Abstract
During the second half of the eighteenth century, the Italian opera buffa successfully spread all over Europe. The works were often adapted to suit not only the new performers but also the respective cultural context.
This is also true of one of the most popular comic operas of the period, La frascatana by Giovanni Paisiello and Filippo Livigni (Venice 1774). Although originally conceived as a modern buffa containing both comic and sentimental features, the opera was often staged in altered forms.
A number of sources in Central Europe reflect a version performed originally in Vienna in 1775, where the opera was frequently staged until 1795. The changes essentially consist in rather specific substitutions of four arias for secondary female roles (Donna Stella and Lisetta) that modify the original dramaturgy of La frascatana towards a more contrasting role setting and a less buffo style.
This seems to be of considerable importance for the further dissemination of this specific version and its staging in different performing contexts, as in Dresden (1776) or Prague (1784).