| Opera in Seventeenth-Century Venice |
| Acknowledgments |
| Editorial Procedure |
| Abbreviations |
| Introduction |
 | 1— Far recitare un'opera a Venezia : Origins and Sources |
| 2— Dramma per musica : The Question of Genre |
| 3— Da rappresentare in musica : The Rise of Commercial Opera |
| 4— La finta pazza : Mirror of an Audience |
| 5— All'immortalità del nome di Venetia : The Serenissima on Stage |
| 6— La nausea di chi ascolta : The Consequences of Success |
| 7— I compositori scenici : Librettist and Composer |
| 8— I più canori cigni e le suavissime sirene : The Singers |
 | 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 |
| 11— Le convenienze teatrali : The Conventions of Dramma Per Musica |
| 12— Il lamento : The Fusion of Music and Drama |
| 13— Il ritorno d'Orfeo : The Decline of a Tradition |
| Appendix I— Librettos |
| Appendix II— Treatises, Critical and Historical Accounts |
| Appendix III— Correspondence and Documents |
| Bibliography |
| Musical Examples |
| Index |