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The Theater of Piety: Sacred Operas for the Barberini Family In The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643) Virginia Christy Lamothe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2009 Approved by: Tim Carter, chair Annegret Fauser Anne MacNeil John Nádas Jocelyn Neal © 2009 Virginia Christy Lamothe ALL RIGHTS RESERVED ii Abstract Virginia Christy Lamothe: “The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643)” (Under the direction of Tim Carter) In a time of religious war, plague, and reformation, Pope Urban VIII and his cardinal- nephews Antonio and Francesco Barberini sought to establish the authority of the Catholic Church by inspiring audiences of Rome with visions of the heroic deeds of saints. One way in which they did this was by commissioning operas based on the lives of saints from the poet Giulio Rospigliosi (later Pope Clement IX), and papal musicians Stefano Landi and Virgilio Mazzocchi. Aside from the merit of providing an in-depth look at four of these little-known works, Sant’Alessio (1632, 1634), Santi Didimo e Teodora (1635), San Bonifatio (1638), and Sant’Eustachio (1643), this dissertation also discusses how these operas reveal changing ideas of faith, civic pride, death and salvation, education, and the role of women during the first half of the seventeenth century. The analysis of the music and the drama stems from studies of the surviving manuscript scores, libretti, payment records and letters about the first performances. This dissertation also provides a discussion of the religious culture in which these operas took place by examining other contemporary primary sources such as sermons, histories of saints’ lives, spiritual exercises, Jesuit school plays, books of manners and social decorum, and accounts of festivals held in Rome during the papacy of Pope Urban VIII. iii iv Dedication To Peter, whose love and support mean so much to me. v Acknowledgements I am indebted to many people for their feedback, support and encouragement as I wrote this dissertation. I would first like to thank my dissertation advisor, Tim Carter, whose continuous patience, support and sense of humor have helped me through any obstacle I encountered while writing this dissertation. I would like to thank the members of my dissertation committee, John Nádas, Anne MacNeil, Jocelyn Neal, and Annegret Fauser for their helpful comments and careful reading of this work. I have had the opportunity to have many conversations with many fine scholars who have been generous in taking the time to meet with me and give me feedback on my work. First, I would like to thank Margaret Murata whose adroit direction and in-depth knowledge of archival sources has been an invaluable resource for me. I would like to thank Stefanie Tcharos for all of her helpful feedback. I very much appreciate the support and direction of Lance Lazar who helped me better understand the archives of Rome, and whose classes and discussions deepened my knowledge of the spiritual climate of the Counter-Reformation. I would also like to thank Arnaldo Morelli, who graciously served as my advisor in Italy during my Fulbright fellowship from 2005 to 2006. This dissertation would not have been possible without the assistance of the staff at the Biblioteca Vaticana, the Biblioteca Nazionale Centrale Vittorio Emmanuele II in Rome, the Biblioteca Casanatense in Rome, the Biblioteca Trivulziana in Milan, the vi Biblioteca Nazionale Centrale in Florence, and the Biblioteca Nazionale in Turin. I am also indebted to Kelley Harness for the helpful conversations I have had with her about hagiographical research, drama, and the role of gender in sacred opera. I would also like to thank Jeffrey Kurtzman, Kimberlyn Montford, Carolyn Valone, Beverly Stein, Susan Shimp, Louise Rice, John Headley, Paul Grendler, and Dino Cervini for all of their helpful comments and direction. This dissertation would not have been completed without the financial support of the University of North Carolina at Chapel Hill, a Fulbright U.S. Advanced Student Grant, and an award from the Lemmermann Foundation for work in Rome and throughout Italy during the 2005 to 2006 academic year. I am grateful for the support of my family throughout the time that I have worked on this dissertation, including my parents George and Marjorie Christy, sisters Andrea and Colleen Christy, and my brother Nick Christy. I would also like to thank Brooke Elliot, and Gerard and Mary Ann Lamothe. I am indebted as well to my friends Laurie McManus, Anna Ochs, Valeria De Lucca, Amy Brosius, Elizabeth Kramer, Jennifer and Michael Illuzzi, Katie Baillargeon, Randy Goldberg, and all of my friends at Rome Baptist Church. vii viii Table of Contents List of Tables………………………………………………………………………... xi List of Musical Examples…………………………………………………………...xii List of Figures………………………………………………………………………xiii Introduction………………………………………………………………………….. 1 Chapter Overview…………………………………………………………… 12 Editorial Principles…………………………………………………………... 12 Musical Analysis…………………………………………………………….. 13 1. Setting the Stage: The Barberini Saint Operas in the Context of War and Reformation……………………………………………….. ………………………..15 The Rise of the Barberini Family……………………………………………. 17 Artists and Musicians in the Patronage of the Barberini Family……………. 20 The Barberini Saint Operas in the Context of the Thirty Years War………... 26 The Barberini Saint Operas in the Context of Sacred Drama……………….. 44 The Relation of the Barberini Saint Operas to Hagiographical Literature…………………………………………………………………….. 61 Sant’Alessio (1632, 1634)…………………………………………………… 66 Santi Didimo e Teodora (1635, 1636)………………………………………..67 San Bonifatio (1638)………………………………………………………… 69 Genoinda (1641)……………………………………………………………...70 Sant’Eustachio (1643)………………………………………………………..71 ix The Saint Operas in Relation to Other Barberini Operas.................................73 Other Dramatic Representations of Saints with Music in Rome in the Time of the Barberini…………………………………………………. 74 Other Musical-Dramatic Works Commissioned by Members of the Barberini Family…………………………………………………………….. 78 The Barberini Operas in the Context of Musical Dramas Performed in Rome (1600-1651)………………………………………………………... 82 2. Screens, Scenes, and Flying Machines: The Importance of Illusion in the Theatrical Productions of the Barberini Family…………………………………. 92 Screens... …………………………………………………………………… 94 Scenes... …………………………………………………………………….107 ... and Flying Machines…………………………………………………….. 122 3. Republican Idealism and the Rebirth of Tragedy……………………………… 130 4. O Welcome Death? Depictions of Martyrdom and the Purpose of Tragedy…………………………………………………………………………. 169 Sant’Alessio…………………………………………………………………177 San Bonifatio……………………………………………………………….. 181 Sant’Eustachio……………………………………………………………... 203 5. The Importance of Being Evil: The Didactic Purposes of Demons……………. 228 6. More Precious than Rubies? A Closer Look at Gender and Spirituality…………………………………………………………………….293 Conclusion………………………………………………………………………… 323 Bibliography………………………………………………………………………………. 326 x List of Tables Table 0.1: The Barberini Operas, 1632–43…………………………………………………… 6 Table 1.1: Major Battles of the Thirty Years War…………………………………………... 31 xi List of Musical Examples Example 3.1: Sant’Alessio, I.2……………………………………………………………... 156 Example 3.2: Sant’Alessio, II.2…………………………………………………………….. 162 Example 4.1: Sant’Alessio (1634), II.7…………………………………………………...... 179 Example 4.2: San Bonifatio (1638), III.2…………………………………………………... 182 Example 4.3: San Bonifatio, III.2…………………………………………………………...195 Example 4.4: San Bonifatio, III.2…………………………………………………………...198 Example 4.5: Sant’Eustachio, III.2……………………………………………………….... 206 Example 4.6: Sant’Eustachio, III.2………………………………………………………… 206 Example 4.7: Sant’Eustachio, III.2………………………………………………………… 215 Example 4.8: Sant’Eustachio, III.2………………………………………………………… 216 Example 4.9: Sant’Eustachio, III.2………………………………………………………… 218 Example 4.10: Sant’Eustachio, III.2……………………………………………………….. 219 Example 5.1: San Bonifatio, I.11…………………………………………………………... 242 Example 5.2: Sant’Alessio, I.4……………………………………………………………... 246 Example 5.3: Sant’Alessio, II.6…………………………………………………………...... 251 Example 5.4: San Bonifatio, II.5…………………………………………………………… 263 Example 5.5: San Bonifatio, II.9…………………………………………………………… 275 Example 6.1: Sant’Eustachio, I.3……………………………………………………….......312 xii List of Figures Figure 2.1: Diagram of the Descending Cloud Mechanism…………………..…………….124 Figure 2.2: Scene from Sant’Alessio, the descent of the Angel……………………………. 127 Figure 2.3: Close-up view of machinery in the background of Figure 1.2 (from center, left hand side)…………………………………………………...…………… 127 Figure 3.1: First engraving of the 1634 score of Sant’Alessio………………….………….. 134 Figure 5.1. Engraving Showing the Inferno in the 1635 Score of Sant’Alessio……..……. 244 xiii xiv Introduction On Monday, 23 February 1632, at the height of Carnival celebrations, a young man in a mask wound his way up the Quirinal hill from the busy Via del Corso where he had been laughing and throwing eggs at the passing carriages. This young man, the scholar and memorialist from Paris, Jean-Jacques Bouchard (1606-1641), was eager to see the new production of a drama in music commissioned by Francesco Barberini, the wealthy and powerful nipote of the reigning Pope Urban VIII, Maffeo Barberini (r. 1623-1644). Although Francesco, as the right-hand man of the Pope, resided at the Cancelleria, or Palace of
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