who inspired antonio vivaldi?
Johann Sebastian Bach
entailment
 Monteverdi 's next commission from Mantua came early in 1618 , when he was asked to provide the music for Andromeda , an opera based on the ancient Greek myth of the princess chained to a rock . The libretto was written by Duke Ferdinando 's chancellor , Ercole Marigliani , and the project was sponsored by the duke 's younger brother , Don Vincenzo Gonzaga . It is probable that the work was intended for performance at the Mantua Carnival of March 1618 , but as Carter records , Monteverdi 's approach to his Mantua commissions was often dilatory and half @-@ hearted ; his inability or unwillingness to work on Andromeda delayed its performance , first to 1619 and then to 1620 . 

entailment
 In the three years before his death in 1643 , Monteverdi composed a trilogy of operas for the Venetian opera theatres following the opening in 1637 of the Teatro San Cassiano . Two of these three operas survive in complete , performable versions : Il ritorno d 'Ulisse in patria ( 1640 ) , to a libretto by Giacomo Badoaro , and L 'incoronazione di Poppea ( 1643 ) for which Giovanni Francesco Busenello provided the text . Between these , Monteverdi composed Le nozze d 'Enea con Lavinia ; the libretto survives in manuscript form , though no trace of the music has been found . In her analysis of Monteverdi 's late works , Ellen Rosand links the three operas together : " [ The ] ghost opera joins with the two survivors to form a coherent body of works that attests to Monteverdi 's position within the world of Venetian opera . " The trilogy encompasses a historical trajectory that moves through Troy and the birth of Rome to the decline of the Roman Empire , and points forward to the foundation and ultimate glory of the Venetian Republic . The common theme of the three works is the mythical power of love , at first beneficial but later destructive . 

contradiction
 During his years in Italy Meyerbeer became acquainted with , and impressed by , the works of his contemporary Gioachino Rossini , who by 1816 , at the age of 24 , was already director of both major opera houses in Naples and in the same year premiered his operas The Barber of Seville and Otello . Meyerbeer wrote a series of Italian operas on Rossinian models , including Romilda e Costanza ( Padua , 1817 ) , Semiramide riconosciuta ( Turin , 1819 ) , Emma di Resburgo ( Venice , 1819 ) , Margherita d 'Anjou ( Milan 1820 ) and L 'esule di Granata ( Milan 1821 ) . All but the last two of these had libretti by Gaetano Rossi , whom Meyerbeer continued to support until the latter 's death in 1855 , although not commissioning any further libretti from him after Il crociato in Egitto ( 1824 ) . During a visit to Sicily in 1816 , Meyerbeer noted down a number of folksongs , and these in fact constitute the earliest collection of folk music of the region . In a birthday greeting from Rossi 's wife in 1817 occurs the earliest use discovered of Meyerbeer 's adopted forename ' Giacomo ' . 

neutral
 Donizetti managed to retrieve the score of L 'ange de Nisida from Joly 's company and reworked it as La favorite ( now more commonly known by its Italian title , La favorita ) in September 1840 for a December premiere in Italy . To circumvent the Italian censors Donizetti agreed to plot modifications ; La favorite is about a medieval King of Castile . 

neutral
 Rinuccini 's libretto is available in a number of editions . The music of the " Lamento " survives because it was published by Monteverdi , in several different versions , independently from the opera . This fragment became a highly influential musical work and was widely imitated ; the " expressive lament " became an integral feature of Italian opera for much of the 17th century . In recent years the " Lamento " has become popular as a concert and recital piece and has been frequently recorded . 
