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A Study of Monteverdi's Three Genera from the Preface to Book Viii of Madrigals in Relation to Operatic Characters in Il

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A Study of Monteverdi's Three Genera from the Preface to Book Viii of Madrigals in Relation to Operatic Characters in Il A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII OF MADRIGALS IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by JÚLIA COELHO Dr. Judith Mabary, Thesis Advisor JULY 2018 © Copyright by Júlia Coelho 2018 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the thesis entitled A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA presented by Júlia Coelho, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Judith Mabary ________________________________________ Professor Michael J. Budds ________________________________________ Professor William Bondeson ________________________________________ Professor Jeffrey Kurtzman ACKNOWLEDGEMENTS Over the last years, I have been immensely fortunate to meet people who have helped me tremendously—and still do—in building my identity as an aspiring scholar / performer in the Early Music field. The journey of researching on Claudio Monteverdi that culminated in this final thesis was a long process that involved the extreme scrutiny, patience, attentive feedback, and endless hours of revisions from some of these people. To them, I am infinitely grateful for the time they dedicated to this project. I want to ex- press first my deep gratitude to my professors and mentors, Dr. Judith Mabary, Dr. Jef- frey Kurtzman, and Dr. Michael Budds. They have overseen my journey through my M.A. Musicology degree at the University of Missouri, and all of them have gone well beyond their duties to help me in this accomplishment through their expertise and teach- ing, mentoring, and researching experience. Over the last four-and-a-half years, since my arrival in the U.S., my MU adviser, Dr. Mabary, has been a consistent source of knowledge, of support, and of rare human kindness throughout my time here. I will never be able to express enough gratitude for all the opportunities she gave or guided me through, all the time she donated to ensure I would succeed, and her constant encouragement to do better, to improve, to learn how to navigate the musicological world. She has consistently been available to help me over- come my difficulties with this thesis. I will carry with me—in the next step to my Ph.D. as well as throughout the rest of my life—her precious advice and gratitude to her for her generosity and inestimable friendship. ii Through Dr. Mabary, I had the great honor of meeting and working over the last year and a half with Monteverdi specialist Dr. Jeffrey Kurtzman. To my immense joy, he accepted the invitation to be my outside adviser, despite his busy schedule as an active Monteverdi researcher on one side and my naïve initial approach to Monteverdi studies on the other. He has been kind enough to provide his expertise and experience, which has enhanced my research immeasurably. His knowledge of the topic has been beyond invaluable throughout these months, and I cannot thank him enough for his time, support, and mentorship during what was for me an intense process. Along with Dr. Mabary, MU Musicology Chair Dr. Michael Budds has encour- aged me since my first semester in his Graduate Studies course to continue to follow the field of research. He was supportive of my adding a MA to my MM degree, and he has made me feel welcome in the department from the very beginning. His attention to de- tails and to formatting issues, as well as content, have greatly contributed to my improve- ment in the methods of research and the written expression of my findings. It was of ut- most importance to me to have his words of recognition after I started to present results. I will always be thankful for the considerable energy and time he spent in helping me im- prove my work. Outside of the musicology department at Mizzou, I would like to thank Dr. Wil- liam Bondeson—who served as committee member for his knowledge of philosophy and who navigates extraordinarily well in the musicological environment—for bringing his philosophical and historical knowledge to the debate. Having earned an undergraduate degree in philosophy myself almost ten years ago, it was particularly dear to me and even iii refreshing to have his presence during my thesis defense as well as his comments and feedback both during and after. I must also express my gratitude toward my close friends and family who have supported and helped me throughout this endeavor. My dear friend and musicology col- league in early music Lance Morrison has often struggled alongside me in his own work, but has always found time for extra help, sharing his extensive knowledge regarding early music sources, history, and theory. As for my parents and sister, they have always been there for me for any kind of comfort and solace, despite the considerable physical distance. Even from afar they have encouraged me over and over throughout the hard times and rejoiced at the good during this process. They have always cherished and respected what I do and have understood the dynamics of travelling with a suitcase full of books every time I visit them in Portu- gal, for a thesis takes no vacation. To them, my eternal acknowledgement for all their support of my studies in foreign languages, philosophy, and later in music throughout the last decade. Finally, I could not finish these personal notes without expressing my deep thanks to my dear husband, Chris Van Leeuwen. He has stood alongside me during this process, and he has been more than I could ever ask for. As a musician, the chaotic dynamics are not something new for him. Not only has he always understood the hours of isolation but he also provided substantial help with the large number of musical examples for this the- sis. As a partner, several were the times during the thesis process when he took care of me on the many occasions when I forgot to do so because of the full-immersion writing experience, and many were the instances in which he (along with our cats) helped me see iv things with more clarity and peace whenever it was necessary. Always making sure that I would have the optimal study environment situation, he went to great lengths to see me succeed from the beginning to the last stages of the thesis. From understanding my innu- merous sleepless study nights and constant deadlines to providing me his exhaustive help with the technical aspects of my work, Chris has been of immense emotional, physical, mental, and academic support throughout these long months. To his faithful and patient waiting for me to emerge out of the darkness of our office night after night, I express my most sincere love and gratitude. Vivete felici v TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ ii LIST OF TABLES AND FIGURES....................................................................................x LIST OF MUSICAL EXAMPLES .................................................................................... xi ABSTRACT ..................................................................................................................... xiv CHAPTERS 1 INTRODUCTION.......................................................................................1 Literature Survey Methodology Chapter Summaries Conclusion 2 WHY VENICE? CULTURAL, POLITICAL, AND ARTISTIC CONSIDERATIONS....................................................16 Venice and the City-States The Myth of Venice Music in Venice at the Beginning of the Seventeenth Century Why Venice? The Early Years Why Opera? 3 PREFACE TO BOOK VIII OF MADRIGALS: MONTEVERDI AS A “PRACTICAL PHILOSOPHER” AND THE THREE GENERA....................................................................47 Changing Aesthetics / Aesthetic Credo Preface Terminology Contemporary Sources Ancient Sources and Further Indirect Implications Ancient Sources and Further Direct Implications Conclusion vi 4 VOICE TYPES: DEFINITIONS AND DISTINCTIONS..................................................107 Singing Aesthetics and Sound of the Period in Question Voice Types and Characters Soprano Castrato Contralto and Countertenor Tenor Baritone and Bass Characters and Voice Types 5 IL RITORNO D’ULISSE IN PATRIA (1639/40) .....................................133 Introduction and Opera Overview Prologue Recitative Penelope’s Character Penelope’s Music Act I, Scene 1 Act II, Scene 1 Act II, Scene 12 Act III, Scene 10 Conclusion Ulisse’s Character Ulisse’s Music Act I, Scene 7 Act I, Scene 8 Act II, Scene 3 Act II, Scene 12 Act III, Scene 10 Conclusion 6 L’INCORONAZIONE DI POPPEA (1642) ............................................224 Introduction and Opera Overview L'incoronazione di Poppea: Music Poppea / Nerone Act I, Scene 3 Poppea Act I, Scene 4 Act II, Scene 10 Nerone Act II, Scene 5 Nerone / Seneca Act I, Scene 9 vii Seneca Act I, Scene 6 Act I, Scene 8 Act II, Scene 1 Act II, Scene 3 Conclusion The Betrayed Husband: Ottone Act I, Scene 1 Act I, Scene 13 The Betrayed Wife: Ottavia Act II, Scene
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