It would seem rather ungracious, as it would certainly be
redundant to discuss these "occasional" works in detail. For one
thing, the material necessary to enable us to form a correct
estimate of Haydn's powers as a dramatic composer is wanting. The
original autograph of "Armida," first performed in 1783, is,
indeed, preserved. "Orfeo ed Euridice," written for the King's
Theatre in the Haymarket in 1791, but never staged, was printed
at Leipzig in 1806, and a fair idea of the general style of the
work may be obtained from the beautiful air, "Il pensier sta
negli oggetti," included in a collection entitled "Gemme
d'Antichita." But beyond these and the fragments previously
mentioned, there is little left to represent Haydn as a composer
of opera, the scores of most of the works written expressly for
Prince Esterhazy having been destroyed when the prince's private
theatre was burned down in 1779. What Haydn would have done for
opera if he had devoted his serious attention to it at any of the
larger theatres it is, of course, impossible to say. Judging from
what has survived of his work in this department, he was notable
for refinement rather than for dramatic power. We must, however,
remember the conditions under which he worked. He confessed
himself that his operas were fitted only for the small stage at
Esterhaz and "could never produce the proper effect elsewhere."
If he had written with a large stage in view, it may reasonably
be assumed that he would have written somewhat differently.

Occasional Works

In 1764 Prince Nicolaus made a journey to Frankfort for the
coronation of the Archduke Joseph as King of the Romans. After
the festivities connected with that imposing function were over