The Italian opera company in Prague managed by Pasquale Bondini and Domenico Guardasoni played a central role in promoting Mozart's operas during the final years of his life. Using a wide range of primary sources which include the superb collections of eighteenth-century opera posters and concert programmes in Leipzig and the Indice de' teatrali spettacoli, an almanac of Italian singers and dancers, this study examines the annual schedules, recruitment networks, casting policies and repertoire selections of this important company. Ian Woodfield shows how Italian-language performances of Figaro, Don Giovanni, Cosi fan tutte and La clemenza di Tito flourished along the well-known cultural axis linking Prague in Bohemia to Dresden and Leipzig in Saxony. The important part played by concert performances of operatic arias in the early reception of Mozart's works is also discussed and new information is presented about the reception of Josepha Duschek and Mozart in Leipzig.

The Italian opera company in Prague managed by Pasquale Bondini and Domenico Guardasoni played a central role in promoting Mozart's operas during the final years of his life. Using a wide range of primary sources which include the superb collections of eighteenth-century opera posters and concert programmes in Leipzig and the Indice de' teatrali spettacoli, an almanac of Italian singers and dancers, this study examines the annual schedules, recruitment networks, casting policies and repertoire selections of this important company. Ian Woodfield shows how Italian-language performances of Figaro, Don Giovanni, Cosi fan tutte and La clemenza di Tito flourished along the well-known cultural axis linking Prague in Bohemia to Dresden and Leipzig in Saxony. The important part played by concert performances of operatic arias in the early reception of Mozart's works is also discussed and new information is presented about the reception of Josepha Duschek and Mozart in Leipzig.