Who was Pietro Metastasio?

Pietro Metastasio (1698–1782) was an Italian poet and Europe's most celebrated librettist during the 18th century, with his librettos set to music over 800 times. Recognizing his skill in verse improvisation, Gian Vincenzo Gravina Hellenized his name and made him his heir. Under the patronage of Marianna Benti-Bulgarelli, Metastasio abandoned law to write Didone abbandonata (1723), followed by other works like Siroe , Catone in Utica , and Artaserse . In 1730, he became poet laureate to the Austrian imperial court, composing cantatas, oratorios, and melodrammi. His writings also include Epistolario and Estratto della Poetica d’Aristotele , showcasing his dramatic theories.

Where and when was Pietro Metastasio born?

Pietro Metastasio, an Italian poet and celebrated librettist, was born in Rome on January 3, 1698. Recognized early for his skill in verse improvisation, Gian Vincenzo Gravina, a man of letters, took an interest in him, and Pietro became his adopted heir. Gravina also Hellenized his name to Pietro Metastasio. He died in Vienna on April 12, 1782, where he had spent the latter part of his life as poet laureate to the imperial court.

What kind of poetry and writing was Pietro Metastasio known for?

Pietro Metastasio was known for his poetry and librettos, which were set to music over 800 times during the 18th century. He was most celebrated for writing opera seria librettos. Some of his best melodrammi include Demetrio , Olimpiade , Demofoonte , La clemenza di Tito , and Attilio Regolo . Additionally, his other writings include Epistolario and five canzonette , of which La libertà (1733) and La partenza (1746) are outstanding examples of Italian verse in the Arcadian tradition. Metastasio also wrote Estratto della Poetica d’Aristotele (1782), an exposition of his dramatic theories.

How did Metastasio influence Italian opera and music?

Pietro Metastasio, an Italian poet and librettist, significantly influenced 18th-century opera seria . His librettos, known for their formal beauty and linguistic clarity, were set to music over 800 times by composers ranging from Pergolesi to Mozart. Metastasio's work supported the institution of absolutist monarchy through allegories of enlightened leadership. With plots revolving around historical figures, his librettos favored solemn, tragic subjects in three acts, influencing the Neoclassical movement in opera. His collaboration with composers like Nicola Porpora and Leonardo Vinci helped to establish a light, graceful vocal style that later influenced the Viennese Classic style.

Why were Metastasio’s works popular in Europe during his lifetime?

Pietro Metastasio was a celebrated Italian poet and librettist whose works achieved widespread popularity in 18th-century Europe. Several factors contributed to his success: Master of opera seria Metastasio was a leading master of the opera seria libretto style, which presented characters from classical mythology or history, and avoided comic episodes. Elevated Poetic Drama He aimed to elevate libretto standards by creating lofty poetic dramas, which were well-received by audiences of the time. Support of Absolutist Monarchy Metastasio's heroic subject matter and manner supported the institution of absolutist monarchy, as he presented allegories of enlightened leadership and the triumph of reason. Musical settings His librettos were set to music more than 800 times and were widely translated into many European languages during the 18th century.

How is Pietro Metastasio remembered and celebrated in literature and music today?

Pietro Metastasio, an Italian poet and librettist from the 18th century, is remembered for his significant contribution to opera seria . His librettos, known for their elevated style and dramatic theories, were set to music over 800 times by composers ranging from Pergolesi to Mozart. Though tastes shifted away from his style, his work remains important in the history of opera and literature.

Pietro Metastasio

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Pietro Metastasio summary

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Original name:: Antonio Domenico Bonaventura Trapassi

Born:: Jan. 3, 1698, Rome

Died:: April 12, 1782, Vienna (aged 84)

Notable Works:: theatrical production; “Estratto della Poetica d’Aristotele”; “Giustino”; “Gli orti esperidi”

Movement / Style:: Academy of Arcadia

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Pietro Metastasio

Italian poet

Also known as: Antonio Domenico Bonaventura Trapassi

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Top Questions

Who was Pietro Metastasio?
Pietro Metastasio (1698–1782) was an Italian poet and Europe's most celebrated librettist during the 18th century, with his librettos set to music over 800 times. Recognizing his skill in verse improvisation, Gian Vincenzo Gravina Hellenized his name and made him his heir.

Under the patronage of Marianna Benti-Bulgarelli, Metastasio abandoned law to write Didone abbandonata (1723), followed by other works like Siroe, Catone in Utica, and Artaserse. In 1730, he became poet laureate to the Austrian imperial court, composing cantatas, oratorios, and melodrammi. His writings also include Epistolario and Estratto della Poetica d’Aristotele, showcasing his dramatic theories.
1 Britannica Source
1. Pietro Metastasio
Created from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
Where and when was Pietro Metastasio born?
Pietro Metastasio, an Italian poet and celebrated librettist, was born in Rome on January 3, 1698. Recognized early for his skill in verse improvisation, Gian Vincenzo Gravina, a man of letters, took an interest in him, and Pietro became his adopted heir. Gravina also Hellenized his name to Pietro Metastasio. He died in Vienna on April 12, 1782, where he had spent the latter part of his life as poet laureate to the imperial court.
1 Britannica Source
1. Pietro Metastasio
Created from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
What kind of poetry and writing was Pietro Metastasio known for?
Pietro Metastasio was known for his poetry and librettos, which were set to music over 800 times during the 18th century. He was most celebrated for writing opera seria librettos. Some of his best melodrammi include Demetrio, Olimpiade, Demofoonte, La clemenza di Tito, and Attilio Regolo. Additionally, his other writings include Epistolario and five canzonette, of which La libertà (1733) and La partenza (1746) are outstanding examples of Italian verse in the Arcadian tradition. Metastasio also wrote Estratto della Poetica d’Aristotele (1782), an exposition of his dramatic theories.
1 Britannica Source
1. Pietro Metastasio
Created from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
How did Metastasio influence Italian opera and music?
Pietro Metastasio, an Italian poet and librettist, significantly influenced 18th-century opera seria. His librettos, known for their formal beauty and linguistic clarity, were set to music over 800 times by composers ranging from Pergolesi to Mozart.

Metastasio's work supported the institution of absolutist monarchy through allegories of enlightened leadership. With plots revolving around historical figures, his librettos favored solemn, tragic subjects in three acts, influencing the Neoclassical movement in opera. His collaboration with composers like Nicola Porpora and Leonardo Vinci helped to establish a light, graceful vocal style that later influenced the Viennese Classic style.
3 Britannica Sources
Created from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
Why were Metastasio’s works popular in Europe during his lifetime?
Pietro Metastasio was a celebrated Italian poet and librettist whose works achieved widespread popularity in 18th-century Europe. Several factors contributed to his success:
- Master of opera seria Metastasio was a leading master of the opera seria libretto style, which presented characters from classical mythology or history, and avoided comic episodes.
- Elevated Poetic Drama He aimed to elevate libretto standards by creating lofty poetic dramas, which were well-received by audiences of the time.
- Support of Absolutist Monarchy Metastasio's heroic subject matter and manner supported the institution of absolutist monarchy, as he presented allegories of enlightened leadership and the triumph of reason.
- Musical settings His librettos were set to music more than 800 times and were widely translated into many European languages during the 18th century.
4 Britannica Sources
Created from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
How is Pietro Metastasio remembered and celebrated in literature and music today?
Pietro Metastasio, an Italian poet and librettist from the 18th century, is remembered for his significant contribution to opera seria. His librettos, known for their elevated style and dramatic theories, were set to music over 800 times by composers ranging from Pergolesi to Mozart. Though tastes shifted away from his style, his work remains important in the history of opera and literature.
3 Britannica Sources
Created from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.

Pietro Metastasio (born Jan. 3, 1698, Rome—died April 12, 1782, Vienna) was an Italian poet and the most celebrated librettist in Europe writing during the 18th century for the opera seria; his librettos were set more than 800 times. In 1708 his astonishing skill in verse improvisation attracted the attention of Gian Vincenzo Gravina, a man of letters who made him his heir adoptive and Hellenized his name into Pietro Metastasio.

In 1712, after receiving a good education from Gravina, Metastasio was taken to Scalea in Calabria, where he studied for some months with Gregorio Caloprese, the Cartesian philosopher. At the age of 14 he wrote Giustino, a tragedy in the Senecan style; and in 1717 he published a book of verses. In 1718 Metastasio entered the Accademia dell’Arcadia, and in 1719 he went to Naples where he was employed in a law office and gained acceptance in aristocratic circles through his voluptuous wedding poems.

In honour of the birthday of the Empress of Austria, Metastasio composed Gli orti esperidi (1721), a serenata in which the principal role was taken by the prima donna Marianna Benti-Bulgarelli, called La Romanina, who became enamoured of the poet. In her salon Metastasio formed his lifelong friendship with the castrato male soprano Carlo Farinelli and came to know such composers as Nicola Porpora (from whom he took music lessons), Domenico Sarro, and Leonardo Vinci, who were later to set his works to music.

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In this environment Metastasio’s success was assured. At the request of La Romanina he gave up the law and composed his first melodramma, a lyric tragedy in three acts on the conflict of love and duty, called Didone abbandonata (1723, first performance 1724). Didone was followed, between 1726 and 1730, by Siroe, Catone in Utica, Ezio, Semiramide riconosciuta, Alessandro nell’Indie, and Artaserse. On the recommendation of his friend and patroness Marianna Pignatelli, countess of Althann, Metastasio received an invitation (1729) from the emperor of Austria. In March 1730 he went to Vienna, where he lived the rest of his life as poet laureate to the imperial court.

During the reign of Charles VI Metastasio wrote cantatas, oratorios, and 11 melodrammi, some of the best of which—Demetrio, Olimpiade, Demofoonte, La clemenza di Tito, and Attilio Regolo—were performed as plays in their own right as well as being set to music by virtually every composer from Pergolesi to Mozart. After 1740, with the accession of Maria Theresa, whose tastes were not as lavish as her predecessor’s, Metastasio was not so well placed. He continued to be productive until 1771; although his work was always honoured, he was mainly called upon for shorter works (feste teatrali, componimenti, and serenate) rather than elaborate melodrammi. Under these circumstances, Metastasio’s talents gradually went into decline.

Metastasio’s other writings include a rich Epistolario and five canzonette, of which La libertà (1733) and La partenza (1746) are outstanding examples of Italian verse in the Arcadian tradition. He also wrote works of criticism, the most interesting being the Estratto della Poetica d’Aristotele (1782), an exposition of his dramatic theories. Metastasio’s works ran into innumerable editions. During the 18th century his verses were translated into many European languages.

The heroic subject matter and manner of Metastasio’s work well supported the institution of absolutist monarchy, as he time and again presented allegories of enlightened leadership and the triumph of reason. Although his declining favour in the face of the operatic reforms of Christoph Gluck and others has much to do with oversaturation of long-familiar texts and a pervasive catering to the excesses of a singer-dominated milieu, by the late 18th century the change in style had been reinforced by an increasing distaste for the institution of absolutist monarchy.

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