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Cambridge University Press 978-0-521-82359-3 — The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Index More Information Index Académie Royale de Musique (Paris Opéra) Anne of Denmark 225 121, 139–42, 144–5, 147, 149, 170, Anthony, James R. 214 177, 180, 186–90, 192, 194, 202–3, 232 Anton Ulrich of Brunswick-Wolfenbüttel 260, Accademia degli Alterati (Academy of the 266 Altered Ones) 6–7, 10 Anzalone, Andrea 43 Accademia degli Arcadi, Accademia Apolloni, Giovanni Filippo 78, 83, 93, dell’Arcadia (Academy of Arcadia) 97, 138 – xxii, 27 8, 32 L’Adalinda, see Agostini Accademia degli Elevati (Academy of the La Dori, see Cesti Elevated Ones) 45 L’Argia, see Cesti Accademia degli Incogniti (Academy of the La sincerità con la sincerità, overo Il – – Unknowns) 69 70, 73 4 Tirinto, see Pasquini Accademia degli Invaghiti (Academy of the Archilei, Antonio 133 Infatuated Ones) 45 aria 30–2, 50, 96, 101, 169, 211–13, 220, 254, Acciaiuoli, Filippo 83 257, 266–7 Il Girello, see J. Melani da capo 32, 255, 259, 266, 268 Acuña y Bejarano, Juan, Marquess of arioso 253–4 Casafuerte, Viceroy of New Spain 294 Ariosto, Lodovico 24–5, 30, 55, 116 Agostini, Pietro Simone 93 Orlando furioso 24, 55 L’Adalinda 93 Aristotle 11, 23, 110 air 141, 149, 191, 194, 202, 238, 274 Artusi, Battista 80 air de cour 117, 207, 209, 211 Assoucy, Charles Coypeau d’ 183 Alabardi, Giuseppe 53 Andromède, see P. Corneille Alard, Charles 195 d’Aubigné, Françoise, Madame de Maintenon Albarelli, Luigi (‘il Luigini’) 101 119 Albert, Heinrich 251 d’Aubigny, Julie (‘la Maupin’) 122 Albinoni, Tomaso 77, 100 La Griselda 100 Augustus, Duke of Saxe-Weissenfels 257 Albrici, Vincenzo 243n.35 Augustus the Younger, Duke of Brunswick- Aldobrandini, Giovanni Giorgio, Prince 48, Wolfenbüttel 251 – 112 Aureli, Aurelio 74, 76, 81 2, 163, 264 Aldobrandini Borghese, Olimpia, the Elder Erismena, see Cavalli 112 La Costanza di Rosmonda, see Volpe ’ Aldobrandini Borghese, Olimpia, the Younger L Antigona delusa 264 111–12 Le fortune di Rodope e Damira, see Ziani Aleotti, Giovanni Battista 163 Orfeo, see Sartorio alexandrine verse 34, 205 Aureli, Diana 91 Alm, Irene 135 ancient Greek music 7–8, 15, 209 Bach, Johann Sebastian 257 ancient Greek theatre xxiii, 6, 13, 43, 157 Badoaro, Giacomo 70, 74, 254 Andreini, Giovanni Battista 53, 113 Il ritorno d’Ulisse in patria, see Monteverdi Andreini, Isabella 112 Baïf, Jean-Antoine de 207 Anne of Austria 138, 181–2 baile 274, 285 331 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82359-3 — The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Index More Information 332 Index Balbi, Giovan Battista 70, 135, 137, 181–2, 287, Beys, Charles 184 290–1 Bianco, Luigi Baccio del 280 Le nozze di Teti e di Peleo, see Cavalli Bisaccioni, Maiolino 70, 162 Ballet comique de la Reine 179 Blow, John 147, 233, 236 ballet de cour 42, 139, 141, 166, 177–8, 180, Venus and Adonis 147, 233–4, 239 186, 207, 225–6 Boccaccio 54 Ballet de Narva, see Sevigny Boësset, Antoine 179, 207 Ballet en Ballet 179 La Mort d’Adonis 185 Ballet Royal de la Nuit 178–9 Boësset, Jean-Baptiste 179 balletto 40, 48, 132, 135 Bombasi, Gabriele 152 ballo 6, 41, 132, 134–7 Bonin, Louis 145 Baltasar Carlos, Prince of Asturias 277 Bononcini, Giovanni 76, 92, 124 Bambini, Felice 203 Camilla 124 Banister, John 227–8 Bontempi, Giovanni Andrea 253–5 The Indian Queen, see Dryden Il Paride 254 Barberini family 24, 48, 53–4, 81, 161, 181–2 Jupiter und Jo 255 Barberini, Antonio, Cardinal 127n.17 Musicalisches Schauspiel von der Dafne 254 Barberini, Francesco, Cardinal 48 Bordier, René 179 Barberini, Maffeo, Pope Urban VIII 44, 81, Grand Ballet du Roi sur l’aventure de 180–1 Tancrède en la Forêt enchantée 179 Barberini, Taddeo 53 Le Ballet des Fées des Fôrets de Saint- Bardi, Giovanni de’ 5–7, 9, 12, 132, 154 Germain 179 Barducci, Giambattista 181–2 Le Grand Bal de la Douairière de Bargagli, Girolamo 132, 153 Billebahaut 179 La Pellegrina 112, 132, 153–5, 158, 169 Bordoni, Faustina 77 Baroni, Leonora 111–12, 127n.17, 181 Boretti, Giovanni Antonio 76, 80, 82, 85 Bartolini, Niccolò 164 Domitiano 80 Basile, Adriana 112, 123 Borghese Chigi, Maria Virginia 83 Basile, Margherita 123 Bostel, Lucas von 265 Bassini, Giovanni Battista 137 Cara Mustapha, see Franck Falaride tiranno d’Agrigento 137 Boxberg, Christian Ludwig 268 basso continuo 15, 42, 212, 268 Sardanapalus 268 Beauchamps, Pierre 139, 141–2, 167, 185–6 Bracamonte y Guzmán, Gaspar de, Count of Beauvilliers, François de, Duke of Saint- Peñaranda 288 Aignan 179 Bracci, Maria Rosa (‘l’Acciaiola’) 100 Bellay, Joachim du 205 Bracegirdle, Anna 238 Benati, Carlo Antonio 93 Branciforte, Margherita, Princess of Butera 97 Benserade, Isaac de 140, 187 Brandi, Antonio (‘il Brandino’) 157 Le Triomphe de l’Amour, see Lully Bressand, Friedrich Christian 261, 266 Berain, Jean 167 Bretonneau, François de Paule 189 Beregan, Nicola 79, 83 Britten, Benjamin 44 Heraclio, see Ziani Buchner, August 250 Il Tito, see Cesti Buffequin, Georges 183 Bergerotti, Anna 181, 183 Buonarotti, Michelangelo the Younger 41, 115 Bernardi, Francesco (‘il Senesino’) 92, 101 Il Giudizio di Paride 41, 169 Bernardi, Stefano 61n.45 La Stiava, see F. Caccini Maddalena peccatrice 61n.45 Buontalenti, Bernardo 5, 154, 158 Bernini, Gian Lorenzo 54, 159, 162, 169 Burnacini, Ludovico 162 Bersac, Laurent, Sieur de Champeron 186–7 Burney, Charles 124 Betterton, Thomas 168–9, 228, 230, 232, 234, Busenello, Giovanni Francesco 25, 74, 81, 137, 236, 238 170 Dioclesian, see H. Purcell Gli amori d’Apollo e di Dafne, see Cavalli Bevilacqua Aldobrandini, Bonifazio 39 L’incoronazione di Poppea, see Monteverdi © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82359-3 — The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Index More Information Index 333 Bussani, Francesco 32 Les Fêtes vénitiennes 144, 193 Giulio Cesare in Egitto, see Sartorio L’Europe galante 122, 143, 145, 193, 195 Buti, Francesco 55, 139, 179 canzonetta 30–1, 116, 252, 256 Ercole amante, see Cavalli Cappello family 71 Il Giudizio della ragione tra la Beltà e Caproli, Carlo 56, 179, 181, 183 l’Affetto, see Marazzoli Les Noces de Pélée et de Thétis (Le Nozze di Les Noces de Pélée et de Thétis, see Caproli Peleo e di Theti) 55, 179, 183 L’Orfeo, see L. Rossi Carissimi, Giacomo 97, 214 Buzzoleni, Giovanni 103 Carlo II, Duke of Mantova 127n.17 Caro, Giulia De (‘la Ciulla’) 85, 111, 290 Caccini, Francesca 24, 47–8, 89, 91, 114–17, Caroso, Fabritio 133, 149n.3 120, 135 Carter, Tim 42, 45 Il martirio di Sant’Agata 47, see also Castellví y Dexart, Juan Francisco, Marquess G. B. da Gagliano of Laconi 278 La liberazione di Ruggiero dall’isola Casti, Giambattista 37 d’Alcina 24, 48, 89, 114–18, 135 Prima la musica poi le parole, see Salieri La Stiava 115 Castiglione, Baldassare 9 Caccini, Giulio 5, 7, 9–10, 12, 15–16, 43, 89, castrato 77, 89–90, 92, 98, 101–3, 108–10, 91, 94, 115–16, 132, 134, 153, 208 112–14, 117, 119–20, 123–4, 290 Il rapimento di Cefalo 43, 153 Cavalieri, Emilio de’ 5, 10, 133, 135, 154, 250 L’Euridice 9–10, 15 La Rappresentazione di Anima, et di Corpo Le nuove musiche 9, 116, 207 10, 15, 24, 134, 155, 250 Caccini, Margherita della Scala, see Scala Cavalieri, Giovanni Carlo del 10, 102 Caccini, Settimia 89, 91, 115 Cavalli, Francesco 27, 31, 68, 73–6, 81–2, 85, Cahusac, Louis de 193 97, 120, 124, 136–8, 166, 183, 252, 266, Calderón de la Barca, Pedro 51, 85, 146, 279, 287, 291 277–84, 286, 292, 294 Artemisia 291 Celos aun del aire matan, see Hidalgo Calisto 75, 136 El Amado aborrecido 281 Ercole amante 120, 139, 179, 184 El Laurel de Apolo 292 Erismena 76, 81–2, 124 Fortunas de Andrómeda y Perseo, see Eritrea 288 Hidalgo Giasone 27, 29, 31, 74 La fiera, el rayo y la piedra, see Hidalgo Gli amori d’Apollo e di Dafne 137 La púrpura de la rosa, see Hidalgo Il Ciro 291 Cambefort, Jean de 179, 184, 187 La Veremonda 85, 287 Cambert, Robert 177, 184–6, 230–1, 233 La Virtù de’ strali d’Amore 74 Ariane, ou le marriage de Bacchus 231 Le nozze di Teti e di Peleo 73, 128n.35, Ballet et musique pour le divertissement du 136–7 Roy de la Grande-Bretagne 231 L’Ormindo 76 La Muette ingrate 184 Mutio Scevola 137 Les Peines et les Plaisirs de l’Amour 187 Scipione affricano 97 Pastorale d’Issy 184 Xerse 76, 139, 183, 291 Pomone 177, 186–7, 191, 231 Cerda y Aragón, Luis Francisco de, Duke of Camerata Bardi xxii, 7, 9, 12 Medinaceli 85, 293 Camis, Joseph 70 Cesti, Antonio 25–6, 76, 78, 82–3, 85, 97, 123, Campion, Thomas 41, 225 138, 162, 193 Somerset Masque 225 Alessandro vincitor di se stesso 25 Campistron, Jean Galbert de 192 Il pomo d’oro 144, 162 Achille et Polyxène, see Lully Il Tito 83 Acis et Galatée, see Lully La Dori 78, 82–3, 97, 138, 290 Campra, André 122, 143, 145, 189, 193, 195, L’Argia 82–3, 97–9, 123 214 L’Orontea 26, 193 Le Carnaval de Venise 193 Chabanceau de La Barre, Anne 120, 122, 183 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82359-3 — The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Index More Information 334 Index Chabanceau de La Barre, Pierre 120 Collasse, Pascal 189, 192–3 Champmeslé, Marie 206 Les Saisons 193 Chancy, François 180 Thétis et Pélée 189, 192 Charles I, King of England 225–6, 231 Colonna family 81, 83, 97 Charles II, King of England 146, 227, Colonna, Lorenzo Onofrio 83, 97 230–2 Colonna Conti, Lucrezia 91–2 Charles II, King of Spain 278, 282–3, 286, 288, Coltellini, Anna Maria (‘la Serafina’) 100 290–1 comédie-ballet 139, 144, 167, 179, 185, 231 Charles XII, King of Sweden 146 Comédie muëtte d’Amphitrion 179 Charpentier, Marc-Antoine 122, 187, 189, 192, commedia dell’arte 26, 44, 47, 54, 69, 74, 79, 194 112, 144, 152, 163, 169, 264 Angélique et Médor 194 Compagnia dei Fedeli 113, 123 David et Jonathas 189 Compagnia dei Gelosi 112 Les Fous divertissants 194 Compagnia di Sant’ Antonio di Padova 47 Médée 121, 189, 192 Congreve, William 239 Renaud et Armide 194 Semele, see Eccles Chiabrera, Gabriello 30, 153 The Judgment of Paris 239 Il rapimento di Cefalo, see G.
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    UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation.
  • Angelica Inseguita

    Angelica Inseguita

    ANGELICA INSEGUITA ‘’La prima impressione è che questi cavalieri non sappiano bene cosa vogliono: un po’ inseguono, un po’ duellano, un po’ giravoltano, e sono sempre sul punto di cambiare idea.’’ I. Calvino, Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino, Mondadori, 1983, pag. 64 Abbiamo attribuito alla frase scelta questo quadro di Paolo Uccello, in quanto entrambi si ricollegano ad uno temi centrali del poema raccontato da Italo Calvino, ossia quello dell’inchiesta «fallimentare» che si traduce in un movimento circolare, che non approda mai ad una fine. L’inseguire vanamente questi oggetti delusori determina un allontanarsi fisicamente, ma anche moralmente da quelli che sono i loro doveri cavallereschi. Possiamo notare infatti nel quadro l'allontanamento dal campo di Paolo Uccello, Niccolò da Tolentino alla testa dei fiorentini, 1438. battaglia di alcuni cavalieri. Erika Gambardella, Lia Lisenni, Elvira Zullo IV E Bradamante e l’Ippogrifo (cap. 2) • Si introduce la narrazione: due guerrieri si trovano in una locanda. • Improvvisamente si avverte il passaggio dell’Ippogrifo in cielo. • L’oste della locanda spiega la situazione in cui gli abitanti del villaggio si trovano. • Il narratore descrive i due personaggi: si tratta di una guerriera cristiana, Bradamante, e un combattente musulmano, Brunello. Entrambi hanno lo stesso fine, cioè liberare Ruggiero dal mago Atlante. • I due personaggi si dirigono verso il castello del mago. • Bradamante lega Brunello e inizia lo scontro contro Atlante, che usa il suo libro magico. • Bradamante, fingendosi morta, inganna il mago, lo cattura e lo intrappola, costringendolo a far scomparire il castello. • Il castello si dissolve e ne escono Ruggiero e gli altri compagni prigionieri.
  • Le Nozze Di Bradamante E Ruggiero Nell'orlando Furioso

    Le Nozze Di Bradamante E Ruggiero Nell'orlando Furioso

    FRANCESCA PASQUALINI Le nozze di Bradamante e Ruggiero nell’Orlando Furioso: un vademecum per un matrimonio aristocratico In La letteratura degli italiani 4. I letterati e la scena, Atti del XVI Congresso Nazionale Adi, Sassari-Alghero, 19-22 settembre 2012, a cura di G. Baldassarri, V. Di Iasio, P. Pecci, E. Pietrobon e F. Tomasi, Roma, Adi editore, 2014 Isbn: 978-88-907905-2-2 Come citare: Url = http://www.italianisti.it/Atti-di- Congresso?pg=cms&ext=p&cms_codsec=14&cms_codcms=397 [data consultazione: gg/mm/aaaa] La letteratura degli italiani 4. I letterati e la scena © Adi editore 2014 FRANCESCA PASQUALINI Le nozze di Bradamante e Ruggiero nell’Orlando Furioso: un vademecum per un matrimonio aristocratico Poiché tra gli intendimenti degli autori del Rinascimento molto forte è quello di fornire manuali e modelli di comportamento, vogliamo leggere anche in questo senso il polifunzionale poema dell’Ariosto. Un vademecum per gli sposi, per i promessi sposi Ruggiero e Bradamante, la cui reale vicenda sentimentale percorre il Furioso e lo informa di sé ben più del virtuale amore a cui deve Orlando la sua follia. Percorso formativo per Bradamante innanzitutto che s’avvia a diventare composta madre di famiglia e progenitrice di regnanti dall’indomita guerriera che la tradizione letteraria precedente consegnava ad Ariosto. Gentildonna da cavaliere, secondo una progressiva spoliazione dalle armi e rivestizione di virtù diplomatiche ed umane che costituiscono l’habitus non solo della donna di corte ma, più in generale, della classe aristocratica dell’Ancien Régime. Presupposto propedeutico a questo intervento è riconoscere la serietà con cui Ariosto guarda ai valori che informano il mondo cavalleresco dell’Orlando Furioso.