Domenico Gabrieli (d. 1690), an eminent 'cellist of Bologna, from 1688 at Modena, brought out 11 operas (from 1683), mostly at Venice, with an oratorio (1687), besides cantatas and instrumental dances.
Antonio Lotti (d. 1740), born about 1667, a pupil of Legrenzi, was all his life connected with St. Mark's, being singer from 1687, second organist from 1692, first from 1704, and choirmaster from 1736. He was strongest as a church composer and teacher, but in opera-writing he was also one of the links between the older style and that of Scarlatti and Handel. At Venice he produced over 20 operas (1683, '93, '96, 1707-17, '36), and, invited to Dresden in 1717-9 with his wife (who was an able singer) and a competent company, he added 3 more, besides 1 at Vienna (1716) and 2 oratorios (1712). He was rather a melodist and a master of finished style than a dramatist, beauty of external effect being uppermost. He was cautious with instruments, lest they should overpower the voices.
Carlo Francesco Polaroli (d. 1722), born at Brescia and a pupil of Legrenzi, preceded Lotti at St. Mark's, being singer from 1665, second organist from 1690 and vice-choirmaster from 1692. Entering the operatic field, he far outstripped Lotti in prolificness, producing nearly 70 operas (1684-1721), besides 3 oratorios for Vienna (c. 1710). Though writing rapidly and superficially, his talent was above the average. His Roderico (1684) was widely repeated, and in Faramondo (1699) are found arias in da capo form, accompanied recitatives, etc., analogous to those of Scarlatti.
Attilio Ariosti (d.c. 1740), born at Bologna in 1660, left the priesthood to devote himself to the viola d' amore and the opera. In Italy he wrote 4 operas for Venice and Bologna (1686-1706) and a Passion (1693). He was court-choirmaster at Berlin in 1698-1705, where he added 2 more (1700), with 4 at Vienna (1703-8) and 4 oratorios. In 1715 he went to London, composing 8 more (1723-7), winning success especially with Coriolano (1723) and Lucius Verus (1726), but was outclassed by Handel and returned to Italy. He was a well-trained musician, but in opera imitated Lully and Scarlatti.
Other North Italian opera-writers whose work extended into the 18th century were Caldara (d. 1736), later eminent at Vienna, with several operas at Venice (from 1689); Albinoni (d. 1745), a fine violinist, with about 50 (1694-1741), besides many other works; Aldrovandini, a pupil of Perti, with 15 at various cities (1696-1711) and 5 oratorios (1691-1706); and M. A. Bononcini (d. 1726), with 19 (1697-1710). This list might be indefinitely extended, as the period was excessively prolific in works of short-lived influence.
91. The Opera at Rome and Naples.—While at the end of the century operatic enthusiasm was keen at Venice and Bologna, so that new works were put forth in large numbers with great popular success, the rest of Italy was content to take its operas mostly from these two cities. But there were signs of a dramatic development at Naples, especially when the genius of Alessandro Scarlatti began to reveal itself. With him properly
