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recognizable genre of vocal chamber music and as a standard scene in opera ... that would become crucial, almost genre-defining, to the full-scale public operas of 17th-century Venice" and she concludes by noting that the women of Mantua would have recognised the transformations enacted in the lament as representative of their own life stories. Monteverdi, she believes, sought to represent in music the eventual triumph of female piety over promiscuity: "Arianna's gradual loss of her passionate self in the lament constitutes a public musical chastening of this incautious woman who dared to choose her own mate". In her study
867:. Rinuccini's libretto, which was published on several occasions during Monteverdi's lifetime, has survived intact, but the opera's music disappeared some time after 1640, with the exception of Ariadne's scene 6 lament, known as "Lamento d'Arianna". In the loss of its music the opera shares the fate of most of Monteverdi's theatrical works, including six of his other nine operas. Carter's explanation for the high rate of attrition is that "memories were short and large-scale musical works often had limited currency beyond their immediate circumstances"; such music was rarely published and quickly discarded.
757:. Follino's report described the set as "a wild rocky place in the midst of the waves, which in the furthest part of the prospect could be seen always in motion". As the action began, Apollo was revealed "sitting on a very beautiful cloud ... which, moving down little by little ... reached in a short space of time the stage and ... disappeared in a moment". Thereafter, all the performers proved excellent in the art of singing; "every part succeeded more than wondrously". Follino's enthusiasm was echoed in other reports made by dignitaries to their own courts. The ambassador for the
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44:
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800:'s birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of
209:
714:
from Crete, where the pair have been complicit in the slaying of
Ariadne's monster half-brother, the Minotaur, in the labyrinth below the palace of her father, King Minos. Venus is aware that Theseus intends to abandon Ariadne on Naxos, and to proceed to Athens alone. Cupid offers to rekindle Theseus's passion for Ariadne, but Venus has decided to unite her with the god Bacchus, and asks Cupid to arrange this.
2712:
930:, Margaret Murata records that laments of this kind became a staple feature of operas until about 1650, "thereafter more rarely until the total triumph of the aria around 1670". Mark Ringer, in his analysis of Monteverdi's musical drama, suggests that the lament defines Monteverdi's innovative creativity in a manner similar to that in which, two-and-a-half centuries later, the "Prelude" and the "
2700:
948:
chorus of fishermen. The lament depicts
Arianna's various emotional reactions to her abandonment: sorrow, anger, fear, self-pity, desolation and a sense of futility. Cusick draws attention to the manner in which Monteverdi is able to match in music the "rhetorical and syntactical gestures" in Rinuccini's text. The opening repeated words "Lasciatemi morire" (Let me die) are accompanied by a
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761:, who referred to the work as "a comedy in music", mentioned in particular Andreini's performance which, in her lament, "made many weep", and that of Francesco Rasi, who as Bacchus "sang divinely". Monteverdi's fellow composer Marco da Gagliano wrote that Monteverdi's music had "moved the entire audience to tears". In all, the opera lasted for two and a half hours.
770:
953:
Teseo mio" (O Theseus, my
Theseus"); the two phrases represent Arianna's contrasting emotions of despair and longing. Throughout the lament indignation and anger are punctuated by tenderness, until the final iteration of "O Teseo", after which a descending line brings the lament to a quiet conclusion.
952:
chord which Ringer describes as "an unforgettable chromatic stab of pain"; Monteverdi was one of the first users of this musical device. What follows, says Ringer, has a range and depth "comparable to
Shakespeare's most searching soliloquies". The words "Lasciatemi morire" are followed by "O Teseo, O
726:
interlude a chorus sings of the joys of rural life, and expresses the hope that
Theseus will not forget Ariadne. Primed by an envoy with the news that Ariadne is alone and sorrowing, the chorus again sings in sympathy with her. On the beach, Ariadne sings her lament for her lost love and prepares to
721:
A chorus greets the dawn as
Ariadne, after a troubled night's sleep, returns to the shore with her companion, Dorilla, to find that Theseus has departed. Dorilla offers her comfort. In despair at the thought that Theseus will not return, Ariadne nevertheless decides to go to the landing area to wait
713:
The action is preceded by a brief prologue, delivered by Apollo. Venus and Cupid are then discovered, in conversation, on a desolate seashore. Venus informs Cupid that Duke
Theseus of Athens, together with Ariadne, will soon be arriving on the island of Naxos on their way to Athens. They are fleeing
187:
The opera was composed under severe pressure of time; the composer later said that the effort of creating it almost killed him. The initial performance, produced with lavish and innovative special effects, was highly praised, and the work was equally well received in Venice when it was revived under
749:
was performed on 28 May 1608, the first of the several spectacular entertainments. A large temporary theatre had been built for the occasion; according to the court's chronicler
Federico Follino this held 6,000 people—a figure which Carter deems unlikely. Whatever its size, the arena could not hold
195:
Rinuccini's libretto is available in a number of editions. The music of the "Lamento" survives because it was published by
Monteverdi, in several different versions, independently from the opera. This fragment became a highly influential musical work and was widely imitated; the "expressive lament"
840:
since 1613. The dedication in the revised and republished libretto describes him as " most celebrated Apollo of the century and the highest intelligence of the heavens of humanity". The opera was received with great enthusiasm by a
Venetian audience already familiar with the lament, which had been
455:
Monteverdi had apparently completed the score by early January, and rehearsals began. However, his work was not over as he was required to write further music when the work was extended after Rossi's intervention. Among the material added or lengthened were the early scene between Venus and Cupid,
947:
In its operatic context the lament takes the form of an extended recitative of more than 70 vocal lines, delivered in five sections divided by choral comments. Some of the wording is prefigured in the immediately preceding scene in which the First Envoy describes Arianna's plight to a sympathetic
795:
is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the
263:
and presented before the court on 24 February 1607. This performance pleased the duke, who ordered a repeat showing for 1 March. A contemporary account records that the piece "could not have been done better ... The music, observing due propriety, serves the poetry so well that nothing more
717:
Cupid conceals himself, as Theseus and Ariadne arrive on the island a short distance away. Ariadne muses over her disloyalty to her father, but declares her love for Theseus. She departs to find shelter for the night, after which a fishermen's chorus compares her eyes with the stars of heaven.
447:
Monteverdi probably began composing in late October or early November 1607, since Rinuccini's arrival in Mantua can be dated to 23 October. With rehearsals due to begin in the new year, Monteverdi composed the work in a hurry and under considerable pressure; nearly 20 years later he was still
835:
as an opera house during the 1639–40 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The
438:
complaint that the piece was "very dry" and needed to be enriched with further action. The libretto published in Venice in 1622 takes the form of a prologue and eight scenes, although other arrangements of the text have been suggested. For example, the musicologist Bojan Bujić has posited an
925:
a large extent Monteverdi's fame and historical status rested for centuries on the universal appreciation of his achievement in the celebrated lament was among the most emulated, and therefore influential, works of the early 17th century". In Cusick's view Monteverdi "creat the lament as a
298:. In the event, the former was rejected and the latter designated for performance at the 1607–08 Carnival. The duke decreed that the wedding opera should be based on the myth of Arianna (Ariadne), and that Rinuccini should write the text. Monteverdi was instructed to provide the music.
731:
celebrates the anticipated betrothal of Bacchus and Ariadne. In the final scene Cupid reappears, and Venus rises from the sea before Jupiter speaks his blessing from the heavens. The union is sealed as Bacchus promises Ariadne immortality in heaven, and a crown of stars.
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kill herself. At this point fanfares are heard heralding an arrival, causing Ariadne to hope that it is Theseus returning. In another interlude the chorus empathises, but a second envoy announces that it is Bacchus who has arrived, having taken pity on Ariadne. A sung
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everyone who wished to be present. Follino's account records that although the duke had strictly limited the numbers from his household entitled to be there, many distinguished foreign visitors could not be seated and were obliged to crowd around the doors.
1008:
Many recordings are available of both the five-voice madrigal and the solo voice version of the "Lamento". The solo recordings include several versions which use a tenor or baritone voice. Among leading singers who have issued recordings are the sopranos
480:
can be established, sources have speculated on the involvement of other singers. There are several versions of the published libretto; the list of roles is taken from the publication by Gherardo & Iseppo Imberti, Venice 1622.
1080:
In addition to the heavy compositional duties imposed on him by the duke within a short timescale, Monteverdi was coping with the consequences of his wife's death, on 10 September 1607, which left him responsible for two young
1094:
is incorrect, as she was not in Mantua at this time. A letter from a Mantuan courtier, quoted by Fabbri, indicates that the part was given to a singer from Florence who had been sent for as a possible substitute for
988:, for the respective characters of Penelope and Ottavia. In 1641 Monteverdi adapted Arianna's lament into a sacred song with a Latin text "Pianto della Madonna" (incipit: "Iam moriar, mi fili"), which he included in
341:. According to Gagliano, Rinuccini was a primary influence in the emergence of opera as a genre; he adapted the conventions of his contemporary lyric poets to produce the librettos for two of the earliest operas,
456:
and Jupiter's blessing from heaven at the end of the opera. In March 1608, well into the rehearsal period, the opera's scheduled performance was jeopardised by the death, from smallpox, of the leading soprano
718:
Theseus, alone with his counsellor, discusses his abandonment of Ariadne, and is advised that this decision is justified, as she will not be acceptable to the people of Athens as their ruler's consort.
976:, who wrote several laments in the 1620s after the monodic version of Arianna's lament was published in 1623. Monteverdi himself used the expressive lament format in each of his two late operas,
745:
The date of the Gonzaga wedding was repeatedly postponed, because of diplomatic problems which delayed the bride's arrival in Mantua until 24 May. The wedding festivities began four days later;
315:, Rinuccini was probably the most experienced and distinguished of all librettists. His writing career stretched back to 1579, when he had written verses for the Florentine court entertainment
464:, known professionally as "La Florinda", who was performing in Mantua. A courtier, Antonio Costantini, later reported that she learned the part of Arianna in six days. The musicologist
2053:
142:. One of the earliest operas in general, it was composed in 1607–1608 and first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of
236:. During that time, significant developments were taking place in the world of musical theatre; in 1598 the work generally recognised as the first in the new genre of "opera"—
965:
253:
As part of his duties to the Gonzaga court, Monteverdi was often required to compose or arrange music for staged performances. These works included a fully-fledged opera,
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complaining, in a letter to Striggio, of the hardships he had been made to suffer: "It was the shortness of time that brought me almost to death's door in writing
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The lament was saved from oblivion by Monteverdi's decision to publish it independently from the opera: first in 1614 as a five-voice madrigal, then in 1623 as a
2334:
2325:
891:; there is evidence that this arrangement was made at the suggestion of an unnamed Venetian gentleman who thought that the melody would benefit from
334:
286:. There was also to be an opera, though it was not initially certain that Monteverdi would provide this. Other works under consideration were Peri's
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in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new
2343:
904:
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beautiful is to be heard anywhere". Monteverdi was then required to write several pieces for performance at the wedding of the duke's son and heir
250:. The duke was quick to recognise the potential of this new musical form, and its potential for bringing prestige to those willing to sponsor it.
200:
for much of the 17th century. In recent years the "Lamento" has become popular as a concert and recital piece and has been frequently recorded.
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suggests that Arianna's lament may have been added to the opera at this late stage, to exploit La Florinda's well-known vocal capabilities.
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Aurelio et Ludovico Osanna, Mantua, 1608. Publication of the text included in Federico Follini's report of the 1608 performance;
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G. F. Gundulić, Ancona, 1633. Croatian translation, prepared for possible performance in Dubrovnik c. 1620. (5 scenes version);
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At least eight versions of the libretto were published between 1608 and 1640. The following is a list of the known editions:
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887:, and finally in 1641 as a sacred hymn, "Lamento della Madonna". The five-voice adaptation was included in the composer's
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composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at
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The Palazzo del Te, Mantua, seat of the Gonzaga dynasty which Monteverdi served as a court musician from 1590 to 1612
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434:. The libretto was extended during the rehearsals when Carlo de' Rossi, a member of the duke's court, reported the
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Although contained within a single stage set, the production was lavish, with 300 men employed to manipulate the
260:
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Heredi di Francesco Osanna, Mantua, 1608. Possibly the text circulated to the audience at the 1608 performance;
476:
The casting for the opera's premiere is uncertain. While the participation of singers such as La Florinda and
2417:
2347:
1182:
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Fenlon, Iain (1986b). "Correspondence Relating to the Early Mantua Performances". In Whenham, John (ed.).
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858:
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827:. The popularity of this and other works led to more theatres converting their facilities for opera;
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278:
290:("The marriage of Peleus and Thetis") with a libretto by Francesco Cini, and a new setting of
158:" ("Ariadne's Lament"). The libretto, which survives complete, was written in eight scenes by
973:
879:
First two pages of the first edition of the "Lamento", published by Gardano in Venice in 1623
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435:
338:
272:, planned for early May 1608. These included a musical prologue for Battista Guarini's play
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Lamento di Arian[n]a ... et con due lettere amorose in genere rappresentativo
8:
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811:, in or some time after 1620; a Croatian translation of the libretto was published in
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libretto Rinuccini drew on a variety of classical sources, notably the tenth book of
325:
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After the Venice revival of 1639–40 there are no further records of performances of
2779:
2639:
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2208:
2121:
1999:
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Cusick, Suzanne (February 1994). "There Was Not a Lady Who Failed to Shed a Tear".
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Among other composers who adopted the format and style of Arianna's lament were
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Chorus of Theseus's soldiers; Chorus of fishermen; Chorus of Bacchus's soldiers
508:
477:
415:
350:
319:. He had become widely known through his verse contributions to the celebrated
2003:
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Angelo Salvadori, Venice, 1639. Revised version prepared for the 1640 revival;
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1940:
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430:
197:
43:
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1918:
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at its premiere, the duke did not request a second showing, as he had with
177:
2240:
1803:
1018:
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237:
968:, who included a setting of Rinuccini's text in his madrigal collection
460:. Fortunately a replacement was to hand, a renowned actress and singer,
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1919:"Monteverdi: Il sesto libro de madrigali, 1614 (6th Book of Madrigals)"
1824:
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published in the city in 1623. Within a few weeks the theatre replaced
320:
255:
208:
173:
82:
2220:
2011:
769:
2353:
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Fenlon, Iain (1986a). "The Mantuan 'Orfeo'". In Whenham, John (ed.).
931:
808:
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Coro di soldati di Teseo; Coro di pescatori; Coro di soldati di Bacco
150:. All the music is lost apart from the extended recitative known as "
2212:
2068:. Translated by Tim Carter. Cambridge: Cambridge University Press.
723:
567:
385:
374:
247:
181:
168:
52:
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Il sesto libro de madrigali a cinque voci, con un dialogo a sette
682:
589:
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556:
217:
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Bernardo Giunti, Giovan Battista Ciotti & Co., Venice, 1608;
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published the lament in Paris, and in 1910 the Italian composer
232:. Over the following ten years he advanced to become the duke's
1090:
According to Carter, the assumption that this role was sung by
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the composer's direction in 1640 as the inaugural work for the
48:
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Opera's First Master: The Musical Dramas of Claudio Monteverdi
55:'s arrival on Naxos. This scene forms the climax of the opera.
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Front page of the 1623 Venice edition of "Lamento d'Ariana" (
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512:
242:
31:
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Opera in Seventeenth-Century Venice: The Creation of a Genre
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Murata, Margaret (Spring 1979). "The Recitative Soliloquy".
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There is some evidence to suggest a possible performance in
1751:
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369:
221:
163:
1583:
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It is possible that Andreini may also have sung this role.
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1763:
1715:
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994:, the last of his works published during his lifetime.
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Free scores by Lamento d'Arianna ("Lasciatemi morire")
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the previous year". The next hint of a performance of
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404:. He also used aspects of more recent literary works—
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1941:"Monteverdi: Lamento d'Arianna (Lasciatemi morire)"
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1212:
1200:
282:("Dance of the Ungrateful Ladies"), with a text by
172:and other classical sources to relate the story of
2037:. New Haven, Connecticut: Yale University Press.
180:and her subsequent elevation as bride to the god
2736:
2184:Selva morale et spirituale di Claudio Monteverde
1988:Bujić, Bojan (1999). "Rinuccini the Craftsman".
917:In her analysis of the lament, the musicologist
870:
2056:(in Italian). L'Almanacco di Gherardo Casaglia.
1253:
1251:
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2201:Journal of the American Musicological Society
152:
115:
1248:
1171:
903:issued an edited, orchestral transcription,
783:Despite the positive reception accorded to
764:
439:alternative of a prologue and five scenes.
333:), performed in May 1589 at the wedding of
2468:
2376:
2362:
2271:. Oxford: University of California Press.
2181:
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2142:
1757:
1745:
1733:
1504:
1502:
1500:
1498:
1496:
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349:—the latter set to music by both Peri and
216:In about 1590 Claudio Monteverdi, born in
42:
2339:International Music Score Library Project
2330:International Music Score Library Project
2321:International Music Score Library Project
2106:. Cambridge: Cambridge University Press.
2087:. Cambridge: Cambridge University Press.
1796:
1794:
1792:
1790:
1465:
1113:Carter indicates that Campagnolo sang in
1049:Ghirardo et Iseppo Imberti, Venice, 1622;
740:
2292:. New York: Cambridge University Press.
2051:
1508:
1472:. Venice: Gherardo & Iseppo Imberti.
1390:
1388:
1386:
1384:
1382:
1380:
1378:
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849:, which proved an even greater success.
768:
563:possibly Antonio Brandi ("Il Brandino")
355:
207:
2535:Il combattimento di Tancredi e Clorinda
2285:
2230:
2128:. New York: Columbia University Press.
2101:
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1911:
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944:discovery of new expressive frontiers.
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643:possibly Francesco Campagnolo (tenor)
605:possibly Francesco Campagnolo (tenor)
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2247:. Newark, New Jersey: Amadeus Press.
2120:
1987:
1394:
1371:
1307:
1117:, but does not specify which role(s).
276:and a setting of the dramatic ballet
203:
1955:
1436:
2765:Operas based on classical mythology
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1846:
1544:
1525:
1337:
1281:
1275:
1236:
547:not known (probably soprano voice)
531:not known (probably soprano voice)
486:Roles, voice types, reference notes
13:
2235:. Oxford: Oxford University Press.
311:At the time of his commission for
51:'s depiction, painted 1520–23, of
14:
2796:
2307:
2289:The Letters of Claudio Monteverdi
220:in 1567, secured a position as a
2722:
2710:
2698:
2673:
2672:
2498:
2483:
2457:
2435:
2422:
2335:Lamento d'Arianna, SV 107 (1614)
1058:Antonio Bariletti, Venice, 1640.
673:possibly Bassano Casola (tenor)
629:possibly Sabina Rossi (soprano)
426:Giovanni Andrea dell' Anguillara
174:Ariadne's abandonment by Theseus
83:Ariadne's abandonment by Theseus
2326:Lamento d'Arianna, SV 22 (1623)
1899:
1861:
1459:
1107:
1098:
1084:
1074:
998:Recordings, "Lamento d'Arianna"
619:possibly Santi Orlandi (tenor)
261:Alessandro Striggio the Younger
1142:"Monteverdi, Claudio: Cremona"
1130:
442:
428:'s 1561 translation of Ovid's
196:became an integral feature of
1:
2775:Operas based on works by Ovid
2453:Il ritorno d'Ulisse in patria
2150:. Venice: Ricciardo Amadino.
1183:"Monteverdi, Claudio: Mantua"
1062:
1004:Lamento d'Arianna discography
979:Il ritorno d'Ulisse in patria
847:Il ritorno d'Ulisse in patria
831:was chosen to inaugurate the
819:opened with a performance of
323:for Girolamo Bargagli's play
2745:Operas by Claudio Monteverdi
2348:Choral Public Domain Library
2286:Stevens, Denis, ed. (1980).
2186:. Venice: Bartolomeo Magni.
2182:Monteverdi, Claudio (1641).
2169:. Venice: Bartolomeo Magni.
2163:Monteverdi, Claudio (1623).
2035:Monteverdi's Musical Theatre
1124:
964:contains three such pieces;
845:with Monteverdi's new opera
796:celebration for the Duchess
7:
2785:Works based on the Heroides
2052:Casaglia, Gherardo (2005).
1466:Rinuccini, Ottavio (1608).
1028:
962:Le nozze di Teti e di Peleo
708:
360:Claudio Monteverdi, c. 1630
306:
301:
259:, written to a libretto by
16:Opera by Claudio Monteverdi
10:
2801:
2562:Vespro della Beata Vergine
1981:
1043:I. Giunti, Florence, 1608;
1001:
856:
495:Premiere cast 28 May 1608
288:Le nozze di Peleo e Tetide
2668:
2617:
2591:
2572:
2554:Selva morale e spirituale
2545:
2526:
2507:
2496:
2418:L'incoronazione di Poppea
2409:
2391:
2004:10.1017/S0261127900001844
1870:"Francesco Antonio Costa"
1017:, and the mezzo-sopranos
991:Selva morale e spirituale
985:L'incoronazione di Poppea
695:
586:Virginia Ramponi-Andreini
491:
462:Virginia Ramponi-Andreini
153:
88:
78:
70:
60:
41:
30:
23:
2635:Giulio Cesare Monteverdi
2126:A Short History of Opera
1817:10.1093/earlyj/xxii.1.21
1067:
928:The Recitative Soliloquy
897:François-Auguste Gevaert
859:Monteverdi's lost operas
765:Revival: Venice, 1639–40
497:
471:
2750:Italian-language operas
2604:Monteverdi-Chor Hamburg
2226:(subscription required)
2025:(subscription required)
1883:(subscription required)
1830:(subscription required)
1297:(subscription required)
1196:(subscription required)
1155:(subscription required)
889:Sixth Book of Madrigals
852:
689:Francesco Rasi (tenor)
335:Ferdinando I de' Medici
2516:Il ballo delle ingrate
2231:Redlich, Hans (1952).
880:
780:
741:Premiere: Mantua, 1608
361:
279:Il ballo delle ingrate
213:
116:
1002:Further information:
878:
857:Further information:
772:
388:, and the section in
359:
339:Christina of Lorraine
230:Duke Vincenzo Gonzaga
211:
144:Duke Vincenzo Gonzaga
93:28 May 1608
2655:Stattkus-Verzeichnis
2401:list of compositions
1872:. Grove Music Online
1286:. Grove Music Online
1284:"Rinuccini, Ottavio"
1282:Hanning, Barbara R.
1185:. Grove Music Online
1144:. Grove Music Online
1023:Anne Sofie von Otter
612:Messaggero (Tirsi) (
421:Gerusalemme liberata
234:maestro della musica
138:by Italian composer
2609:Monteverdi (crater)
2581:The Full Monteverdi
2144:Monteverdi, Claudio
2054:"Lamento d'Arianna"
1991:Early Music History
1896:, pp. 217–218.
1772:, pp. 140–141.
1724:, pp. 299–306.
1700:, pp. 135–136.
1664:, pp. 250–251.
1592:, pp. 101–103.
1409:, pp. 311–313.
871:"Lamento d'Arianna"
817:Teatro San Cassiano
736:Performance history
488:
458:Caterina Martinelli
317:Maschere d'Amazzoni
2625:Concerted madrigal
2385:Claudio Monteverdi
2319:: Libretto at the
2233:Claudio Monteverdi
1975:, pp. 202–203
1943:. Presto Classical
1921:. Presto Classical
1469:L'Arianna tragedia
1456:, pp. 203–204
1245:, pp. 167–172
974:Sigismondo d'India
937:Tristan und Isolde
881:
838:St Mark's Basilica
781:
484:
436:Duchess Eleonora's
400:'s abandonment by
362:
246:—was performed in
214:
204:Historical context
140:Claudio Monteverdi
36:Claudio Monteverdi
2686:
2685:
2630:Garklein recorder
2565:(SV 206 and 206a)
2494:
2493:
2278:978-0-520-25426-8
2122:Grout, Donald Jay
1760:, pp. 56–60.
1486:, pp. 82–83.
1397:, pp. 75–117
1272:, pp. 77–82.
1233:, pp. 63–64.
958:Francesco Cavalli
901:Ottorino Respighi
825:Francesco Manelli
706:
705:
522:Venere (English:
331:The Pilgrim Woman
296:Marco da Gagliano
284:Ottavio Rinuccini
270:Margaret of Savoy
176:on the island of
160:Ottavio Rinuccini
154:Lamento d'Arianna
111:
110:
65:Ottavio Rinuccini
2792:
2727:
2726:
2725:
2715:
2714:
2703:
2702:
2701:
2694:
2676:
2675:
2640:Origins of opera
2599:Monteverdi Choir
2502:
2487:
2466:
2465:
2461:
2439:
2426:
2378:
2371:
2364:
2355:
2354:
2337:: Scores at the
2328:: Scores at the
2303:
2282:
2258:
2236:
2227:
2224:
2195:
2178:
2159:
2139:
2117:
2098:
2079:
2057:
2048:
2026:
2023:
1976:
1970:
1953:
1952:
1950:
1948:
1937:
1931:
1930:
1928:
1926:
1915:
1909:
1903:
1897:
1891:
1885:
1884:
1881:
1879:
1877:
1868:Fortune, Nigel.
1865:
1859:
1858:, pp. 96–98
1853:
1844:
1838:
1832:
1831:
1828:
1798:
1785:
1779:
1773:
1767:
1761:
1755:
1749:
1743:
1737:
1731:
1725:
1719:
1713:
1707:
1701:
1695:
1689:
1683:
1677:
1671:
1665:
1659:
1653:
1647:
1641:
1635:
1629:
1623:
1617:
1611:
1605:
1599:
1593:
1587:
1581:
1575:
1569:
1563:
1557:
1556:, pp. 82–83
1551:
1542:
1541:, pp. 85–87
1536:
1523:
1517:
1511:
1506:
1487:
1481:
1475:
1473:
1463:
1457:
1451:
1434:
1428:
1422:
1416:
1410:
1404:
1398:
1392:
1369:
1363:
1352:
1351:, pp. 81–82
1346:
1335:
1329:
1323:
1317:
1311:
1305:
1299:
1298:
1295:
1293:
1291:
1279:
1273:
1267:
1261:
1255:
1246:
1240:
1234:
1228:
1222:
1216:
1210:
1204:
1198:
1197:
1194:
1192:
1190:
1175:
1169:
1163:
1157:
1156:
1153:
1151:
1149:
1134:
1118:
1111:
1105:
1102:
1096:
1092:Settimia Caccini
1088:
1082:
1078:
970:Pianta d'Arianna
950:dominant seventh
924:
913:
833:Teatro San Moisè
588:("La Florinda")
489:
487:
483:
406:Ludovico Ariosto
190:Teatro San Moisè
156:
155:
119:
100:
98:
46:
21:
20:
2800:
2799:
2795:
2794:
2793:
2791:
2790:
2789:
2735:
2734:
2733:
2723:
2721:
2709:
2705:Classical music
2699:
2697:
2689:
2687:
2682:
2664:
2660:Stile concitato
2650:Seconda pratica
2613:
2587:
2568:
2541:
2522:
2503:
2490:
2464:
2446:Possente spirto
2405:
2387:
2382:
2310:
2300:
2279:
2255:
2225:
2136:
2114:
2095:
2076:
2045:
2024:
1984:
1979:
1971:
1956:
1946:
1944:
1939:
1938:
1934:
1924:
1922:
1917:
1916:
1912:
1904:
1900:
1892:
1888:
1882:
1875:
1873:
1866:
1862:
1854:
1847:
1839:
1835:
1829:
1799:
1788:
1780:
1776:
1768:
1764:
1758:Monteverdi 1641
1756:
1752:
1746:Monteverdi 1623
1744:
1740:
1734:Monteverdi 1614
1732:
1728:
1720:
1716:
1708:
1704:
1696:
1692:
1684:
1680:
1672:
1668:
1660:
1656:
1648:
1644:
1636:
1632:
1624:
1620:
1612:
1608:
1600:
1596:
1588:
1584:
1576:
1572:
1564:
1560:
1552:
1545:
1537:
1526:
1518:
1514:
1507:
1490:
1482:
1478:
1464:
1460:
1452:
1437:
1429:
1425:
1417:
1413:
1405:
1401:
1393:
1372:
1364:
1355:
1347:
1338:
1330:
1326:
1318:
1314:
1306:
1302:
1296:
1289:
1287:
1280:
1276:
1268:
1264:
1256:
1249:
1241:
1237:
1229:
1225:
1217:
1213:
1205:
1201:
1195:
1188:
1186:
1176:
1172:
1168:, pp. 5–7.
1164:
1160:
1154:
1147:
1145:
1135:
1131:
1127:
1122:
1121:
1112:
1108:
1103:
1099:
1089:
1085:
1079:
1075:
1070:
1065:
1031:
1006:
1000:
966:Francesco Costa
922:
907:
873:
861:
855:
767:
755:stage machinery
743:
738:
711:
697:
485:
474:
445:
411:Orlando Furioso
378:, parts of the
309:
304:
206:
107:
106:
101:
96:
94:
56:
17:
12:
11:
5:
2798:
2788:
2787:
2782:
2777:
2772:
2767:
2762:
2757:
2752:
2747:
2732:
2731:
2719:
2707:
2684:
2683:
2681:
2680:
2669:
2666:
2665:
2663:
2662:
2657:
2652:
2647:
2642:
2637:
2632:
2627:
2621:
2619:
2615:
2614:
2612:
2611:
2606:
2601:
2595:
2593:
2589:
2588:
2586:
2585:
2576:
2574:
2570:
2569:
2567:
2566:
2558:
2549:
2547:
2543:
2542:
2540:
2539:
2530:
2528:
2524:
2523:
2521:
2520:
2511:
2509:
2505:
2504:
2497:
2495:
2492:
2491:
2489:
2488:
2474:
2472:
2463:
2462:
2449:
2427:
2413:
2411:
2407:
2406:
2404:
2403:
2398:
2396:list of operas
2392:
2389:
2388:
2381:
2380:
2373:
2366:
2358:
2352:
2351:
2341:
2332:
2323:
2309:
2308:External links
2306:
2305:
2304:
2298:
2283:
2277:
2259:
2253:
2237:
2228:
2213:10.2307/831268
2196:
2179:
2160:
2140:
2134:
2118:
2112:
2099:
2093:
2080:
2074:
2058:
2049:
2043:
2027:
1983:
1980:
1978:
1977:
1954:
1932:
1910:
1898:
1886:
1860:
1845:
1833:
1786:
1774:
1762:
1750:
1738:
1726:
1714:
1702:
1690:
1688:, p. 299.
1678:
1666:
1654:
1652:, p. 130.
1642:
1640:, p. 175.
1630:
1628:, p. 168.
1618:
1616:, p. 144.
1606:
1594:
1582:
1570:
1558:
1543:
1524:
1522:, p. 210.
1512:
1488:
1476:
1458:
1435:
1423:
1421:, p. 202.
1411:
1399:
1370:
1353:
1336:
1324:
1312:
1300:
1274:
1262:
1247:
1235:
1223:
1211:
1199:
1170:
1158:
1128:
1126:
1123:
1120:
1119:
1106:
1097:
1083:
1072:
1071:
1069:
1066:
1064:
1061:
1060:
1059:
1056:
1053:
1050:
1047:
1044:
1041:
1038:
1030:
1027:
1015:Véronique Gens
999:
996:
960:, whose opera
919:Suzanne Cusick
872:
869:
854:
851:
766:
763:
742:
739:
737:
734:
722:for him. In a
710:
707:
704:
703:
693:
692:
690:
687:
677:
676:
674:
671:
661:
660:
658:
655:
647:
646:
644:
641:
633:
632:
630:
627:
623:
622:
620:
617:
609:
608:
606:
603:
595:
594:
592:
583:
573:
572:
570:
561:
551:
550:
548:
545:
535:
534:
532:
529:
519:
518:
516:
509:Francesco Rasi
506:
500:
499:
496:
493:
478:Francesco Rasi
473:
470:
444:
441:
416:Torquato Tasso
351:Giulio Caccini
308:
305:
303:
300:
224:player at the
205:
202:
109:
108:
102:
92:
90:
86:
85:
80:
76:
75:
72:
68:
67:
62:
58:
57:
47:
39:
38:
28:
27:
15:
9:
6:
4:
3:
2:
2797:
2786:
2783:
2781:
2778:
2776:
2773:
2771:
2768:
2766:
2763:
2761:
2758:
2756:
2753:
2751:
2748:
2746:
2743:
2742:
2740:
2730:
2720:
2718:
2713:
2708:
2706:
2696:
2695:
2692:
2679:
2671:
2670:
2667:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2645:Prima pratica
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2622:
2620:
2616:
2610:
2607:
2605:
2602:
2600:
2597:
2596:
2594:
2590:
2583:
2582:
2578:
2577:
2575:
2571:
2564:
2563:
2559:
2556:
2555:
2551:
2550:
2548:
2544:
2537:
2536:
2532:
2531:
2529:
2525:
2518:
2517:
2513:
2512:
2510:
2506:
2501:
2486:
2481:
2480:
2476:
2475:
2473:
2471:
2467:
2460:
2455:
2454:
2450:
2447:
2443:
2442:Musical items
2438:
2433:
2432:
2428:
2425:
2420:
2419:
2415:
2414:
2412:
2408:
2402:
2399:
2397:
2394:
2393:
2390:
2386:
2379:
2374:
2372:
2367:
2365:
2360:
2359:
2356:
2349:
2345:
2342:
2340:
2336:
2333:
2331:
2327:
2324:
2322:
2318:
2316:
2312:
2311:
2301:
2299:0-521-23591-X
2295:
2291:
2290:
2284:
2280:
2274:
2270:
2269:
2264:
2263:Rosand, Ellen
2260:
2256:
2254:1-57467-110-3
2250:
2246:
2242:
2238:
2234:
2229:
2222:
2218:
2214:
2210:
2206:
2202:
2197:
2193:
2189:
2185:
2180:
2176:
2172:
2168:
2167:
2161:
2157:
2153:
2149:
2145:
2141:
2137:
2135:0-231-08978-3
2131:
2127:
2123:
2119:
2115:
2113:0-521-24148-0
2109:
2105:
2100:
2096:
2094:0-521-24148-0
2090:
2086:
2081:
2077:
2075:0-521-35133-2
2071:
2067:
2063:
2062:Fabbri, Paolo
2059:
2055:
2050:
2046:
2044:0-300-09676-3
2040:
2036:
2032:
2028:
2021:
2017:
2013:
2009:
2005:
2001:
1997:
1993:
1992:
1986:
1985:
1974:
1969:
1967:
1965:
1963:
1961:
1959:
1942:
1936:
1920:
1914:
1907:
1902:
1895:
1890:
1871:
1864:
1857:
1852:
1850:
1843:, p. 45.
1842:
1837:
1826:
1822:
1818:
1814:
1810:
1806:
1805:
1797:
1795:
1793:
1791:
1783:
1778:
1771:
1766:
1759:
1754:
1747:
1742:
1735:
1730:
1723:
1718:
1711:
1706:
1699:
1694:
1687:
1682:
1676:, p. 18.
1675:
1670:
1663:
1658:
1651:
1646:
1639:
1634:
1627:
1622:
1615:
1610:
1604:, p. 40.
1603:
1598:
1591:
1586:
1580:, p. 92.
1579:
1574:
1568:, p. 91.
1567:
1562:
1555:
1550:
1548:
1540:
1535:
1533:
1531:
1529:
1521:
1516:
1510:
1509:Casaglia 2005
1505:
1503:
1501:
1499:
1497:
1495:
1493:
1485:
1480:
1471:
1470:
1462:
1455:
1450:
1448:
1446:
1444:
1442:
1440:
1433:, p. 93.
1432:
1427:
1420:
1415:
1408:
1403:
1396:
1391:
1389:
1387:
1385:
1383:
1381:
1379:
1377:
1375:
1368:, p. 208
1367:
1362:
1360:
1358:
1350:
1345:
1343:
1341:
1334:, p. 96.
1333:
1328:
1322:, p. 17.
1321:
1316:
1310:, p. 27.
1309:
1304:
1285:
1278:
1271:
1266:
1259:
1254:
1252:
1244:
1239:
1232:
1227:
1221:, p. 16.
1220:
1215:
1209:, p. 24.
1208:
1203:
1184:
1180:
1174:
1167:
1162:
1143:
1139:
1133:
1129:
1116:
1110:
1101:
1093:
1087:
1077:
1073:
1057:
1054:
1051:
1048:
1045:
1042:
1039:
1036:
1035:
1034:
1026:
1024:
1020:
1016:
1012:
1005:
995:
993:
992:
987:
986:
981:
980:
975:
971:
967:
963:
959:
954:
951:
945:
943:
939:
938:
933:
929:
921:asserts that
920:
915:
911:
906:
902:
898:
894:
890:
886:
877:
868:
866:
860:
850:
848:
844:
839:
834:
830:
826:
822:
818:
814:
810:
805:
803:
799:
794:
790:
786:
778:
777:
771:
762:
760:
759:House of Este
756:
751:
748:
733:
730:
725:
719:
715:
701:
694:
691:
688:
685:
684:
679:
678:
675:
672:
669:
668:
663:
662:
659:
656:
653:
649:
648:
645:
642:
639:
635:
634:
631:
628:
625:
624:
621:
618:
615:
611:
610:
607:
604:
601:
598:Consigliero (
597:
596:
593:
591:
587:
584:
581:
580:
575:
574:
571:
569:
566:
562:
559:
558:
553:
552:
549:
546:
543:
542:
537:
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2592:Recognitions
2579:
2560:
2557:(SV 252–288)
2552:
2546:Sacred music
2533:
2514:
2478:
2477:
2451:
2429:
2416:
2350:(ChoralWiki)
2314:
2288:
2267:
2244:
2241:Ringer, Mark
2232:
2207:(1): 45–73.
2204:
2200:
2183:
2165:
2147:
2125:
2103:
2084:
2065:
2034:
1995:
1989:
1945:. Retrieved
1935:
1923:. Retrieved
1913:
1908:, p. 95
1901:
1889:
1874:. Retrieved
1863:
1836:
1811:(1): 21–43.
1808:
1802:
1784:, p. 5.
1777:
1765:
1753:
1741:
1729:
1717:
1712:, p. 4.
1705:
1693:
1681:
1669:
1657:
1645:
1633:
1621:
1609:
1597:
1590:Redlich 1952
1585:
1573:
1566:Redlich 1952
1561:
1515:
1479:
1474:(in Italian)
1468:
1461:
1426:
1414:
1407:Stevens 1980
1402:
1327:
1315:
1303:
1288:. Retrieved
1277:
1265:
1260:, p. 91
1243:Fenlon 1986b
1238:
1226:
1214:
1202:
1187:. Retrieved
1173:
1166:Fenlon 1986a
1161:
1146:. Retrieved
1132:
1114:
1109:
1100:
1086:
1076:
1032:
1007:
989:
983:
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961:
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946:
935:
927:
916:
893:counterpoint
888:
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828:
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652:Second Envoy
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167:
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127:
114:
113:
112:
24:
18:
2770:Lost operas
2755:1608 operas
2584:(2007 film)
2470:Lost operas
2031:Carter, Tim
1973:Carter 2002
1906:Ringer 2006
1894:Carter 2002
1856:Ringer 2006
1841:Murata 1979
1804:Early Music
1782:Carter 2002
1770:Fabbri 1994
1722:Carter 2002
1710:Carter 2002
1698:Ringer 2006
1686:Carter 2002
1674:Rosand 2007
1662:Fabbri 1994
1650:Ringer 2006
1638:Fabbri 1994
1626:Carter 2002
1614:Fabbri 1994
1602:Ringer 2006
1578:Fabbri 1994
1554:Carter 2002
1539:Fabbri 1994
1520:Carter 2002
1484:Fabbri 1994
1454:Carter 2002
1431:Carter 2002
1419:Carter 2002
1366:Carter 2002
1349:Fabbri 1994
1332:Fabbri 1994
1320:Carter 2002
1270:Fabbri 1994
1258:Ringer 2006
1231:Fabbri 1994
1219:Ringer 2006
1207:Carter 2002
1189:4 September
1179:Carter, Tim
1148:4 September
1138:Carter, Tim
1095:Martinelli.
1019:Janet Baker
1011:Emma Kirkby
908: [
895:. In 1868,
821:L'Andromeda
650:Nuntio II (
638:First Envoy
614:A messenger
443:Composition
238:Jacopo Peri
162:, who used
2739:Categories
2573:Depictions
2434:(SV 318) (
2066:Monteverdi
1998:: 75–117.
1395:Bujić 1999
1308:Grout 1971
1290:12 January
1063:References
940:announced
657:not known
636:Nuntio I (
600:Counsellor
466:Tim Carter
274:L'idropica
97:1608-05-28
61:Librettist
2482:(SV 291)
2479:L'Arianna
2456:(SV 325)
2421:(SV 308)
2315:L'Arianna
2020:192168763
1125:Citations
1115:L'Arianna
1081:children.
932:Liebestod
865:L'Arianna
843:L'Arianna
829:L'Arianna
809:Dubrovnik
802:L'Arianna
793:L'Arianna
785:L'Arianna
747:L'Arianna
576:Arianna (
450:L'Arianna
321:intermedi
313:L'Arianna
266:Francesco
228:court of
130:) is the
117:L'Arianna
25:L'Arianna
2678:Category
2538:(SV 153)
2519:(SV 167)
2317:, SV 291
2265:(2007).
2243:(2006).
2192:81673737
2175:34895164
2156:21803194
2146:(1614).
2124:(1971).
2064:(1994).
2033:(2002).
1181:(2007).
1140:(2007).
1029:Editions
942:Wagner's
798:Caterina
724:pastoral
709:Synopsis
626:Dorilla
568:castrato
392:'s epic
386:Catullus
375:Heroides
364:For his
347:Euridice
307:Libretto
302:Creation
248:Florence
169:Heroides
89:Premiere
79:Based on
71:Language
2780:Ariadne
2691:Portals
2618:Related
2431:L'Orfeo
2346:in the
1982:Sources
1825:3128481
789:L'Orfeo
683:Bacchus
680:Bacco (
667:Jupiter
664:Giove (
590:soprano
579:Ariadne
557:Theseus
554:Teseo (
538:Amore (
381:Carmina
366:Arianna
256:L'Orfeo
226:Mantuan
218:Cremona
182:Bacchus
134:second
128:Ariadne
95: (
74:Italian
53:Bacchus
2760:Operas
2508:Ballet
2296:
2275:
2251:
2221:831268
2219:
2190:
2173:
2154:
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2041:
2018:
2012:853825
2010:
1947:14 May
1925:15 May
1876:15 May
1823:
972:; and
885:monody
813:Ancona
504:Apollo
498:Notes
424:, and
402:Aeneas
394:Aeneid
390:Virgil
148:Mantua
104:Mantua
49:Titian
2729:Music
2717:Opera
2527:Scena
2410:Opera
2217:JSTOR
2104:Orfeo
2085:Orfeo
2016:S2CID
2008:JSTOR
1821:JSTOR
1068:Notes
934:" in
914:088.
912:]
729:ballo
541:Cupid
525:Venus
513:tenor
492:Role
472:Roles
343:Dafne
292:Dafne
243:Dafne
178:Naxos
136:opera
126:291,
32:Opera
2294:ISBN
2273:ISBN
2249:ISBN
2188:OCLC
2171:OCLC
2152:OCLC
2130:ISBN
2108:ISBN
2089:ISBN
2070:ISBN
2039:ISBN
1949:2012
1927:2012
1878:2013
1292:2012
1191:2010
1150:2010
1021:and
1013:and
982:and
853:Loss
565:alto
398:Dido
370:Ovid
345:and
337:and
222:viol
164:Ovid
132:lost
2444:· "
2209:doi
2000:doi
1813:doi
823:by
776:sic
452:".
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384:of
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268:to
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2047:.
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2002::
1951:.
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1815::
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