| Opera in Seventeenth-Century Venice |
| Acknowledgments |
| Editorial Procedure |
| Abbreviations |
| Introduction |
 | 1— Far recitare un'opera a Venezia : Origins and Sources |
| • | Venetian Foundations |
| • | Monteverdi in the Wings |
| • | Orfeo and Poppea |
| • | The Documents of a History |
| 2— Dramma per musica : The Question of Genre |
| • | The Accademia degli Incogniti |
| • | Music and Drama |
| • | Dramatic Structure: The Unities |
| • | Division into Acts |
| • | Chorus |
| • | Modern Taste and Ethics |
| • | Subject Matter |
| 3— Da rappresentare in musica : The Rise of Commercial Opera |
| • | The Beginning of Competition |
| • | The Scenario and the Libretto |
| • | The Teatro Novissimo |
| 4— La finta pazza : Mirror of an Audience |
| 5— All'immortalità del nome di Venetia : The Serenissima on Stage |
| • | The Myth of Venice |
| • | The Reality of Venice |
| 6— La nausea di chi ascolta : The Consequences of Success |
| • | Making Histories |
| • | Giovanni Faustini, "Librettist" |
| • | Faustini's Heirs |
| • | Marco Faustini, Impresario |
| • | Marco's Guerra dei teatri |
| 7— I compositori scenici : Librettist and Composer |
| • | Collaborative Talents |
| • | Librettists' Tribulations |
| • | Composers' Obligations |
| 8— I più canori cigni e le suavissime sirene : The Singers |
| • | The Wages of Singing |
| • | The Prima Donna |
| • | Primi uomini ed altre |
| • | Singing and/or Acting |
| 9— Gran dicerie e canzonette : Recitative and Aria |
| • | The Florentine Background |
| • | Venetian Conservatism |
| • | Monteverdi and His Collaborators |
| • | Busenello and Cavalli |
| • | Cavalli and Faustini |
| • | Cavalli and Cicognini |
| • | Cicognini's Legacy |
| 10— Il diletto : Aria, Drama, and the Emergence of Formal Conventions |
| The Bipartite Aria |
| • | The Exit Convention and the Bipartite Aria |
| Tripartite Forms |
| • | Refrain in Recitative |
| • | Da Capo Refrain Arias |
| • | Coherence in Da Capo and Da Capo Refrain Arias |
| • | Contrast in Da Capo Forms |
| • | Static Da Capo Arias |
| 11— Le convenienze teatrali : The Conventions of Dramma Per Musica |
| • | The Comic Aria |
| • | The Trumpet Aria |
| • | The Music Scene |
| • | The Love Duet |
| • | Sleep |
| • | Invocation |
| • | Madness |
| 12— Il lamento : The Fusion of Music and Drama |
| • | The Recitative Model |
| • | The Strophic Lament |
| • | The Descending Tetrachord: An Emblem of Lament |
| • | The Lament Aria: Variations on a Theme |
| 13— Il ritorno d'Orfeo : The Decline of a Tradition |
| • | Il volgo tumultuario |
| • | In Defense of Decorum |
| • | Ivanovich's History and Criticism |
| • | Tradition and Revival |
| Appendix I— Librettos |
| Appendix II— Treatises, Critical and Historical Accounts |
| Appendix III— Correspondence and Documents |
| • | A— Venice, Archivio di Stato: Scuola grande di San Marco |
| • | B— Hannover, Staatsarchiv: Aktes-Korrespondenzen italienischer Kardinäle und anderer Personen, besonders Italiener an Herzog Johann Friedrich |
| • | C— Venice, Biblioteca nazionale marciana: Avvisi |
| Bibliography |
| Musical Examples |
| Index |
| • | A |
| • | B |
| • | C |
| • | D |
| • | E |
| • | F |
| • | G |
| • | H |
| • | I |
| • | K |
| • | L |
| • | M |
| • | N |
| • | O |
| • | P |
| • | Q |
| • | R |
| • | S |
| • | T |
| • | U |
| • | V |
| • | W |
| • | X |
| • | Z |
