There is more than one way to interpret a word like 'eventful'. If we are thinking in terms of 'a lot of great things happened', then 1780 wasn't really an eventful year. But if we are looking towards a few, important, life-affirming happenings, then this was at least a moderately eventful year.
As you recall, the opera house was currently defunct, so it is well to keep in mind the not unimportant factor that for the duration of the year, operas were performed in the Marionette Opera building across the road. That may seem incidental until we look at the performance schedule for the year. While there is no complete schedule such as we looked at in 1778, the Esterházy archives allow us to piece together one for the operas, at least.
Anfossi's La forza della donne premièred in February and had thirty-one performances through October. Haydn did quite a lot of adaptation, including transposing some arias and adding one, possibly of his own (autograph missing). He also added wind parts to an aria for Polzelli to dress it up a little. Another Anfossi opera, La finta giardiniera was introduced in October, and four more times afterwards. It, too, received extensive adaptation by Haydn. This same opera was set in Italian in 1775 and again this year in German by Mozart.
Other performances included La vendemmia by Gazziniga, performed nine times, La scuola de'gelosi by Salieri, performed thirteen times, and for which Haydn composed two insertion arias, one of which, for Polzelli, is now lost, or at least the text is lost, and the other, not for Polzelli this time, is Dice benissimo for the character Lumaca (Baritone). In all, four new operas and four operas from previous seasons were staged in the little Marionette Theater. In the second group was L'isola disabitata, receiving its second and final performance, in main because Costanza (Barbara Ripamonti) left the troupe that year, not returning until 1785. So, Maestro Haydn prepared and conducted a total of ninety-three operas in 1780 in the friendly, if a bit too cozy, confines of the little puppet house!
Even though it isn't spoken of out loud, Haydn and Polzelli were an item, and in the world of such things, a long lasting one. One need only look at the lavish attention paid to her rôles, which were far more custom tailored to her ability than was usual even for Haydn, and were also dressed up with instrumental parts which were sure to cover up any weaknesses she might have had, to know this was so. And finally, in December, when the Prince was going to release her and her husband from their contracts, he suddenly reversed his decision and they were allowed to stay. Their relationship lasted until the Prince's death in 1790, and even afterwards, when Haydn went to England and she to Italy, they remained in touch. Finally, even though Haydn never publicly acknowledged it, her younger son, Antonio, born in 1783, was nearly certainly his son. One could fairly assert that finally, in his 48th year, Haydn was happy in love!
In addition to the great volume of patchwork on operas, Haydn did have a few musical exploits of his own. As well as overseeing the publication of his keyboard sonatas for Artaria, he managed two symphonies and one quite large opera, La Fedeltà Premiata.
The project looming in the background of the year was the rebuilding of the opera house. As we saw, the cornerstone was laid on the Prince's birthday last year, and in no time construction was under way. The original schedule called for completion in early October, and so La Fedeltà Premiata was put on the fast track. However, when you read about the interiors, the red marble columns, marble fireplaces, gilded ceilings, statues made for the purpose, not bought; well, no fast track needed, really. In the event, the building wasn't completed until February of 1781, and so the première was postponed, since it would have never fit into the puppet house!
While avoiding a great deal of detail, I have tried to make it clear here that Haydn's life now, and for the next ten years, is that of an opera impresario. I think this is under-emphasized by biographers eager to paint him as a primarily instrumental composer doing a little hobby opera on the side. If anything, it is precisely the opposite. But while judging his relative happiness with this sort of rôle in life, it is important to keep in mind his stated interest of being a vocal composer. Indeed, for now, that's exactly what he is!
Next time we will have a look at the pair of symphonies for the year, along with the overture sinfonia to La Fedeltà Premiata, which would, of course, be released as a standalone work.
Thanks for reading!