Pietro Metastasio’s Catone in Utica: the Genesis and Poetics of an Opera Libretto
Abstract
The libretto Catone in Utica (1728) stands apart in the poetic legacy of the 18th century Italian
librettist Pietro Metastasio. Along with his Didone abbandonata, which had a happier stage
fate, it belongs to a rare type of drama with a funesto fine (tragic ending).
Like many other dramas of Metastasio Catone demonstrates Metastasio’s brilliant theatrical
erudition and excellent knowledge of both ancient and modern literature. In this regard, much
attention of the article is paid to the genesis of the libretto. One of the most burning episodes of ancient Roman history — the confrontation between the republican Marcus Porcius
Cato and Julius Caesar in Utica — had been approached as an opera subject twice before
Metastasio: by the Florentine G.B. Neri (1688) and the Venetian librettist M. Noris (1701).
The British playwright J. Addison created his Cato, a Tragedy (1713) under the clear influence
of M. Noris. It can be assumed that the dramas of Noris and Addison were the main models
for Metastasio’s poetic imagination. At the same time Addison abandoned the clash of sworn
enemies, concentrating entirely on Cato. Noris, on the other hand, put Cato’s suicide outside
the brackets of the dramatic narrative. In contrast, Metastasio showed the conflict between
the two opponents and made the tragic death of the republican as the main scene, which
inevitably leads to the development of the whole drama.
librettist Pietro Metastasio. Along with his Didone abbandonata, which had a happier stage
fate, it belongs to a rare type of drama with a funesto fine (tragic ending).
Like many other dramas of Metastasio Catone demonstrates Metastasio’s brilliant theatrical
erudition and excellent knowledge of both ancient and modern literature. In this regard, much
attention of the article is paid to the genesis of the libretto. One of the most burning episodes of ancient Roman history — the confrontation between the republican Marcus Porcius
Cato and Julius Caesar in Utica — had been approached as an opera subject twice before
Metastasio: by the Florentine G.B. Neri (1688) and the Venetian librettist M. Noris (1701).
The British playwright J. Addison created his Cato, a Tragedy (1713) under the clear influence
of M. Noris. It can be assumed that the dramas of Noris and Addison were the main models
for Metastasio’s poetic imagination. At the same time Addison abandoned the clash of sworn
enemies, concentrating entirely on Cato. Noris, on the other hand, put Cato’s suicide outside
the brackets of the dramatic narrative. In contrast, Metastasio showed the conflict between
the two opponents and made the tragic death of the republican as the main scene, which
inevitably leads to the development of the whole drama.
Keywords
Opera seria, funesto fine, P. Metastasio’s Catone in Utica, M. Noris, J. Addison.
For citation
Semkin I.A., Susidko I. P. Pietro Metastasio’s Catone in Utica: the genesis and poetics of an operatic libretto. Theatre. Fine Arts. Cinema. Music. 2025, no. 2, pp. 10–27.
DOI: 10.35852/2588‑0144‑2025‑2-10-27
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Received: 12.03.2025
Revised: 07.05.2025
Accepted: 15.05.2025