DOCSLIB.ORG

Staging the Operas of Francesco Cavalli

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Staging the Operas of Francesco Cavalli Staging the Operas of Francesco Cavalli: Dramaturgy in Performance, 1651–1652 Andrew Eggert Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Andrew Eggert All rights reserved ABSTRACT Staging the Operas of Francesco Cavalli: Dramaturgy in Performance, 1651–1652 Andrew Eggert This dissertation examines four operas created by the composer Franceso Cavalli and the librettist Giovanni Faustini at the Teatro Sant’Apollinare in Venice in 1651– 1652 with regard to the relationship between musical dramaturgy and stage performance. All four operas—L’Oristeo, La Rosinda, La Calisto, and L’Eritrea—are preserved in manuscript scores that are part of the Contarini Collection in the Biblioteca Nazionale Marciana. Annotations in these sources document the complex process of rehearsing at the Sant’Apollinare and the ways that multiple considerations of production (including vocal casting, staging, and scenography) interacted with the evolving musico-dramatic structure. Several of these operas were revived later in the seventeenth century in new theatrical circumstances: L’Oristeo was revived as L’Oristeo travestito in Bologna in 1656; La Rosinda was reworked and presented under the title Le magie amorose in Naples in 1653; and L’Eritrea received multiple productions (including a Venetian revival at the Teatro San Salvatore in 1661). These case studies provide a fuller view of the relationship between Venetian opera aesthetics and the exigencies of performance on the seventeenth-century stage. Modifications to the original dramaturgy—such as inserted arias and sinfonie, added secondary comic characters, and cuts to recitative—were made with careful regard to the scenography of each production. This analysis demonstrates the critical importance of stagecraft in the interpretation of this repertoire both historically and in modern edition and performance. TABLE OF CONTENTS LIST OF EXAMPLES AND TABLES ..................................................................................................... iv ACKNOWLEDGEMENTS ....................................................................................................................... xiv INTRODUCTION .......................................................................................................................................... 1 I. Historical and Biographical Context ..................................................................... 5 II. The Teatro Sant’Apollinare as New Venue for Opera Production ........ 11 III. Three Methodologies: Source Studies, Performance Studies, and Comparative Dramaturgy ....................................................................................... 16 IV. Synopses of the Sant’Apollinare Operas: L’Oristeo, La Rosinda, La Calisto, and L’Eritrea .................................................................................................... 25 V. Summary of Dramaturgical Considerations in Performance .................. 30 VI. Implications for Opera Studies and Contemporary Production ............ 35 CHAPTER ONE: L’Oristeo, 1651, and Cavalli’s Autograph Score as Record of Stage Performance I. The New Model of Presenting Opera at the Teatro Sant'Apollinare .... 38 II. The Dramaturgical Sources and Libretto Structure ..................................... 43 III. Cavalli's Autograph Score as Primary Source of Stage Production ...... 48 IV. Structural Adjustments at the Ends of the Acts .............................................. 52 V. Casting the Title Role and Musical Transpositions ...................................... 67 VI. Manuscript Records of Scenography in the Physical Production .......... 75 VII. Conclusion ..................................................................................................................... 79 i CHAPTER TWO: Magic and Theatrical Illusion in the Staging of La Rosinda, 1651 and 1653 I. La Rosinda at the Teatro Sant’Apollinare and in Adaptation .................. 82 II. The 1651 Production and the Challenge to Verisimilitude ...................... 83 III. Literary and Theatrical Models for the Depiction of Enchantment ...... 87 IV. Vocal Casting and Scenography Across the 1650/51 season ................. 91 V. Analysis of the Autograph Manuscript ............................................................... 93 VI. The Musical Realization of Enchantment in Cavalli’s Setting .............. 113 VII. Le magie amorose and the Scenography of a Neapolitan revival ....... 117 VIII. Conclusion .................................................................................................................. 125 CHAPTER THREE: Dramaturgical Metamorphoses in the Staging of La Calisto, 1651 I. Twin Princesses for the Opera Stage: La Calisto and L’Eritrea ............ 127 II. Mechanized Theatrical Technologies as the Basis of an Operatic Subject .......................................................................................................................... 130 III. Background of Scenic Technology and Torelli’s Impact on Venetian Dramaturgy ................................................................................................................ 135 IV. The Sources and Their Relationship to Staging ......................................... 142 V. The Concept of Metamorphosis in the Musico-Dramatic Action ........ 145 VI. Conclusion .................................................................................................................. 180 ii CHAPTER FOUR: L'Eritrea 1652, 1654, 1661: Comparative Dramaturgy of Cavalli in Performance I. The Genesis and Reception of L’Eritrea in Venice ..................................... 182 II. Documentary Sources of the First Performances ....................................... 187 III. The Circulation of L’Eritrea from Venice to Bologna and Back ........... 191 IV. The Transformation of a Prologue ................................................................... 197 V. The Reduction in Prominence of the Chorus from 1652 to 1661 ...... 201 VI. The Increased Role of Commedia dell'Arte Characters ........................... 205 VII. Altering the Balance of Scenographic Transformations ......................... 207 VIII. Conclusion .................................................................................................................. 224 EPILOGUE I. Summary of Conclusions: The Interaction of Dramaturgy and Scenography .............................................................................................................. 228 II. Application of Comparative Dramaturgy to Repertoire Beyond Venice .......................................................................................................... 230 III. Implications for Contemporary Stage Production .................................... 231 BIBLIOGRAPHY ..................................................................................................................................... 235 iii LIST OF EXAMPLES AND TABLES NB: All illustrations from manuscript scores are included with permission of the Biblioteca Nazionale Marciana and may not be reproduced. “Su concessione del Ministero dei Beni e delle Attività Culturali e del Turismo – Biblioteca Nazionale Marciana. Divieto di rirproduzione.” Example 1.1: Cavalli, L’Oristeo, Act I, Scene 15, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 34v. Example 1.2: Cavalli, L’Oristeo, Act I, Scene 15, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 36r. Example 1.3: Cavalli, L’Oristeo, Act I, Scene 15, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 36v. Example 1.4: Cavalli, L’Oristeo, Act I, Scene 15, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 37r. Example 1.5: Cavalli, L’Oristeo, Act I, Scene 15, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 37v. Example 1.6: Cavalli, L’Oristeo, Act II, Scene 18, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f 60v. Example 1.7: Cavalli, L’Oristeo, Act II, Scene 18, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 61r. iv Example 1.8: Cavalli, L’Oristeo, Act II, Scene 18, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 61v. Example 1.9: Cavalli, L’Oristeo, Act III, Scene 8 (Scena Ultima), Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 78r. Example 1.10: Cavalli, L’Oristeo, Act III, Scene 8 (Scena Ultima), Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 78v. Example 1.11: Cavalli, L’Oristeo, Act III, Scene 8 (Scena Ultima), Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 79r. Example 1.12: Cavalli, L’Oristeo, Act III, Scene 8 (Scena Ultima), Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 79v. Example 1.13: Cavalli, L’Oristeo, Act III, Scenes 5–6, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 70r. Example 1.14: Cavalli, L’Oristeo, Act II, Scene 6, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 46r. Example 1.15: Cavalli, L’Oristeo, Act I, Scene 5, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 15v. Example 1.16: Cavalli, L’Oristeo, Act I, Scene 5, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 16r. Example 1.17: Cavalli, L’Oristeo, Act III, Scene 8 (Scena Ultima), Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 74v. v Example 1.18: Cavalli, L’Oristeo, Act I, Scene 7, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 20v. Example 1.19: Cavalli, L’Oristeo, Act I, Scene 6, Biblioteca Nazionale Marciana, It. IV, 367 (=09891), f. 19r. Example
Load more

Recommended publications
  • Operas Performed at the Teatro San Cassiano
    OPERAS PERFORMED AT THE TEATRO SAN CASSIANO Teatro San Cassiano (1637): historically-informed visualisation (world’s first) Image by Secchi Smith, © Teatro San Cassiano Operas performed at the Teatro San Cassiano After Franco Mancini, Maria Teresa Muraro, Elena Povoledo, I Teatri del Veneto - Venezia, vol 1, Venice, Regione del Veneto – Corbo e Fiore, 1995, pp. 144-147, revised, completed and amended in the light of the consulted bibliography and sitography, as specified below. Year given in Gregorian calendar and notmore veneto. No. Year Title Librettist Composer Notes 1 1637 L’Andromeda B. Ferrari F. Manelli 2 1638 La maga fulminata B. Ferrari F. Manelli 3 1639 Le nozze di Teti e di Peleo O. Persiani F. Cavalli 4 1640 Gli amori d’Apollo e di Dafne G. F. Busenello F. Cavalli 5 1641 La Didone G. F. Busenello F. Cavalli 6 1642 La virtù de’ strali d’amore G. Faustini F. Cavalli 7 1643 L’Egisto G. Faustini F. Cavalli 8 1644 L’Ormindo G. Faustini F. Cavalli 9 1645 La Doriclea G. Faustini F. Cavalli 10 1645 Il Titone G. Faustini F. Cavalli 11 1649 Giasone G. A. Cicognini F. Cavalli 12 1650 L’Orimonte N. Minato F. Cavalli 13 1651 L’Armidoro B. Castoreo F. Cavalli 14 1658 L’incostanza trionfante overo il Theseo F. Piccoli P. A. Ziani 15 1658 Antioco N. Minato F. Cavalli 16 1659 Elena N. Minato F. Cavalli 17 1666 Il Giasone G. A. Cicognini F. Cavalli 18 1666 La Zenobia M. Noris G. A. Boretti 19 1679-80 Candaule A. Morselli P.
    [Show full text]
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Abstracts Papers Read
    ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico­ Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs.
    [Show full text]
  • Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
    Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation.
    [Show full text]
  • Conference Abstracts
    Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17TH­CENTURY MUSIC Abstracts of Presentations at the Fifth Annual Conference 10­13 April 1997, Florida State University, Tallahassee Index of Presentations Program and Abstracts Program Committee Index of Presentations: Candace Bailey, A Reassessment of Matthew Locke's Keyboard Suites Gregory Barnett, Corrente da piedi, Corrente da orecchie: Two Faces of the Sonata da camera Jennifer Williams Brown, "Innsbruck, ich muss dich lassen": Tracing Orontea's Footprints Joanna Carter, Selle as Music Tutor: A Model for Music Education at Lateinschulen in Northern Germany Stewart Carter, Instructions for the Violin from an Overlooked Source: Bartolomeo Bismantova's Compendio musicale (1677) Tim Carter, Re­Reading Poppea: Some Thoughts on Music and Meaning in Early Seventeenth­ Century Italian Opera Georgia Cowart, Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King Michael Robert Dodds, Transposition in Organ­Choir Antiphony in the Mid and Late Seicento Frederick K. Gable, Eine so viel als die Andere: Rhythm and Tempo in Seventeenth­Century German Chant Beth L. Glixon, Vettor Grimani Calergi as Consumer and Patron of Opera Akira Ishii, Re­Evaluation of Minoriten 725 as a Source for the Works of Johann Jacob Froberger YouYoung Kang, Revisiting Seventeenth­Century Counterpoint Kathryn Lowerre, The Sweets of Peace: Reconstructing and Interpreting Europe's Revels (London, 1697) Stephen R. Miller, On the Significance of 'Stile antico' Catherine Moore, Thundering Vortex: The 1631 Eruption of Vesuvius Commemorated in Madrigal Poetry Christopher Mossey, Characteristics of Roles and the Role of Character in Librettos by Giovanni Faustini Janet Pollack, Parthenia: The "Maydenhead of Musicke" as an Epithalamion Kerala J.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • 825646166411.Pdf
    FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr.
    [Show full text]
  • Finding Their Voice: Women Musicians of Baroque Italy
    Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2016 Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Part of the Musicology Commons Repository Citation Poynor, F. (2016). Finding their voice: Women musicians of Baroque Italy. The Expositor: A Journal of Undergraduate Research in the Humanities, 12, 70-79. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor emale musicians began to achieve greater freedom and indepen- dence from men during the Baroque period, and their music and Fcreative talent consequently began to flourish. Due to the rise in popularity of female vocal ensembles that resulted after the establishment of the con- certo delle donne in 1580, women composers in early modern Italy gained greater access to musical training previously only available to men or nuns. As seen by the works of composers and singers such as Francesca Caccini and Barbara Strozzi, this led to an unprecedented increase in women’s mu- sical productivity, particularly in vocal music. The rise of female vocal ensembles in the early Baroque period was a pivotal moment in women’s music history, as women finally achieved wide- spread recognition for their talents as musicians.
    [Show full text]
  • Winged Feet and Mute Eloquence: Dance In
    Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.
    [Show full text]
  • The Power of Affections: Vocal Music from Seventeenth-Century Italy
    presents The Power of Affections: Vocal Music from Seventeenth-Century Italy Wednesday, November 12, 2014 7:30PM Class of 1978 Pavilion, Kislak Center Van Pelt Library, 6th floor Philadelphia, PA 2 PROGRAM Sinfonia from “Tempro la cetra” (Settimo libro di Claudio Monteverdi madrigali, 1619) “Musica dolce” (Gli Amori d’Apollo e di Dafne, 1640) Francesco Cavalli “Ardo, sospiro e piango” (Artemisia, 1657) “Piangete, sospirate” (La Calisto, 1651) Francesco Cavalli “Stral che vola” (Artemisia, 1657) Balletto IV e Corrente a tre (Opera VIII, 1629) Biagio Marini “Delizie d’Amore” (Elena, 1659) Francesco Cavalli “Luci belle” (Elena, 1659) Sonata sopra ‘La Monica’ (Opera VIII, 1629) Biagio Marini “Lucidissima face” (La Calisto, 1651) Francesco Cavalli “Dell’antro magico” (Giasone, 1649) “Addio Roma” (L’incoronazione di Poppea, 1643) Claudio Monteverdi “Lasciate averno, o pene, e me seguite” (Orfeo, 1647) Luigi Rossi Ciaccona (Canzoni overo sonate concertate per chiesa e Tarquinio Merula camera, 1637) “Accenti queruli” (Cantate a voce sola. Libro secondo, 1633) Giovanni Felice Sances Julianne Baird, soprano Rebecca Harris, violin Mandy Wolman, violin Rebecca Cypess, harpsichord and clavicytherium Christa Patton, harp Richard Stone, theorbo 3 PROGRAM NOTES by Carlo Lanfossi The seventeenth-century stage was quite a busy one. Gods, machinery, clunky sets, comici, animals, and dancers surrounded actor-singers. It is no surprise that in most of their early attempts at building a genre crafted on dramatic singing on stage, composers had to ensure singers
    [Show full text]
  • Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
    McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]