Opera in Seventeenth-Century Venice

  Editorial Procedure

 collapse section1— Far recitare un'opera a Venezia :  Origins and Sources
 Venetian Foundations
 Monteverdi in the Wings
 Orfeo and Poppea
 The Documents of a History
 collapse section2— Dramma per musica :  The Question of Genre
 The Accademia degli Incogniti
 Music and Drama
 Dramatic Structure: The Unities
 Division into Acts
 Modern Taste and Ethics
 Subject Matter
 collapse section3— 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
 collapse section5— All'immortalità del nome di Venetia :  The Serenissima on Stage
 The Myth of Venice
 The Reality of Venice
 collapse section6— 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
 collapse section7— I compositori scenici :  Librettist and Composer
 Collaborative Talents
 Librettists' Tribulations
 Composers' Obligations
 collapse section8— 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
 collapse section9— 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
 collapse section10— Il diletto :  Aria, Drama, and the Emergence of Formal Conventions
 collapse sectionThe Bipartite Aria
 The Exit Convention and the Bipartite Aria
 collapse sectionTripartite 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
 collapse section11— Le convenienze teatrali :  The Conventions of Dramma Per Musica
 The Comic Aria
 The Trumpet Aria
 The Music Scene
 The Love Duet
 collapse section12— 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
 collapse section13— 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
 collapse sectionAppendix 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
  Musical Examples
 collapse sectionIndex

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