DOCSLIB.ORG

Cambridge University Press 978-0-521-82359-3 — the Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Index More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cambridge University Press 978-0-521-82359-3 — the Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Index More Information 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.
Load more

Recommended publications
  • THE HISTORY of GERMANY T H E U N Co Mm E N Do N E Pope , Thro Gh His Talented Uncio , , Made Several Extremely Touch I Ng Representations to the Assembly
    T HE HIST O R Y O F GE R MA N Y PA R T X v l l WAR O F: L IBE R AT IO N IN T HE N E T HE R L A N D S Pre o n der an ce o the S an ia rds an d CXCVIII . p f p — Jes uits Co ur tly Vic es HE false peace co ncluded at A ugsb urg was imm e di ’ T ately followed by Charles V . s abdication of his nu r o m e ro us c o wns . He w uld willingly have resigned m r h that of the e pi e to his son Philip , had not the Spanis o r o o m o educati n of that p ince , his gl y and big ted character, inspired the Germans with an aversi o n as un c o nque rable as h . m o r o t at with which he beheld them Ferdinand had , e ver, o r n . r n e e rt he gained the fav of the Germa princes Cha les , v f o so n o o less , influenced by a fection t ward his , best wed up n h im m o N one of the finest of the Ger an pr vinces , the ether W lands , besides Spain , Milan , Naples , and the est Indies r m (Am erica) . Fe dinand received the rest of the Ger an o o m hereditary possessi ns of his h use , besides Bohe ia and r r Hungary .
    [Show full text]
  • Introduction: the Queen Versus the People 1
    N OTES Introduction: The Queen versus the People 1 . J e a n n e L o u i s e C a m p a n , Memoirs of the Court of Marie Antoinette, Queen of France , ed. M de Lamartine (Philadelphia, PA: Parry and McMillan, 1854), pp. 158–159. 2 . Nancy Nichols Barker, “Revolution and the Royal Consort,” in Proceedings of the Consortium on Revolutionary Europe (1989): 136–143. 3 . Barker, “Revolution and the Royal Consort,” p. 136. 4 . Clarissa Campbell Orr notes in the introduction to a 2004 collection of essays concerning the role of the European queen consort in the Baroque era that “there is little comparative work in English on any facet of European Court life in the period from 1660 to 1800.” See Clarissa Campbell Orr, “Introduction” in Clarissa Campbell Orr (ed.), Queenship in Europe: 1660–1815: The Role of the Consort (Cambridge: Cambridge University Press, 2004), p. 2. There are strong exceptions to Orr’s conclusion, including the works of Jeroen Duidam and T.C.W. Blanning, which compare the culture, structure, and politics of Early Modern courts revealing both change and continuity but these stud- ies devote little space to the specific role of the queen consort within her family and court. See Jeroen Duindam, Vienna and Versailles: The Courts of Europe’s Dynastic Rivals 1550–1780 (Cambridge: Cambridge University Press, 2003), and T.C.W. Blanning, The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789 (Oxford: Oxford University Press, 2002). 5 . See Kevin Sharpe, The Personal Rule of Charles I (New Haven, CT: Yale University Press, 1996); Bernard Bourdin, The Theological-Political Origins of the Modern State: Controversy between James I of England and Cardinal Bellamine (Washington, DC: The Catholic University of America Press, 2010), pp.
    [Show full text]
  • The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
    Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography.........................................
    [Show full text]
  • Il Palazzo Incantato
    GIULIO ROSPIGLIOSI IL PALAZZO INCANTATO a cura di Danilo Romei Banca Dati “Nuovo Rinascimento” http://www.nuovorinascimento.org immesso in rete il 24 gennaio 1996 nuovo formato del 25 aprile 2009 revisione del 23 luglio 2012 2 [528] [529] INTERLOCUTORI GIGANTE, che è il medesimo, che Atlante in diversa figura ANGELICA, innamorata di [...] ORLANDO, innamorato di Angelica 1 ATLANTE, padrone del palazzo incantato DAMIGELLE BRADAMANTE, innamorata di Ruggero 2 MARFISA maga FERRAÙ SACRIPANTE RUGGERO, innamorato di Angelica ALCESTE FIORDILIGI, moglie di Brandimarte 3 PRASILDO MANDRICARDO, innamorato di Doralice 4 [BRANDIMARTE] GRADASSO OLIMPIA CORO DI OTTO NINFE CORO DI FANTASME DORALICE, innamorata di Mandricardo IROLDO ASTOLFO UN CACCIATORE NANO [PITTURA] [POESIA] [MUSICA] 1 padrone] Padrona 2 <maga>] [la definizione, del tutto ingiustificata nel testo, è evidentemente da espungere] 3 Prasildo] Brasildo 4 [Brandimarte] [non compare mai nel testo] 3 [MAGIA] [RIVI] [ECO] [FINARDO] 4 [530] [531] PROLOGO Pittura, Poesia, Musica, Magia. PITTURA Vaghi Rivi, Perché andate fuggitivi Senz’aver posa un momento? [RIVI] Noi fuggiamo in grembo ai mari, Per sospetto degl[i] avari, Perché abbiam l’onde d’argento. PITTURA Con sollecita cura Siate, o miei fidi, al mio disegno intenti. Là si devon le mura Finger d’antica torre omai cadenti E d’ogni intorno poi su l’altra scena Folta verdeggi una campagna amena. Sù, miei seguaci, alla fatica illustre Non sia lenta la mano, Ferva l’opera industre, E non s’attenda il valor vostro invano. POESIA Pur ch’abbia la Pittura Terminata la scena, altro non manca. MUSICA Ella, ch’in ben oprar non è mai stanca, Col suo destro pensier nulla trascura.
    [Show full text]
  • In Sي Gran Martire… a Tonal Experiment in Luigi Rossi's Il
    Musica Iagellonica 2018 eISSN 2545-0360 Zygmunt M. Szweykowski ( Jagiellonian University, Cracow) In sí gran martire… A tonal experiment in Luigi Rossi’s Il Palazzo incantato d’Atlante* The subject of my article is Scene 6 from Act III of Luigi Rossi’s musical drama Il Palazzo incantato d’Atlante (1642) to a libretto by Giulio Rospigliosi. This particular scene is worthy of attention, because the composer has given it a thoroughly unique musical setting as compared to early Italian drammi per mu- sica. It not only features more than one key signature sign — two sharps appear at the clefs — but also five sharps as accidentals in the music itself, thus using rare pitch material for late sixteenth and early seventeenth century output. Giulio Rospigliosi quite often drew the themes of his dramas from Re- naissance epic poetry. Here, the source is Ludovico Ariosto’s poem Orlando furioso 1. The presented action is practically based on octaves 4–32 of Song XII from Ariosto’s poem. Rospigliosi does not keep strictly to the epic’s sequence of events, instead arranging them according to his own plan. Rospigliosi’s work was originally titled Lealtà con valore (Loyalty and valor), but he quickly adopted the title featuring the word “Palazzo”, which nevertheless had several differing versions, such as Il Palazzo incantato ovvero la guerriera amante [The enchanted * This article is an abbreviated version of the chapter from the book Dramma per musica, vol. II/2, ed. Zygmunt M. Szweykowski (in preparation). 1 The author published it in the final version in 1532.
    [Show full text]
  • Dramaticworksofm03moliiala.Pdf
    ,.OKAL!FO/?4> oxOf CAHFOtofc " / ) ji. ^ y -^ V/^-./ A I iGi ^^ A I IQK "^"^ ^ -^ <I5130NV-S01^ f S a- %a3AiNn-3\\v^ 1 1 irr 1 1 1 irr in 1Y0/ <^UIBRARYQ^ JO' <% ^OF-CAUFOfyfc THE DRAMATIC WORKS OF MOLIERE. ITHIK ; stems THE DRAMATIC WORKS OF M O L I E R E RENDERED INTO ENGLISH BY HENRI VAN LAUN A NEW EDITION With a Prefatory Memoir, Introductory Notices and Notes ILLUSTRATED WITH NINETEEN ENGRAVINGS ON STEEL PROM PAINTINGS AND DESIGNS BY Horace Vernet, Desenne, Johannot and Hersent COMPLETE IN SIX VOLUMES VOLUME III PHILADELPHIA GEORGE BARRIE, PUBLISHER TABLE OF CONTENTS. VOLUME THREE. THE PRINCESS OF ELIS. La Princesse d'1 Elide DON JUAN; OR, THE FEAST WITH THE STATUE. Don Juan ; ou, Le Festin de Pierre 69 LOVE is THE BEST DOCTOR. LAmour Medecin 135 THE MISANTHROPE. Le Misanthrope 171 THE PHYSICIAN IN SPITE OF HIMSELF. Le Medecin Malgre lui 247 LIST OF ILLUSTRATIONS. VOLUME THREE. PAGB THE PHYSICIAN IN SPITE OF HIMSELF. Act II., Scene 4. Le Medecin Malgre lui Frontispiece DON JUAN. Act II., Scene 5. Don Juan; ou, Le Festin de Pierre 94 THE MISANTHROPE. Act II., Scene 5. Le Misanthrope 208 LA PRINCESSE D'ELIDE. COMEDIE-BALLET. THE PRINCESS OF ELIS. A COMEDY-BALLET IN FIVE ACTS. ( THE ORIGINAL PARTLY IN PROSE AND PARTLY IN VERSE) STH MAY 1664. INTRODUCTORY NOTICE. IN the month of May 1664, Louis XIV. entertained the Queen-mother, Anne of Austria, and his own wife, Maria Theresa, with a brilliant and sumptuous fete at Versailles. It began on the 7th, and lasted a whole week.
    [Show full text]
  • FECIT VI Spanish Old Master Drawings FECIT VI FECIT VI Spanish Old Master Drawings
    FECIT VI Spanish Old Master Drawings FECIT VI FECIT VI Spanish Old Master Drawings Acknowledgements: Ángel Aterido, Cipriano García-Hidalgo Villena, Manuel García Luque, Macarena Moralejo, Beatriz Moreno de Barreda, Camino Paredes, Laura Suffield, Zahira Véliz & Gerard Llobet Codina for his support during the last intense days of this CATALOGUE publication © of this catalogue: DE LA MANO Documentation and research: Gloria Martínez Leiva Design: Daniel de Labra Editing and coordination: Alberto Manrique de Pablo Photography: Andrés Valentín Gamazo Joaquín Cortés (cat. 30) Printers: ADVANTIA Gráfica & Comunicación DE LA MANO c/ Zorrilla, 21 28014 Madrid (Spain) Tel. (+ 34) 91 435 01 74 www.delamano.eu [1] ROMULO CINCINATO (Florence, c. 1540 – Madrid, c. 1597) Christ washing the Disciples’ Feet c. 1587-1590 Pencil, pen, ink and grey-brown wash on paper 555 X 145 mm INSCRIBED “60 Rs”, lower left corner PROVENANCE Madrid, private collection hilip II manifested a notable interest Salviati 3 but in recent years it has been thought in both the construction and the that he may have learned his profession in the pictorial decoration of El Escorial. studio of Taddeo Zuccaro due to the similarities The building was not yet completed evident between some of his works and models Pwhen the King began to have paintings sent to used by Zuccaro. 4 Nonetheless, Cincinato’s the monastery, the arrival of which are recorded work reveals a rigidity, an obsession with form in the Libros de entregas [delivery books]. 1 He and a degree of academicism much greater than was also personally involved in seeking out and that of his master.
    [Show full text]
  • Konstantinopel Rare & Fine Books
    KONSTANTINOPEL RARE & FINE BOOKS FINE BOOKS AND MANUSCRIPTS 2018 CAT . no. 7 NO. 151 FRONT COVER NO. 121 BACK COVER NO. 1 R. A. van den Graven Kortenaerstraat 17 7513 AC Enschede The Netherlands phone : + 31(0) 53 4324675 e-mail: [email protected] web: www.konstantinopel.nl rare & fine books MANUSCRIPTS BEFORE 1600 14 TH CENTURY: UNRECORDED COMMENTARY ON THE NEW TESTAMENT. 1. COMMENTARIA IN NOVUM TESTAMENTUM: Decorated Latin manuscript on parchment. Paris around 1350. Large quarto. IV + 120 + IV Leaves. Folio. 19 th century vellum. Complete exegeses on the New Testament, by an unknown author. Signed by a scribe named Ludolphus, in the colophon. Possibly, Ludolphus is also the author of the commentary. € 82,000.- / $ 95,000.- This is an unpublished text of a scholastic exegete giving a commentary on the New Testament. The manuscript must have belonged to a member of one of the mendicant orders. While mostly only single book was discussed, like Bonaventura or Stephen Langton does, this commentary covers rather unusually, the entire New Testament. The text betrays great sophistication and it is surely not a mere draft. Many comments are taken from the Homiliae in Evangelia, the Epistolae, and the Regulae pastolaris from Gregorius Magnus, we do not know why the author had a special preference for them. No other version of the text could be found using the usual means. Also Stegmüllers Repertorium biblicum which covers more than 24.000 commentaries in 1 MANUSCRIPTS BEFORE 1600 manuscripts gives no hints on the commentaries present in this manuscripts. It is extremely rare to find a corpus of not registered commentaries .
    [Show full text]
  • Matrimony and Monarchy: the Failure of Bourbon-Habsburg Matrimonial Alliance
    Matrimony and Monarchy: The Failure of Bourbon-Habsburg Matrimonial Alliance Dr Samra Sarfraz Khan* Irum Iqbal Hussain** Abstract The research paper titled “Matrimony and Monarchy: The Failure of Bourbon-Habsburg Matrimonial Alliance,” is an in depth study of the matrimonial alliance between the Bourbon and Habsburg dynasties through the marriage of Louis XIV; the King of France, with the Spanish hieress Maria Theresa. This matrimonial alliance, which was arranged to start a new era of Franco-Spanish relations in the seventeenth century, was one of the many similar examples that had been followed in state craft from the earliest times. The paper serves a two-fold purpose: to bring to light the unsuccessful nature of this marriage, and to probe the various reasons for which the alliance was a failure in the very quintessence of a marriage. The paper highlights the factors that contributed in not only keeping the matrimonial alliance into a contentious relationship between Maria Theresa and Louis XIV but also in causing a decline in the political ties between the French and Spanish kingdoms. The research paper, thus, caters to an aspect in the study of matrimonial alliances that remains largely unexplored. Keywords: Matrimonial alliance, Bourbon, Hapsburg, monarch, expansion. * Samra Sarfraz Khan, Ph.D. Assistant Professor, Department of History, University of Karachi ** Irum Iqbal Hussain, Graduate Student, Institute of Ismaili Studies (IIS), UK 15 Jhss, Vol. 10, No. 2, July to December, 2019 Introduction The matrimonial alliance of Louis XIV and Maria Theresa was one in a series of similar state alliances that took place between the Bourbon and Habsburg royal families in their days of glory days.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]