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    "ALTEZZE REALI. Io non ho mancato di porre ogni mia cura per la miglior riuscita del presente Spettacolo, onde renderlo meno indegno, che mi sia stato possibile, del compatimento delle ALTEZZE VOSTRE REALI. La clemenza, che forma il più costante carattere dell' animo VOSTRO, mi fa sperare l' intento. Degnatevi adunque di aggradire le mie sollecitudini animate non solo dal desiderio di adempiere il mio dovere; ma eziandio dal fine di mostrarmi costantemente, e colla più sincera venerazione Delle AA. VV. RR. Milano 26. Dicembre 1792. Umilm̃o, Divm̃o, Obbm̃o Servitore GAETANO MALDONATI.",
    "ARGOMENTO. Ottaviano dopo aver vinto Marc' Antonio, e dopo avere col pretesto di vendicar la morte di Cesare sacrificati alla sua ambizione i più illustri cittadini, credea finalmente che in Roma atterrita da tante stragi e proscrizioni non vi fosse più alcuno che osasse d'opporsi alla sua grandezza e contrastargli l'impero. Vi fu non pertanto Cornelio Cinna del partito de' Pompei, che in compagnia di Murena, di Massimo, di Cepione e d'altri illustri Romani osò di congiurare contro di lui. Ottaviano, che colle crudeltà e col rigore credea d'aver domato l'odio de' suoi nemici, avendo scoperta la congiura, rimase talmente abbattuto che fu sul punto di rinunziare all'impero. Volle non pertanto a suggerimento di Livia sua sposa provare se gli riusciva colla clemenza di vincere l'animo de' Romani. Dopo avere nel Campidoglio convinto Cinna del suo tradimento, non solo gli perdonò, ma lo elesse a Console di Roma, e diventò da quel momento di fiero e crudele il più pacifico e clemente Imperatore, che meritò dal Senato il glorioso titolo d'Augusto. Da questo fatto storico è tratta l'azione del presente dramma, la quale non per altra ragione è affatto diversa dalla tragedia di Pier Cornelio dello stesso titolo, se non perchè il richiedea non meno la brevità e lo spettacolo d'una rappresentazione drammatica che la necessità di dar luogo alla musica e agli attori di comparire. Non apparisce dalla storia né che Ottaviano avesse proscritto Cinna per isposare Scribonia di Cinna innamorata, né che Scribonia entrasse nella congiura. E' però noto che Scribonia fu da Ottaviano ripudiata dopo aver avuto da lui una figlia chiamata Giulia, tanto famosa per la disgrazia d'Ovidio. Tutto ciò che s'è inventato per il miglior effetto della rappresentazione (fino il carattere degli episodi) è però appoggiato ai fondamenti della storia medesima. L'Autore della Poesia è il Sig. N. N.",
    "Compositore della musica. Sig. Maestro Bonifazio Asioli.",
    "Al cembalo. Sig. Maestro Ambrogio Minoja. Sig. Maestro Agostino Quaglia.",
    "Capo d'Orchestra. Sig. Luigi De Baillou.",
    "Primo Violino per i Balli. Sig. Giuseppe Peruccone",
    "dettoPasqualino.",
    "Inventori del vestiario. Signori Motta e Mazza.",
    "Berettonaro. Sig. Giovanni Bacchetta.",
    "Inventore, e direttore de' balli. Sig. Filippo Beretti.",
    "Primi ballerini seri assoluti. Sig. Filippo Beretti, Sig. Lauchlin Daquesney, Signora Carolina Pitrot.",
    "Primi grotteschi a vicenda. Sig. Nicola Angiolini, Sig. Raffaele Ferlotti, Signora Brigida Cappelletti, Signora Teresa Pozzi.",
    "Ballerino per far parti. Sig. Lorenzo Coleoni.",
    "Ballerini di concerto. Signori Gaspare Arosio, Giuseppe Marelli, Giuseppe Barberis, Giuseppe Nelva, Luigi Sedini, Alessandro Lonati, Giovanni Batista Ajmi, Francesco Sedini, Francesco Pallavicini, Carlo Castellini, Francesco Vertova, Paolo Brugnoli, Antonio Uboldi, Angelo Tinti, Andrea Taffani, Giovanni Drusiani. Signore Giuditta Paracca, Teresa Ravarina, Rosalinda Sedini, Giovanna Sedini, Annunziata Barlaffina, Cecilia Canna, Angiola Rasimi, Maria Guidi, Giuseppa Brugnoli, Giuliana Candiani, Martina Velati, Giuseppa Onoria, Giuseppa Longhi, Margarita Ferraria, Clara Pozzi, Maria Raimondi, Giuseppa Castagna.",
    "Primi ballerini di mezzo-carattere fuori de' concerti. Sig. Francesco Damato, Signora Luigia Acerbi.",
    "Prima ballerina fuori de' concerti. Signora Antonia Trabattoni.",
    "Mutazioni di scene per l'opera. Atto primo. 1. Gran piazza tutta adorna d'archi trionfali. In prospetto il porto con la vista del mare, e gran ponte per lo sbarco dell'armata romana. 2. Amena solitudine a piedi d'un monte: bosco da una parte, grotta dall'altra. Quà e là capanne pastorali, e una pianta nel mezzo. Atto secondo. 3. Galleria nella reggia di Siracusa. 4. Atrio magnifico d'un tempio con portico all'intorno e porta praticabile nel mezzo, che introduce nel tempio stesso. 5. Parte del campo. In mezzo il padiglione di Ottaviano, di cui si vede in prospetto l'ingresso. A destra varie tende, che si stendono per la pianura. A sinistra oscuro bosco. Atto terzo. 6. Gran piazza, come al primo atto. 7. Atrio d'un tempio, come al secondo atto. Mutazioni di scene per i balli. Primo ballo. 1. Valle amena montuosa: alla sinistra ingresso del tempio. 2. Grotta con nascondigli. 3. Tempio. 4. Sala del consiglio con porta praticabile, che introduce alle carceri. 5. Luogo montuoso destinato alle esecuzioni delle sentenze di morte. Secondo ballo. 6. Luogo villereccio con antiche fabbriche diroccate.",
    "Inventore, e pittore delle suddette scene tutte nuove. Sig. Cavaliere Francesco Fontanesi."
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    "DRAMMA PER MUSICA DA RAPPRESENTARSI NEL TEATRO ALLA SCALA Il Carnevale dell'anno 1793. DEDICATO Alle LL. AA. RR. IL SERENISSIMO ARCIDUCA FERDINANDO Principe Reale d' Ungheria, e Boemia, Arciduca d'Austria, Duca di Borgogna, e di Lorena ec., Cesareo Reale Luogo Tenente, Governatore, e Capitano Generale nella Lombardia Austriaca, E LA SERENISSIMA ARCIDUCHESSA MARIA BEATRICE RICCIARDA Principessa di Modena, Duchessa di Massa ec. IN MILANO Per Gio. Battista Bianchi Regio Stampatore Colla Permissione."
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