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The forms of style employed in this opera according to circumstances are so varied, that now we seem to hear Gluck, now Traetta, now Sacchini, now Mozart, now Handel; for the gravity, the learning, the naturalness, the suavity of their conceptions, live and blossom again in 'Zelmira. The transitions are learned, and inspired more by considerations of poetry and sense than by caprice and a mania for innovation.
A line of brilliant composers in the school of Durante and Leo brings us down through Pergolesi, Derni, Terradiglias, Jomelli, Traetta, Ciccio di Majo, Galuppi, and Giuglielmi, to the most distinguished of the early Italian composers, Nicolo Piccini, who, mostly forgotten in his works, is principally known to modern fame as the rival of the mighty Gluck in that art controversy which shook Paris into such bitter factions.
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