Die Versklavte Ehefrau - Opera Quarta - - La Mogl...

The phrase combines formal musical terminology ("Opera Quarta") with a sexually explicit concept ("The Enslaved Wife"). This is a common convention in:

If so, the title might be:
"Die Versklavte Ehefrau – Opera Quarta – La Moglie Schiava" (German/Italian mix).

Where to search:

The early 18th century saw the Electorate of Saxony and the Kingdom of Poland united under Augustus the Strong. Dresden became a melting pot where Italian opera seria met German Protestant morality. It is within this crucible that our hypothetical composer – let us name him Georg Christian Lehms (1684–1717) or a fictional analog, Antonio Vivaldi’s ghostwriter for the Dresden court – would have crafted Opera Quarta.

The theme of the “enslaved wife” resonated with contemporary debates on marriage as a social contract versus feudal ownership. While Handel explored similar themes in Agrippina, no other work dared to place a married woman’s literal enslavement at the center of a dramma per musica. Die Versklavte Ehefrau - Opera Quarta - La Mogl...

To appreciate this work, compare it to other "Fourth Operas" in the canon:

While Orfeo descends into Hades for love, Ginevra descends into the domestic hell from which there is no return. That is the radical brutality of this Opera Quarta.

The keyword breaks off at “La Mogl...” – likely La Moglie Schiava (The Slave Wife) in Italian. This bilingualism (German title, Italian subtitle) was common in the early 18th century for operas intended for both Saxon and Italian touring troupes. The fragment may be the torn upper half of a title page, with the lower half reading “Dramma per musica in drei Akten” or “Da rappresentarsi nel Carnevale dell’anno 1724.” Die Versklavte Ehefrau - Opera Quarta - La Mogl...