Cambridge University Press 978-0-521-11665-7 — Opera's Orbit Stefanie Tcharos Index More Information 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 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11665-7 — Opera's Orbit Stefanie Tcharos Index More Information 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 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11665-7 — Opera's Orbit Stefanie Tcharos Index More Information 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 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11665-7 — Opera's Orbit Stefanie Tcharos Index More Information 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 trag´edie 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