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INDICE DEI NOMI E DELLE OPERE CITATE A Sonate a tre, op. 1, 135 AA.VV. Aldrovandini, Giuseppe Antonio Il Demofoonte, 258 155, 171 Zenobia in Palmira, 255 Cesare in Alessandria, 155 Abbarelli, Luigi, 161 Eurilla e Nesso, 155 Abbatini, Antonio Maria, 65 Mirena e Floro, 155 La comica del cielo, 68, 75, 84 Semiramide, 155, 171 Abos, Girolamo, 357 Alessandro VII (Chigi, Fabio), Accademico Palladio (G.B.), 296 papa, 63 Intermezzi in musica, 296 Alessandro VIII (Pietro Vito Acciaiuoli (Acciaoli), Filippo, 69‑ O��oboni), papa, 64, 118, 120‑122, 70, 83, 96, 109 129, 135‑136, 139, 149‑150 Chi è cagion del suo mal pianga Alfani, Francesco, 297‑298 sé stesso, 69, 88 Alfonso II d’Este, duca di Ferrara, L’Empio punito, 66‑67, 69, 77, 18 79, 84, 90‑91, 93, 100, 109, Alfonso VI, re del Portogallo, 132 111, 115 AlfonzeLi, Beatrice, 305 Il Girello, 66, 69, 71, 76, 78, 85, Aliprandi, Ines, 165 89‑90, 94, 101, 109, 115 Allacci, Lione (Leone), 6, 17, 224 Il silenzio d’Arpocrate, 83 Allouache, Joan E., 118 La sincerità con la sincerità Alm, Irene M., 68, 78, 84‑85, 88, 90, ovvero il Tirinto, 67, 69, 74, 109 81, 83, 101, 103, 110, 114 Altamura, Antonio, 350, 362, 379, Il Tito, 68‑69, 75, 77, 80, 88, 90, 384‑386, 388, 391, 393, 399, 412‑ 96‑97 413, 415, 421, 425‑428, 434, 436, Ademollo, Alessandro, 63, 80 439 Agazzari, Agostino, 17 Altieri, famiglia, 71‑72 Eumelio, 17 Altieri, Emilio Bonaventura, v. Intermedi, 17 Clemente X, papa Agostini, Lodovico, 14 Álvarez‑Ossorio Alvariño, Il Nuovo Echo, 14 Antonio, 255 Agostini, Pietro Simone, 69 Amaini, Carlo, 224, 229 Gl’inganni innocenti, overo Amati, Antonio, 285, 297‑298 L’Adalinda, 67, 69, 76, 80‑81, Ambrosio, Luca, 63, 66, 70 84, 103‑104, 112, 114 Amicone, Antonio, 359 Ajola, Filippo, 296 Andreini, Giovanni BaLista, 19 Albani, Giovan Francesco, v. Maddalena, 19 Clemente XI, papa Andreoli, Raffaele, 379 Albinoni, Domenico, 122, 135 Andreozzi, Gaetano, 329 Poesie, 135 AndreLi, Marco, 67 Albinoni, Tommaso, 135 Androsilla, Gasparo, 147, 151 443 Anfossi, Pasquale, 308 Drusilla e Arcano, 248 Anne‑Louise‑Bénédicte di Eliogabalo, 69, 71, 76 Borbone‑Condé, duchessa del Elisa, 278, 294 Maine, 57 Eurilla e Beltramme Armeno, Anonimo 248 Al fin medica il tempo ogni Il Fanfarone, 249 pazzia, 124 La Farfallea, 248 Alcina e Pulcinella, 249‑250 Florilla e Lealdo, 283 L’Alfonso, 124 Forza d’amore, 86 Lʹammalato immaginario Gasparini, 248 (Vespe��a e Scannacapone), 283 La Giardiniera, 248 Amor quando si fugge allor si Giuseppe il Giusto, 356 trova, 85‑86 Golpone e Birina, 294 Anagilda, 282 Grillea e Fanfarone, 249‑250 Arnolfo e Dalisa, 251 Grillone e Marinea, 251 L’Arpagone e Fiammea, 248 La guerra dei giganti, 90 L’Avaro prodigo, 249‑250 Hypermestra, 93 Balbo e Dalisa, 295 Intermedi sagri in musica nella Bertoldo, Bertoldino e tragedia sagra Il Davide, 294 Cacasenno, 251 Intermezzi in musica (Roma, Bigaia, 248 1739), 294 La caduta del regno Intermezzi in musica nella dell’Amazzoni, 92 commedia Scipione l’africano, Il Caligola, 69, 77, 92 294 Canopo e Lisea, 248 Intermezzi musicali tra La Cantatrice, 248 Pollastrella e Parpagnacco, 241 Chi la fa l’aspei, 295 Intermezzi per musica nella La Chioccolata, 249 tragedia Ilionea, 294 Colla ed Aurilla, 249‑250 Intermezzo musicale, 242 Colla e Drusilla, 249‑250 L’Ippocrita in maschera, 248 Colombina e Rinoceronte Lesbina e D. Micco, 251 Coviello, 249‑250 Lidia e Ircano, 248 Il conte di Belfiore, 283 Macrina e Cerfoglio, 249‑250 Il conte Nespola, 283 Madama Ciarlea finta contessa Corisca e Satiro, 278, 294 del piglio, 278, 295 Il Davide, tragedia, 294 Madama del Bosco, 248 Delfo e Lisea, 248 Il marito vizioso, 283 Don Gilonne filosofo, 248 Il Massenzio, 69, 78, 98 Dorinda vecchia e Lesbino paggio Matilde, 127 di corte, 249‑250 Il matrimonio ingegnoso, 283 Dragontana e Policrone (Le Il matrimonio per forza, 263‑265 rovine di Troia), 213 Il Medico, 249‑250 444 Melinda e Tiburzio, 251 Apolloni, Giovanni Filippo, 69‑70, Melissa contenta, 249‑250 79, 100 Melissa vecchia, 250 Amor per vendea, o vero La Pace y amore, 248 L’Alcasta, 69, 79, 84, 87‑88, Pampaluga e Minestrone, 248 90‑91, 98, 107, 110 Perichia e Bertone, 221 Amore, amicizia e costanza, 70, Pernella ed Elpino, 249‑250 88, 90 Pimpinone e Grillea, 251 La Dori overo La schiava fedele, Pimpinone e Vespea, 248 68‑69, 76‑78, 80, 84, 90, 94 Polissena vedova, 248 L’empio punito, 66‑67, 69, 77, La prosperità di Elio Seiano, 69, 79, 84, 90‑91, 93, 100, 109, 77, 80, 88, 90, 92, 98, 101‑102, 111, 115 110 Il Girello, 66, 69, 71, 76, 78, 85, Regio schiavo di Mantova, 89 89‑90, 94, 101, 109, 115 La S. Genuinda, ovvero Gl’inganni innocenti, overo l’innocenza difesa dall’inganno, L’Adalinda, 67, 76, 80‑81, 84, 91 103‑104, 112, 114 Scipione affricano, 69, 77, 85, Il novello Giasone, 67, 69, 74, 78, 88‑89, 98, 100, 103, 109, 111‑ 80, 89, 94, 102, 115 113, 115 Il regio schiavo, o sia La Dori (v. La Scuola delle mogli, 248 anche La Dori overo La Silvano ed Elpina, 249‑250 schiava fedele), 68‑69, 84 Sorbina e Cialdone, 248 Scipione affricano, 69, 72, 77, 85, Tarpina e Zelone, 251 88‑89, 98, 100, 103, 109, 111‑ Tartini e Mr. Somis, 248 113, 115 Tilla e Pancrazio, 249‑250 La sincerità con la sincerità Tilla e Vallasco, 248 ovvero il Tirinto, 67, 69, 74, Le Tre Melisse, 248 81, 83, 101, 103, 110, 114 Il trionfo di Galba o sia Il Nerone Apolloni, Salvatore detronato, 241 La pelarina, 283 La Truffaldina e Petronio Appollonii, Niccolò, 298 bolognese, 249‑250 Aquilano, Domenico, 72 Il Vecchio pazzo in amore, 248, Arcangeli, Alessandro, 126 250 Arcari, Giovanni BaLista, 296‑297 Virtuoso ridoo tra Signori e Arigone, Domenico, 136 Dame Ariosto, Ludovico La vita humana, 92 Orlando furioso, 47, 55 Zamberlucco e Palandrana, 248 Ascione, Imma, 237, 258 Antolini, Bianca Maria, 254, 275, Aubigné, Françoise dʹ, v. 293, 303 Maintenon, madame de Anton Ulrich von Sachsen‑ AuleLa, Pietro, 277, 296 Meiningen, 225 Il marchese di Spartivento o sia il 445 cabalista ne sa men del caso, 29, 34 278, 280‑281, 296 Il Furto amoroso, 19, 23‑25, 30, Aureli, Aurelio, 75, 79, 85 39 Eliogabalo, 76, 85, 98 Hora prima di ricreazione, Aureli, Girolamo, 297 I libro canz.te a 3 v., 22 L’impazzito, 297 Leere armoniche, 20 Aurisicchio, Antonio, 277, 295‑298 Madrigali, 22 Aggiunta per musica Madrigali, Libro I a 5 v., 16 aglʹintermezzi della comedia Il Metamorfosi musicale, intitolata Il vecchio IV libro canz.te a 3 v., 20, 23, ringiovanito, 296 37 Il cicisbeo consolato ovvero La Minghina da Barbian, 25 I castelli in aria di Don La nobilissima anzi asinissima Velasco, 298 compagnia, 22 Enea scende a Dite, 295 La Pazzia senile, II libro canz.te Il finto soldato, 297 a 3 v., 18, 20, 23 L’inganno deluso, 278, 295 Prudenza giovenile, 19 Azzolini, Pompeo, 162 Saviezza (Sapienza) giovanile, V libro canz.te a 3 v., 18, 20, B 23, 29, 34 Bacciagaluppi, Claudio, 313 Il scaccia sonno, 25, 36‑37 Baglioni, Francesco, 285, 291, 295 Il Studio dileevole, III libro Balestreri, Domenico, 14 canz.te a 3 v., 17, 20, 23 Cantate, 14 Tirsi, Fili e Clori, VI libro Banchieri, Adriano, 1, 14, 16‑21, 23‑ canz.te a 3 v., 24 24, 26, 29‑30, 32, 35, 38‑39 Trastulli della Villa, 36‑37 Allegro porto, 16 Traenimenti da villa, 14, 19, Barca di Venezia per Padova, 29, 31‑35 II libro madr. a 5 v., 19‑20, L’Urslina da Crevalcor 23‑25 (Cravalcor), 24‑25 Canzonee, a 3 v., 22 Il Virtuoso ridoo, v. Saviezza Canzonee, I libro a 3 v., 22‑23 (Sapienza) giovanile Canzonee, III libro a 3 v., 17 Il Virtuoso ritrovo, IV libro Canzoni alla francese, II libro, madr. a 1‑5 v., 24, 36 22 Vivezze di Flora e Primavera, La Catlina da Budri, v. Il Furto III libro madr. a 5 v., 21, 24 amoroso Il Zabaione musicale, I libro Concerti vocali, 8 v., 22 madr. a 5 v., 20, 23, 31 Festino nella sera del Giovedì Bani, Cosimo, 69‑70 Grasso, III libro madr. a 5 v., L’Arianna, 69, 77, 83, 90, 99 19, 21, 23, 36 Il figlio delle selve, 70, 72, 85‑86, La fida fanciulla, 16, 19, 25‑26, 88 446 Barberini, famiglia, 65, 94, 96, 110 Bernini, Giovanni Filippo, 127 Barberini, Francesco, cardinale, 138 Sant’Alessio, 127, 136 Barberini, Maffeo, principe, 140 Bernini, Pietro Filippo, 69 Barberini, Urbano, 140, 145 La donna ancora è fedele, 69, Barbieri, Patrizio, 148 76‑77, 79, 83, 88, 90, 103, 107, Barcaroli, Giuseppe, 295 111‑112, 114 Barcaroli, Pietro, 293, 295‑297 L’honestà negli amori, 69, 72, Bargellini, Ippolito, 25 110, 115 Barlocci, Giovanni, 279 Bersani, Giuseppe, 14 La finta cameriera, 279 Bertati, Giovanni BarneL, Gregory, 117 Il geloso schernito (Ginestra e Bartulo, Stefano, 135 Licheo), 283 Basile, GiambaLista, 360, 426, 429 Bertelli, Antonia, 265 Basso, Alberto, 3, 321 Bertelli, Sergio, 119 Baviera (cantante), 72 Berti, Michela, 291 Beauchamps, Pierre, 44 Bertini, Giuseppe, 311, 316 Ballet des Fâcheux, 44 Bertoni, Ferdinando, 291 Beatucci, Lorenzo, 69‑70 Beschi, Paolo, 72 Il Trespolo tutore, 69‑70, 86, BesuLi, Paola, 84, 89 107, 111 Bianchi, Lino, 154, 164, 171 Béjart, Madeleine, 43 Bianconi, Lorenzo, 65, 75, 182, 238, Belli, Domenico, 17 304 Orfeo dolente, 17 Bibiena (Bibbiena), Ferdinando Belli, Sabbato, 359 Galli da, 161‑163 Bellina, Anna Laura, 257, 282 Bibiena (Bibbiena), Francesco Galli Bellini, Vincenzo, 357 da, 161, 163 Belmuro, Andrea, 269 Bibbiena, v.
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  • The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Frontmatter More Information

    The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Frontmatter More Information

    Cambridge University Press 978-0-521-82359-3 — The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Frontmatter More Information The Cambridge Companion to Seventeenth-Century Opera The Cambridge Companion to Seventeenth-Century Opera is a much-needed introduction to one of the most defining areas of Western music history - the birth of opera and its developments during the first century of its existence. From opera’s Italian foundations to its growth through Europe and the Americas, the volume charts the changing landscape – on stage and beyond – which shaped the way opera was produced and received. With a range from opera’s sixteenth-century antecedents to the threshold of the eighteenth cen- tury, this path-breaking book is broad enough to function as a comprehensive introduction, yet sufficiently detailed to offer valuable insights into most of early opera’s many facets; it guides the reader towards authoritative written and musical sources appropriate for further study. It will be of interest to a wide audience, including undergraduate and graduate students in universities and equivalent institutions, and amateur and professional musicians. is Associate Professor of Music at Duke University, North Carolina. As a musicologist, her research focuses on French musical culture, from the Baroque Era to early twentieth century. She is the editor of Musique et Geste en France de Lully à la Révolution (2009) and author of En musique dans le texte: Le mélodrame, de Rousseau à Schoenberg (2006). © 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 Frontmatter More Information CAMBRIDGE COMPANIONS TO MUSIC Topics The Cambridge Companion to Ballet Edited by Marion Kant The Cambridge Companion to Blues and Gospel Music Edited by Allan Moore The Cambridge Companion to Choral Music Edited by André de Quadros The Cambridge Companion to the Concerto Edited by Simon P.
  • Sara Elisa Stangalino

    Sara Elisa Stangalino

    Sara Elisa Stangalino <[email protected]> Dottore di ricerca nell’Università di Bologna. Ambiti di ricerca e interesse: Musicologia, Storia della musica, Drammaturgia musicale (in particolare secoli XVII e XVIII). Diplomata in canto lirico al Conservatorio di musica “G. Nicolini” di Piacenza, si laurea in Lettere col massimo dei voti e la lode nell’Università degli Studi di Parma con una tesi sulla drammaturgia musicale settecentesca, presentata in conferenza al Museo Teatrale alla Scala. Consegue il titolo di Dottore di ricerca in Musicologia e Beni musicali nell’Università di Bologna dietro la guida di Lorenzo Bianconi, con una dissertazione dal titolo I drammi musicali di Nicolò Minato per Francesco Cavalli. Dal 2007 al 2016 è stata titolare di contratti di ricerca e di supporto alla didattica per le cattedre di Storia della musica e Drammaturgia musicale del Dipartimento delle Arti dell’Università di Bologna (già Dipartimento di Musica e Spettacolo). Ha preso parte a programmi di ricerca nazionali tra cui: “Edizioni critiche di musicisti italiani dal XVII al XX secolo” (PRIN 2007; unità di Bologna), “Edizioni critiche di musicisti italiani e di opere italiane dalla metà del XVII al primo XX secolo” (PRIN 2009; unità di Bologna). Nel 2015 ha partecipato al progetto e-learning “Insegnare Drammaturgia musicale in modalità a distanza o blended” (Università di Parma). Organizza e coordina con regolarità convegni e conferenze di approfondimento sulle proprie discipline. Dal 2005 partecipa regolarmente a convegni nazionali e internazionali. Ha pubblicato due manuali per Alphatest (La musica classica, 2004; Mozart, 2008), la monografia “Ciro in Armenia” di Maria Teresa Agnesi: tra professionismo e dilettantismo nel Settecento milanese (Roma, Aracne, 2015) e numerosi saggi sulla cultura letteraria e musicale tra Sei e Settecento (editori: Clueb, ETS, Il Mulino, L.
  • Bach's St John Passion Les Arts Florissants

    Bach's St John Passion Les Arts Florissants

    Bach’s St John Passion Les Arts Florissants Tuesday 19 March 2019 7pm, Hall J S Bach St John Passion There will be one interval of 20 minutes between Part 1 and Part 2 Les Arts Florissants William Christie director Rachel Redmond soprano Pascal Gely Pascal Jess Dandy contralto Reinoud Van Mechelen tenor (Evangelist) Anthony Gregor tenor Renato Dolcini bass-baritone (Pilate) Alex Rosen bass (Jesus) Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it The City of London with a handkerchief. Corporation is the founder and If anything limits your enjoyment please let us know principal funder of during your visit. Additional feedback can be given the Barbican Centre online. Welcome A warm welcome to tonight’s performance Matthew, which was famously revived of Bach’s extraordinary St John Passion, by Mendelssohn, no less, in 1829.
  • Cavalli and the Staging of Venetian Opera - Part One Transcript

    Cavalli and the Staging of Venetian Opera - Part One Transcript

    Calisto a le stelle: Cavalli and the Staging of Venetian Opera - Part One Transcript Date: Monday, 22 September 2008 - 1:00PM Location: Barnard's Inn Hall RESTORING CAVALLI TO THE THEATRE IN THE 21ST CENTURY Ellen Rosand I. Cavalli could not have been restored to the theater in the 21stcentury if he had not been restored to history in the 20th. That is, prerequisite to the revival of Cavalli's operas was the revival of interest in Cavalli as a composer, and in Venetian opera as a historical subject. (You can look at the bibliography on the screen as I mention the various authors.) Slide 1 Already in the 19th century, the first German musicologists recognized Cavalli's importance in the development of opera. They were spurred in their interest by the availability of sources of information going back almost to Cavalli's time itself, many of them published. These included complete annual series of librettos, carefully amassed by collectors, and annotated chronologies based on them. The chronologies of Ivanovich, Bonlini, Groppo, and Allacci, each proporting to correct as it expanded upon its predecessors, established an almost unbroken link between the period they documented and the modern era. The author of the first of these chronologies, Cristoforo Ivanovich, was actually a contemporary of some of the librettists in his catalogue and had even seen some of the works in his list. He evidently supplemented the information he garnered from the librettos themselves with material drawn from more casual or informal sources, as well as by deduction. This is significant with respect to Cavalli, because Ivanovich attributed many more works to him than the evidence provided, and his "errori" were preserved for some three-hundred years, until the early 1970s, in fact, when a young American student, Thomas Walker, undertook to correct them.