6.5 X 11 Double Line.P65

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Index

Academy of Arcadians. See also specific schism of 1711, 34, 283n, 289n members Spagna’s views of, 53–54 antiquarianism in, 33–34, 227n Stampiglia. See Stampiglia, Silvio L’Arcadia (Crescimbeni). See L’Arcadia women in, 280n, 282n (Crescimbeni) Accademia degli Arcadi. See Academy of Bosco Parrasio, 32–33, 43, 135f, 192–193, Arcadians 193f, 194, 226–227n, 233n, 285n, 286n Accademia del Disegno di Roma, 107, 257n on classical tragedy decorum, 39–41 Accademia Reale, 29–30 Crescimbeni. See Crescimbeni, Giovanni accademie, 39, 71–72 Mario Acciaiuoli, Filippo, 37–38 criticism of by followers, 34, 185–186, 283n Ago, R., 60–61, 220n, 239n, 241n criticism of opera by, 2–3, 23, 195–196, Albani, Giovanni Francesco. See Clement XI 215n, 232–233n Alexander VIII death in, 284–285n cultural agenda, 22, 62, 66 fantasies of. See pastoralism death of, 37, 69 founding of, 29–30 election of, 63, 239n, 240–241n gatherings, meeting places, 32–33, 33f, 43, inauguration of, 20 160, 226–227n, 233n, 273–274n influence on oratorio, 59, 60–61, 62 Giuochi Olimpici, 160, 274–275n, 280n motivations, 22 Gravina. See Gravina, Gian Vincenzo papacy of, 61, 239n, 240n influence of, 17–18, 122, 155, 158–159, 202, political agenda, 65, 239n, 241n 212 relationship with Cardinal Ottoboni, 240n, intellectual stance of, 3–4, 182–185, 192, 247n 275n, 282n, 285–286n Al fin m’ucciderete (Scarlatti), 164–165, 165f, lapidi di memoria, 191–192, 285n 170, 276–277n legacy, 213 L’amor eroico tra pastori (Ottoboni), 40–41, 69, memorials in, 191–192, 285n 245–246n on music’s role in opera, 197–201, 212–213 AmoreeGratitudine(Ottoboni), 36–37, 40–41, nostalgia as ideology, 184–185, 190, 284n 229n on opera reform, 201–202 Amore fra gl’impossibili (Gigli), 40–41 on oratorio as moral reform, 58 Amor vince lo sdegno overo L’Olimpia placata as papal cultural policy vehicle, 187–190, (Aureli/Freschi/Luchini), 230n 283n L’Anagilda (Gigli/Caldara), 232n pastoralism in. See pastoralism Apollo, 118–123, 146–147, 263–264n pastore/pastorella, 32, 227n Applauso musicale, 117–118 past/present duality, 192, 194–195, 285n appropriation, 7, 156–157, 216n patronage, approach to, 34 arazzi finti, 247n polemics, 29–31, 159–160, 274–275n L’Arcadia (Crescimbeni) preservation work in, 191–192, 282n, female protagonists in, 280n 284–285n literary approach to, 279–280n progressivism in, 34 on music/poetry relationship, 178–184, retreat ideology of, 189, 194–195, 285–286n 186–187, 274–275n, 281n, 282n ritual, commemoration work in, 191, 284n transcription of, 280n, 282n 312

Index 313

Arcadia (Sannazaro), 182–183, 275n La caduta del regno dell’Amazzoni, 22–23, Armide (Quinault/Lully), 35, 228n 35–36, 65, 222n Aureli, Aurelio, 230n Calcagno, M., 276n, 277n avvisi,13 cantata avvisi di Roma, 230–231n, 244n, 264n, Al fin m’ucciderete (Scarlatti), 164–165, 165f, 266–267n, 268n 170, 276–277n appropriation by, 156–157 Bakhtin, Mikhail binary/duality in, 26, 157, 160–162, discourses on genres, 11, 216n, 218n 176–177, 273n, 275n, 276n on surplus, 10 Bononcini, 171–176, 275n, 278n Barberini, Francesco (Cardinal), 250n Ch’iotimanchidifede,idolomio?(Bella Barberini, Urbano (Prince of Palestrina), donna costante, Bonoccini), 172–173, 123–127, 131, 132, 267n 173f, 176, 279n Barberini family, opera patronage by, 20–21, courtly tradition, 157–158, 273n 220–221n Crescimbeni on, 107, 149–150, 180–182, baroque aesthetic, 26–27, 223–224n, 225n, 204–205 234–235n, 257n da capo aria forms in, 164–165, 165f, 170, Bella donna costante (Ch’iotimanchidifede, 276–277n idolo mio?, Bononcini), 172–173, 173f, as expression of pastoral reform, 16–17, 155, 176, 279n 158–159, 273–274n, 285–286n, 288n Il Bellerofonte, 35, 227–228n format, 153–154, 162–163 La bellezza della volgar poesia (Crescimbeni), influence of generally, 6–7, 154, 177–178, 200, 279–280n, 287n 196–198, 205–207 Bencini, Pietro Paolo music/poetry relationship, 163, 178–182, Le gare festive, 100–101, 255–256n.Seealso 184, 186–187, 204–205, 274–275n, 277n, LegarefestiveinapplausoallaRealCasadi 281n, 282n Francia (Buonaccorsi/Bencini) opera’s influence on, 154–155, 177–178, L’innocenza protetta, 255–256n 205–207, 211, 271–272n, 289n Bianchi, L., 249–250n, 251n past/present duality in, 196 Bianconi, L., 216n, 221n, 258n patronage as influence on, 155–156, 272n Bononcini, Giovanni reception, 163, 180–182, 277n cantatas, reception of, 171–176, 275n, as reform mechanism generally, 45, 176, 278n 279n Ch’iotimanchidifede,idolomio?(Bella Scarlatti, 170–171, 277n, 278n, 281n donna costante), 172–173, 173f, 176, simplicity/complexity duality in, 202, 275n 279n staging, performance function, 25 described, 262n, 278n cantata per musica a tre voci, 262n La notte festiva, 116, 118–120, 120f, 123, canzoni, canzonette, 30–31, 44 146–147, 263–264n Capece, Carlo Sigismondo, 40–41, 232n patrons, meeting, 116 Cartari, Carlo, 125, 126, 265–266n Book of Judith, 250n cattivo gusto, 225n Bosco Parrasio, 32–33, 43, 135f, 192–193, 193f, Cavalli, Francesco, 21 194, 226–227n, 233n, 285n, 286n Chiesa Nuova, 50–51 Bourbon Empire. See France chinea, 113, 260n Boym, S., 284n Ch’iotimanchidifede,idolomio?(Bella donna Bucciarelli, M., 231n, 277n, 287n costante, Bonoccini), 172–173, 173f, 176, buon gusto, 3–4, 28, 42, 272–273n 279n Buonaccorsi, Giacomo, 100–101, 255–256n Christina (Queen of Sweden) Le gare festive. See Le gare festive in applauso as academy patron, 29–30, 225n alla Real Casa di Francia (Buonaccorsi/ favola pastorale and, 232n Bencini) history, personal, 221n L’innocenza protetta, 255–256n influences of Catholicism on, 188–189, 283n Burke, P., 224–225n, 260n as opera patron, 21, 22, 70, 247n

314 Index

Chua, D., 196, 288n da camera, 205–206 classicism, 285n da capo aria, 164–165, 165f, 170, 276–277n Clement IX, 21 Dahlhaus, C., 217–218n Clement XI, 27, 128, 129, 188–189, 224n, 283n D’Alibert, Giacomo, 37–38, 68, 244n clock diagram as representation of allegory, Dandelet, T., 111, 223n, 258n, 260n, 261n 268n Darnton, R., 127 Il Colombo, overo L’India scoperta (Ottoboni), David, Domenico, 40, 287n 37 de la Cerda y Aragon,´ Luis Francisco (marques´ Colonna, Filippo, 114–116, 262n de Cogolludo), 114–116, 122, 260n, 261n, Colonna, Lorenzo Onofrio, 22, 114, 221n, 261n 262n, 268n Colonna, Maria Mancini, 21, 22, 221n Della Seta, F., 181–182, 187, 282n, 289n commedia,37 Della tragedia (Gravina), 203, 288n Commentari . . . intorno alla sua Istoria della Di Benedetto, R., 197, 279n volgar poesia (Crescimbeni), 99–100, diletto, 31, 226n 107–110, 200 “Discorso intorno a gl’oratorii” (Spagna), Connerton, P., 284n 51–59, 74, 236n, 237n La contesa d’onore, 130–131, 135, 266–267n, Dixon, S., 34, 41, 194, 227n, 273–275n, 280n, 269n 284–286n Corelli, Arcangelo, 114–115, 256n, 262n, Donatello, 252n 280n Draghi, Antonio, 230n, 262n courtly spectacle (tableaux vivants), 109, L’Eraclea, overo Il ratto delle Sabine, 230n, 258n 262n Crateo Pradelini. See Ottoboni, Pietro dramma per musica, 36, 228n, 252n, (Cardinal) 253n Crescimbeni, Giovanni Mario Dubowy, N., 49, 81, 82, 85, 88, 90, 253n, on academy’s meetings, 160 254–255n, 277n on L’amor eroico tra pastori, 245–246n L’Arcadia. See L’Arcadia (Crescimbeni) Eclogues (Virgil), 273n La bellezza della volgar poesia, 200, Enlightenment, 272–273n, 282n, 285–286n 279–280n, 287n L’Elvio (Crescimbeni), 40–41 on Bencini, 255–256n L’Endimione (Guidi), 40–41, 232n on cantata, 107, 149–150, 180–182, 204–205 Gli equivoci in amore, overo La Rosaura,41 on Capece, 232n Eraclea, overo Il ratto delle Sabine L’Elvio, 40–41 (Minato/Draghi, Stampiglia/Bononcini), on feste, 107 230n, 262n on Giasone, 209, 289n Eustace (Saint), 242n on Marino, 277n on melodrama, 200 La fama festeggiante, 114–115 Notizie istoriche degli Arcadi morti, 191–192, Fame, 134–143, 269n 284n Fasti sacri (Spagna), 237–238n on oratorio, 40, 57, 236n favola pastorale, 199–200, 232n on Ottoboni, 229n, 232n Festa di San Luigi, 130–131, 267n on pastoral drama, 40 feste, 107 role in academy generally, 34, 190–191, Il ﬁglio delle selve (Capece), 40–41 226n, 284n Fontana, Carlo, 37–38 on Scarlatti, 163–164 Fornari, Matteo, 114–115 on serenata, 99–100, 107–110, 149–150, France 258n ceding of Spanish territory to, 260n on sinfonia, 256n inﬂuences on Italian opera, 39–40, 199, LevitedegliArcadiillustri, 191, 284n 287n writings generally, 226n, 279n, 284n instability of, 131 crises, 26–29, 36–38, 223–225n, 228–229n, Louis XIV, 128–130, 131, 138–142, 239n 230–231n political aspirations, 111, 128–130, 266n

Index 315

reactions to Innocent XI’s policies, visual imagery portrayal in, 77–78, 78f, 79f, 260n 83f, 86f, 89f, 91, 95–96, 252–253n tragédie lyrique,40 Giuochi Olimpici, 160, 274–275n, 280n Franchi, S., 78f, 241–242n, 244n Golden Age, 158, 185, 189, 190, 274n Freeman, R., 288n Gravina, Gian Vincenzo Freitas, R., 157, 277n on Arcadia, theater, 203 Freschi, Domenico, 230n clash with Crescimbeni, 34 Fubini, E., 197–198, 203, 287n criticism of Arcadians by, 185, 283n, 285n, 289n Galliard, J. E., 278n Della division d’Arcadia, lettera ad un amico, Gallican Articles, 239n 227n Le gare festive in applauso alla Real Casa di favola pastorale, 232n Francia (Buonaccorsi/Bencini) influences of on tragedy, 53–54 allegory in, 134–143 intellectual stance of, 40, 285n allegory/ritual relationships in, 143–146, on music/poetry relationship, 40, 270n 203–205 alliance/power relationships in, 129, on pastoral drama as reform, 40 148–149, 266n on unity, 204 duality in, 123–127, 145, 264–265n Griffin, T., 114–115, 254–255n light, symbolic use of, 133, 268n Gross, H., 28 overview, 100–102 Guidi, Alessandro, 40–41, 232n procession, 133 ritual/memory relationships, 127–134 Habermas, J., 110, 257n sound carriers in, 134–135, 135f, 136f, 143, Handel, George Frideric, 208, 252n, 289n 149–150, 268–269n Handelman, D., 126 trumpets in, 136f, 136–138, 145, 269n, Hanley, E., 276n, 281n 270n Haro y Guzman,´ Gaspar de (marques´ del genres Carpio), 259–260n, 261n, 268n abstraction as neoclassicism, 216–217n Harris, E., 159, 274n, 288n binary/duality in, 25, 35–36 Heinichen, Johann David, 277n diachronic view of, 218n Heller, W., 251n as epistemological/cultural construct, 8 Herczog, J., 55, 237–238n, 242n, 243n functions of, 12–13 Holmes, W., 244n heterochronic, 10–11 Holy League, 251n opera’s diffusion through, 5–6, 21, 216n, Holzer, R., 273n, 274n 221n Hough, G., 268n royal, 56–57 scholarly approaches to, 8–11, 216–218n Innocent XI synchronic view of, 218n domination of cultural events by, 20 transference of, 210, 211 influence on oratorio, 59, 60–61 See also cantata; oratorio; serenata on opera theater administration, 69 Gianturco, C., 264–265n papacy of, 61, 128, 222n, 241n, 251n Giasone (Cicognini/Cavalli), 209, 289n political agenda, 241n, 251n, 260n Gigli, Girolamo, 40–41 public theater, effects on, 21, 221n I giochi troiani (Capece), 40–41, 232n reformation by, 221–222n La Giuditta (Komarek print), 77, 241–242n supporters of in Ottoboni’s election, 63, La Giuditta (Ottoboni/Scarlatti) 240–241n compositional approach to, 91–97, 253n Innocent XII history of, 72–77, 247–250n, 251n domination of cultural events by, 20 musical seduction in, 90 election of, 37 referential lullaby in, 86–89, 89f, 90 influence on oratorio, 59 “La tua destra” aria, 82f, 84–85, 86f, 95–96, L’innocenza protetta (Buonaccorsi/Bencini), 253n 255–256n

316 Index

intermedi, 37–38, 109, 230–231n, 258n mise en abyme,88 L’istoria della volgar poesia,30 Moore, A., 217–218n More, Thomas, 189–190 Jansenism, 28, 225n Morelli, A., 49–50, 52, 71–72, 95–96, 108, Johns, C. M. S., 129, 188–189, 283n 234–235n, 236n, 247–248n, 250n, 251n, John the Baptist, 251n 254n, 265–266n Judith and Holofernes (Caravaggio), 78–80, Morosini, Giovanni Francesco, 125, 126, 252n 265n Judith–Holofernes story, 72–77, 250n, 251n, Muir, E., 146, 148 252n Murata, M., 42, 215n, 233n Juno, 134–143 Muratori, Lodovico Antonio, 40, 57, 185–186, 199, 283n, 285n Kallberg, J., 217–218n musicology research historically, 217–218n Kendrick, R., 235n music/poetry relationships L’Arcadia (Crescimbeni) on, 178–184, Lanham, R., 268n 186–187, 274–275n, 281n, 282n lapidi di memoria, 191–192, 285n cantata, 163, 178–182, 184, 186–187, “La tua destra” aria, 82f, 84–85, 86f, 95–96, 204–205, 274–275n, 277n, 281n, 282n 253n Gravina on, 40, 203–205 Le Cerf, J.-L., 287n oratorio, 55–56, 92–93, 95–96 Levi-Strauss,´ C., 132, 145–146 Scarlatti on, 15–16 Lindgren, L., 116, 262n, 278n, 279n serenata, 98, 100, 102–103, 105–106, Louis XIV (King of France), 128–130, 131, 108–109, 119–122, 126–127, 146–147, 138–142, 239n See also France 149–150, 256n Lowenthal, D., 284n Luca, Severo de, 118 Naples, 254–255n Lucini, Giovanni Battista, 229n, 230n Nash, R., 275n, 282n Lulier, Giovanni Lorenzo, 245n Nerone fatto Cesare, 37–38, 230n Lully, Jean-Baptiste, 35 La notte festiva (Stampiglia/Bononcini), 116, Lyons, J., 80, 252–253n 118–120, 120f, 123, 146–147, 263–264n Notizie istoriche degli Arcadi morti macchina da fuoco, 130, 135f (Crescimbeni), 191–192, 284n madrigali, 107 La nova gara delle dee (Stampiglia/Luca), 118 maestro di camera, 243n, 246n Nussdorfer, L., 111 Maffei, Scipione, 39–40 marinismo, 3, 277n Odescalchi, Benedetto. See Innocent XI Marino, Giambattista, 3, 274n, 277n Olszewski, E. J., 247n Martello, Pier Jacopo, 40, 279n Opacki, I., 56–57 Il martirio di Sant’Eustachio (Ottoboni/ opera Lanciani), 62–64, 64f, 68, 241–243n Arcadians’ views on reform of, 201–202 Mazzocchi, Virgilio, 63–64 controversies generally, 2, 198–199, Melani, Alessandro, 238n 232–233n, 287n melodrama crises, 26–29, 36–38, 223–225n, 228–229n, Crescimbeni on, 200 230–231n La Giuditta,75 as cultural expression, 5, 12, 13, 216n Spagna on, 56, 75, 238n diffusion of, 5–6, 21, 216n, 221n in tragedy, oratorio, 75, 76 enclosures, 24–26 Menestrier,´ C., 258n female ﬁgures in, 251n Menzini, Benedetto, 233n French inﬂuences on, 39–40, 199, 287n Miller, P., 33–34, 227n functions of, 22–23 Minato, Nicolo,` 230n, 262n history of, 20–23, 197, 272–273n Minor, V. H., 4, 225n, 226–227n, 285–286n, music’s role in, 197–201, 209, 213–214 289n pastoralism in, 40–41

Index 317

pastoral/tragedy/heroic theme merging, 41, study methodology, 48, 234n 232n tragedy themes in, 51–59, 75–76, 96, political alliance advertisement by, 37, 252–253n 63 visual imagery portrayal in, 77–78, 78f, 79f, private model of, 22, 39, 43, 233n 83f, 86f, 89f, 91, 252–253n public model of, 36–38, 42–43, 228n L’Orfeo, 38, 231n as reform mechanism, 208 Ottoboni, Pietro (Alexander VIII). See regulation of historically, 1–2, 215n Alexander VIII taste, trends in, 38, 209–210 Ottoboni, Pietro (Cardinal) weather effects, 37, 230n Academy of Arcadians. See Academy of opera seria, 22–23, 44–45 Arcadians operatic field, 8 L’amor eroico tra pastori, 40–41, 69, Oratorii, overo Melodrammi sacri (Spagna), 245–246n 234n, 237n Cancellaria. See Teatro Cancellaria oratorio criticism of, 229n arias, Spagna on, 55–56, 92 La Giuditta. See La Giuditta (Ottoboni/ binary opposition/duality in, 26, 47, 59, Scarlatti) 67 influence on oratorio, 59, 62 Crescimbeni on, 40, 57, 236n motivations, 94, 244n as devotional ritual, 46 oratorio use by, 94 erotica theme, 72–77, 250n, 251n as patron of opera, 234n female agency theme, 75 performance room preparation, 70–71, La Giuditta. See La Giuditta (Ottoboni/ 243n, 244n, 246n, 247n Scarlatti) political strategy, 71–72, 247–248n historical legacy, 48–51, 235n, 236n praise from Crescimbeni, 232n influence of generally, 6–7, 46–47, 96–97 puppet theater, 69, 244n, 246n madrigal form of, 49–50 Il regno di Maria assunta, 70–71, 246n melodrama in, 75, 76 relationship with Alexander VIII, 240n, as middle-ground form, 70 247n mise en abyme in, 86–89, 89f, 90 Sant’Eustachio, 62–64, 64f, 68, 241–243n music/poetry relationship in, 55–56, 92–93, Spagna and, 47–48, 234n 95–96 La Statira, 22–23, 35–36, 65, 222–223n opera’s influence on, 54–55, 56–57, 65–66, 94, 211, 237–238n Pallas, 134–143 papacy influences on, 46, 50–51, 60–61, 70, papacy. See also specific popes 239n Academy of Arcadians as policy vehicle for, political alliances, advertisement by 187–190, 283n attendance, 49, 235n crises, transitions in, 27–28, 224–225n as reform mechanism, 45, 53–54, 57–58, domination of cultural events by, 20, 37, 93–94, 237n 220n rhyme, Spagna on, 55 influences on oratorio, 46, 50–51, 60–61, 70, as sacred opera, 54–55, 237–238n 239n Sant’Eustachio (Ottoboni/Lanciani), 62–64, opera patronage by, 20–21 64f, 68, 241–243n Paradisi, Domenico, 69 scholarly approach to, 15–16 parataxis, 289n secularization of, 50–51, 57, 71–72, 76, 94, Pasquini, Bernardo, 238n, 280n 237–238n pastoralism signification modes in, 91–97, 253n in Academy of Arcadians, 285–286n singers, Spagna on, 56, 238n cantata as expression of, 16–17, 155, Spagna on generally, 51–59, 93–94, 158–159, 273–274n, 285–286n, 288n 237–238n Crescimbeni on, 40 staging, performance function, 25, 67, favola pastorale, 199–200, 232n 68–72, 235n, 243n in opera, 40–41

318 Index

pastoralism (cont.) Stampiglia in, 232n pastoral/tragedy/heroic theme merging, 41, Il regno di Maria assunta (Ottoboni/Scarlatti), 232n 70–71, 246n poetry, parataxis in, 289n relazioni, 13, 106, 259n serenata in, 116–117 resources, 13–14, 219n, 220n, 223n pastore/pastorella, 32, 227n La resurrezione (Handel), 252n Penelope, la casta (Stampiglia), 37–38, rioni, 24–25 230–231n Roberti, Girolamo Frigimelica, 287n piano nobile, 70–71 Roman Catholic Church, 26–29, 223–225n See Piazza di Spagna, 111–112 also papacy; specific popes Pignatelli, Antonio. See Innocent XII Roman Oratory, 49–50, 95–96 Piperno, F., 256n Rome poetic modeling, 30–31 crises, 26–29, 223–225n poetry described, 24–25, 208 diletto, 31, 226n nobility, transitions in, 28 parataxis in, 289n reform in, 209 relationship to music. See music/poetry urbanization of by foreign powers, 111–112, relationships 258–259n polemics, 29–31, 159–160, 274–275n Urbis et orbis, 24–25 political alliance advertisement La Rosaura (Lucini/Scarlatti/Ottoboni), 229n by opera, 37, 63 Rospigliosi, Giulio, 21, 63–64 oratorio in, 49, 235n Russian formalism, 219n serenata, 16, 100, 113–114, 118, 124–125, 126, 148–149 Sampogna (Marino), 274n Pollarolo, Carlo Francesco, 69, 245n Samson, J., 217–218n Possesso, 267n Sannazaro, Jacopo, 182–183, 275n Prima le parole,57See also music/poetry Sant’Alessio, 66, 243n relationships Il Sant’Eustacchio (Rospigliosi/Mazzocchi), Propp, V., 218n 63–64 Sant’Eustachio (Ottoboni/Lanciani), 62–64, Quinault, Philippe, 35 64f, 68, 241–243n Quondam, A., 187–188, 283n La Santa Genuinda, overo L’innocenza difesa dall’inganno (Lulier/Scarlatti/Pollarolo), Ragunanza degli Arcadi. See Academy of 69, 245n Arcadians La Santa Rosalia, 69, 245n rappresentazione in musica. See opera Sarnelli, M., 53–54, 237n recitar cantando, 50–51 Scarlatti, Alessandro Redfield, R., 260n admission to academy, 280n reform, cultural Al fin m’ucciderete, 164–165, 165f, 170, cantata as mechanism, 45, 176, 279n 276–277n communication of, 36–37, 42, 229n in L’Arcadia, 180–182 crises, 26–29, 36–38, 223–225n, 228–229n, Arcadian title, 227n 230–231n cantatas, reception of, 170–171, 277n, 278n, Innocent XI in, 221–222n 281n models of, 30–31 described, 163–164, 208, 249n, 276n, 278n opera generally, 201–202, 208 La Giuditta. See La Giuditta (Ottoboni/ oratorio as mechanism, 45, 53–54, 57–58, Scarlatti) 93–94, 237n intellectual stance of, 15–16, 289n overview, 4–5 on music/poetry relationship, 15–16 pastoralism as expression of, 16–17, 155, Il regno di Maria assunta, 70–71, 246n 158–159, 273–274n, 285–286n, 288n La Santa Genuinda, overo L’innocenza difesa in Rome, 209 dall’inganno, 69, 245n serenata as mechanism, 45 La Statira, 22–23, 35–36, 65, 222–223n

Index 319

Scipione affricano (Cavalli), 21 Spain secentismo,3 de la Cerda y Aragon,´ Luis Francisco sensory expressionism, 28 (marques´ de Cogolludo), 114–116, 122, serbatoio, 194, 226n, 263–264n, 285n 260n, 261n, 262n, 268n serenata HaroyGuzman,´ Gaspar de (marques´ del absolutism in, 103, 110, 126, 127–132, 134, Carpio), 259–260n, 261n, 268n 258n, 259n political aspirations, 111, 113–114, 258n allegory/ritual relationships, 101–102, reactions to Innocent XI’s policies, 260n 118–119, 127–134, 143–146, 268n, 270n strategy, 114–116, 258n, 260n, 261n Applauso musicale, 117–118 War of Spanish Succession, 27–28, 128 binary/duality in, 26, 112–113, 123–127, Spanish Steps, 111–112 145, 148, 150–151, 260n, 271n Sparling, H., 217–218n Crescimbeni on, 99–100, 107–110, 149–150, Spitzer, J., 102, 114–115, 259n, 262n 258n Staffieri, G., 108–109, 117–118, 220n, 239n, factors shaping generally, 100–101, 105, 241–242n, 257n 257n Stampiglia, Silvio female singers in, 70 La notte festiva, 116, 118–120, 120f, 123, Le gare festive. See Le gare festive in applauso 146–147, 263–264n alla Real Casa di Francia (Buonaccorsi/ patrons, meeting, 116 Bencini) Penelope, 230–231n history, 1690s, 114–115, 115f, 118, 261n, personal history, 262n 262n, 263n in reform movement, 232n influence of generally, 6–7, 106, 122–123 La Statira (Ottoboni/Scarlatti), 22–23, 35–36, inheritances, 110–114, 258–260n 65, 222–223n music/poetry relationships, 98, 100, Stein, L., 259–260n 102–103, 105–106, 108–109, 119–122, Stocker, M., 252n 126–127, 146–147, 149–150, 256n Stradella, Alessandro, 264–265n La notte festiva (Stampiglia/Bononcini), 116, Strohm, R., 36, 92, 228n, 252n, 253n 118–120, 120f, 123, 146–147, 263–264n opera’s influence on, 106, 109–110, 151, 211 tableaux vivants (courtly spectacle), 109, overview, 98 258n pastoral, 116–117 Talbot, M., 254–255n, 264n, 268n political alliance advertisement, 16, 100, Tamburini, E., 261n 113–114, 118, 124–125, 126, 148–149 Teatro Cancelleria public/private duality, 103–105, 125–126, construction, decoration of, 243n, 244n, 147–152 246n, 247n reception, 103–105, 125–126, 147–152 opening of, 244n as reform mechanism, 45 oratorio performances, 68–72, 248n sinfonia, 102–103, 105–106, 108–109, performances, 1690, 243n 119–122, 256n purpose of, 62 staging, performance function, 25, 99, 101, tapestries, 247n 112, 259n, 263n Teatro Capranica, 36–38, 228n, 233n, 246n sinfonia, 102–103, 105–106, 108–109, 119–122, Teatro Colonna, 35–36, 63, 116–117, 228n 256n Teatro Grimano, 230–231n Smith, A., 232n Teatro Novo dei Burattini, 69, 244n, 246n Smither, H., 242–243n Teatro San Salvatore, 230n Society of Jesuits, 95–96 Teatro Tordinona Spagna, Arcangelo demolition of, 42, 233n described, 47–48, 234n, 237n history, references sources on, 221n intellectual stance of, 15–16 opening, reopening of, 21, 22–23, 36–38 on oratorio, 51–59, 93–94, 237–238n patronage of, 36–38, 115–116, 262n oratorio use by, 94 praise of, 246n on visual imagery, 80, 271n Te Deum, 130

320 Index

Thomas, D., 252–253n LevitedegliArcadiillustri(Crescimbeni), 191, Touraine, A., 189 284n tragedia in musica, 40, 44, 92–93, 199, 212, Vola, vola in altri petti (Stradella), 264–265n 287n Volpicelli, M.-L., 243n, 244n, 245n trag´edie lyrique,40 Trinita` dei Monti, 111–112 Walker, T., 221n Il tronfo della fede nel martirio de’ Santi War of Spanish Succession, 27–28, 128 See also Eustachio e compagni (Spagna), 63–64 Spain Tynyanov, Y., 218n Weiss, P., 44, 200, 287n Williams, R., 216–217n utile, 31, 226n withdrawal thesis, 28, 224–225n utopia, 189–190 Il Xerse (Minato/Cavalli), 38, 231n Vale, Federico Della, 237n Valesio, F., 124–125, 129, 266n Zappi, Giambattista Felice, 180–182, 280–281n Venetian works, adaptation of, 38–39 Zaslaw, N., 102, 114–115, 259n, 262n Venice, 254–255n Zeno, Apostolo, 40, 52, 232n, 233–234n, 236n, versi sciolti, 53, 53f, 54 287n Virgil, 158 Zizek, S., 80