore, the other of Catone in Utica'-but these remained unperformed, and did not influence Swedish thinking in a broader sense. In fact, von Hopken was a trifle cut off from the mainstream of musical life; he appears to have spent much of his life outside Sweden as an officer of the Swedish army, although the position of his brother as State Councillor suggests that he had the means to keep abreast of Swedish affairs. Among his arias and songs are also some from other Metastasian operas-'Fra cento affanni', 'Per pieti, bell'idol mio' and 'Sul le sponde del torbido lete' from Artaserse, and 'Betta il nocchier' supposedly from La clemenza di Tito.2 His musical style remained unrelentingly Italianate, perhaps indicating an interest in things Italian that was responsible for his choice of the Metastasian