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581:. A replacement had to be found rapidly, and the title role fell to Virginia Andreidi, a renowned actress-singer who used the stage name "La Florinda"; she reportedly learned the part in only six days. In his analysis of Monteverdi's theatrical works, Carter suggests that the lament may have been added to the work to make the most of Andreini's acting and vocal abilities. The premiere, on 28 May 1608, was staged in a specially erected temporary theatre, which according to contemporary reports could hold an audience of several thousands. The production was lavish; apparently 300 men were required to manipulate the stage machinery. Federico Follino, who prepared the Mantuan court's official report on the occasion, praised the beauty of the work, the magnificence of costumes and machinery, and the sweetness of the music. Monteverdi's fellow-composer
1291:. According to Carter the work was fairly undemanding in terms of its staging, the action taking place mainly on the banks of the Tiber with few changes of set. There is no record of the Venetian public's response to the opera that, Rosand asserts, was clearly aimed at their patriotic impulses, with its final scene a celebration of "the birth and marvels of the city of Venice". In a preface published with the libretto, Torcigliani refers to "the sweetness of the music of the never-enough praised Monteverde", but the libretto itself provides no specific guides to the music's nature. Ringer records with regret that "he words are all that remain of this Virgilian opera, offering faint hints of lost melodies".
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that, in such a restricted venue, the performance could have incorporated all the special effects stipulated by the libretto. Nevertheless, an account by one of those present shows that the occasion provided considerable spectacle: "n the evening with torches there was acted and represented in music ... the Rape of
Proserpina with most perfect voices and instruments, with aerial apparitions, scene changes and other things, to the astonishment and wonder of all present."
620:
859:
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675:, and sought ways of avoiding or delaying work on it. He would accept the commission, he informed Striggio on 9 December 1616, because it was the wish of the duke, his feudal lord. However, the verses he was given were not, he felt, conducive to beautiful music. He found the tale difficult to understand, and did not think he could be inspired by it. In any event he was occupied for most of December in writing a Christmas Eve
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1303:. Carter cites as a significant aspect of their loss the degree to which they might have provided musical links between the composer's early Mantuan court operas and the public operas he wrote in Venice towards the end of his life: "Without these links ... it is hard to a produce a coherent account of his development as a composer for the stage". In an essay on the opera orchestras of Montverdi's day,
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1265:. She uses an evil spirit to provoke disharmony between Trojans and Latins; when a Trojan hunting party first wounds a deer and then kills a Latin shepherd, Elminio, there are calls for war, which Latino rejects. Aeneas, resting by the River Tiber, is unaware of these troubling incidents, though he is warned by the spirit of the river. Danger arrives in the person of
367:, or "tournament", a stylised dramatic spectacle in which the main singing was performed by a narrator. Sub-operatic forms of dramatic music continued to thrive as opera itself developed; the blurred boundaries that existed for many years between these forms and "opera" has led to debate about how to categorise some works. For example, the precise genre of Monteverdi's
896:, Monteverdi avoided extending himself on the new project, while maintaining a diplomatic impression of activity. Tomlinson writes: "t would hardly be surprising if Monteverdi were preternaturally sensitive to signs of Mantuan vacillation if, at the first such signs in 1627, he decided to move cautiously in the composition of
382:(1607). He composed, in all, 24 works for the stage. Of these, ten are usually classified as operas, of which the music for seven has been lost apart from a few fragments. Most of what is known about the missing works comes from surviving librettos and other documentation, including Monteverdi's own extensive correspondence.
1273:, an ally of the Latins whose love Lavinia has rejected. Spurred on by Turnus's clamour for war, Trojans and Latins fight, and Aeneas kills Turnus. Latino invites Aeneas to take the hand of Lavinia, who is delighted to accept him. In the light of Aeneas's bravery, Juno forgets her former enmity, and joins with Venus and
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Monteverdi, in his view, "did not even come close to completing the score" and may have written very little of the music. It is likely that he stopped composing at the end of July, having become suspicious of
Striggio's true commitment to the work. Tomlinson suggests that, mindful of Mantua's earlier cancellation of
561:, and asks Cupid to arrange this. Theseus and Arianna arrive; Theseus agonises over his decision to abandon her, but is advised by his counsellor that he is wise in his resolve, and departs. In the morning Ariadne, finding herself abandoned, searches vainly for Theseus on the shore, where she sings her lament. A
979:, perhaps to use in connection with the next duke's coronation. Monteverdi promised to send him one, but there is no confirmation that he did so. No trace of the music has been found, though Tomlinson has deduced some of its likely characteristics from Monteverdi's correspondence, including extensive use of the
1008:, and Mantua was subsequently engulfed in a series of conflicts, which by 1630 had reduced much of the city to ruins. Monteverdi's last known letter to Striggio is dated 8 July 1628; Striggio died in Venice on 8 June 1630, while heading a mission requesting aid against the armies that were encircling Mantua.
1091:
The libretto was published in 1630, in Venice, by
Evangelista Deuchino. Surviving copies indicate that the original scenery was created by Giuseppe Albardi, and that dances were arranged by Girolamo Scolari. The opera was staged on 16 April 1630, in a salon of the Mocenigo palace. Carter is sceptical
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had been completed and was being copied. In the relevant section of Tasso's poem, the enchantress Armida lures the noble
Rinaldo to her enchanted island. Two knights arrive to persuade Rinaldo to return to his duty, while Armida pleads with him to stay, or if he must depart, to allow her to be at his
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there followed a period of several years in which Mantua made little use of
Monteverdi's services. Duke Ferdinando died on 26 October 1626 and was succeeded by Don Vincenzo, who became Duke Vincenzo II. Early in 1627 Striggio approached Monteverdi with a request for theatrical music, possibly for the
572:
Rinuccini extended the libretto during the rehearsals, after complaints from the duchess that the piece was "too dry"; as a result the early scene between Venus and Cupid, and
Jupiter's blessing from heaven, were added. Preparations for the opera's performance were disrupted when, in March 1608, the
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links the three operas together: " ghost opera joins with the two survivors to form a coherent body of works that attests to
Monteverdi's position within the world of Venetian opera." The trilogy encompasses a historical trajectory that moves through Troy and the birth of Rome to the decline of the
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after the 1620 Carnival; the long letter that he wrote to
Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades
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Monteverdi was, at least initially, much taken with the potential of the plot, and the opportunities the libretto provided for a variety of musical effects. Monteverdi stressed to
Striggio the importance of finding a singer with real acting ability to play the role of Licori, someone capable of
843:
Strozzi was a
Venetian, born in 1583, whose literary works included plays and poetry as well as opera libretti; Monteverdi had first met him in 1621. Strozzi knew Monteverdi's music, and had developed a strong appreciation of the composer's innovative style. On 20 June 1627, Monteverdi informed
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Of the music, only the lament survives. It was published independently from the opera in various forms; an adaptation for five voices was included in Monteverdi's Sixth Book of Madrigals in 1614, and two versions of the original solo were published in 1623. Other composers emulated the lament's
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for each of the five acts, all in different styles. Monteverdi's letters continued throughout the summer, but his attitude slowly changed, from one of evident commitment to frustration at the delays in getting the libretto copied. The musicologist Gary Tomlinson, in his analysis of the opera's
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tradition that had established itself in Italian theatre in the 16th century. In Strozzi's plot, the first known attempt at comic opera, the woman Licori disguises herself initially as a man, then as a woman, and then pretends to be mad, all as part of a strategy to win the heart of her lover,
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has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece
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is a transitional work. With its emphasis on dance, and in terms of its subject matter, it represents the courtly traditions of early-17th-century opera. At the same time, in terms of characterisation it looks forward to the "modern" world of Monteverdi's trio of late operas, specifically to
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before its sudden cancellation; Redlich says the music was finished by 10 September 1627. The work's rejection and subsequent disappearance have been blamed on Striggio's disregard for Monteverdi's efforts. However, Tomlinson's reading of the correspondence suggests a different conclusion:
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After Duke Vincenzo's death in February 1612, Monteverdi found himself out of favour at the Mantuan court. Vincenzo's successor Francesco had no high regard for Monteverdi, and dismissed him from his post. Upon Francesco's sudden death in December 1612, the dukedom passed to his brother
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was ever performed in Mantua, Stevens has mooted the possibility that it may have been staged in Venice in 1628, since Monteverdi's reply to Striggio's February letter indicates that the work was in the hands of Girolamo Mocenigo, a wealthy patron of the arts at whose Venetian palace
822:("Jerusalem Delivered"), which had been performed at the 1624 Venice Carnival; secondly, a setting from another part of Tasso's poem, covering the story of the sorceress Armida and her abandonment by the Christian hero Rinaldo; finally, he offered to set the words of a new play by
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Opera, as a musical and theatrical genre, began to emerge during the early part of Monteverdi's career, initially as a form of courtly entertainment. With other composers, he played a leading part in its development into the main form of public musical theatre. His first opera,
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is generally attributed to Monteverdi, but it is recognised by Monteverdi scholars that the music incorporates work by other composers, possibly working under Monteverdi's guidance in the manner of a master painter's workshop. Ringer suggests an analogy with "the workshop of
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intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists.
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Carter also reflects on the intriguing possibility, however remote, that a discovery in an unexplored library might one day bring some of this missing music to light. As of 2022 this has not occurred; however, a setting of Rinuccini's libretto by the British composer
644:, Venice. However, he remained in contact with Striggio and other highly placed Gonzaga courtiers, through whom he was able to secure occasional commissions to compose theatrical works for the Gonzaga court. Thus, late in 1616, Striggio asked him to set to music
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genesis, suggests that Monteverdi may have been stalling. In September Striggio, having received, read and presumably not liked the expanded libretto, abruptly cancelled the commission and the work is heard of no more. Monteverdi was told instead to work on the
730:. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on
1103:) (1651). Otherwise, some indication of the musical character of the work is discernible from notes in the libretto, which Fabbri suggests, indicate that the work may not have been sung throughout. The work contained at least two sung
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was the first of the theatrical works that Monteverdi wrote specifically for Venice, under a commission from Mocenigo for his daughter Giustiniana's wedding celebrations. The libretto, by Strozzi, is based on the ancient Greek myth of
386:, a leading Monteverdi scholar, suggests that the high rate of loss is explicable because, in Monteverdi's times, "memories were short and large-scale musical works often had limited currency beyond their immediate circumstances".
1117:/ di te si cantari?" ("How much in the clear world / on green Arcadian mountains / will be sung of you?"). More information about the nature of the music and the instrumentation is included in notes within the published libretto.
174:(short musical interludes inserted into straight plays). Because in Monteverdi's times stage music was rarely thought to have much utility after its initial performance, much of this music vanished shortly after its creation.
1087:
her protector is turned by Pluto into a spring of water, she is overcome. Submissively, she vows obedience; the strength of her beauty is such that Pluto softens, and pledges that in future he will treat lovers less harshly.
601:, Venice. In his study of late Renaissance opera, Gary Tomlinson surmises that the work's enthusiastic reception in Venice was a significant factor in Monteverdi's decision to resume opera composition during his final years.
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Most of the available information relating to the seven lost operas has been deduced from contemporary documents, including the many letters that Monteverdi wrote. These papers provide irrefutable evidence that four of these
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format; Redlich asserts that it initiated a musical subgenre that lasted to the end of the 17th century and beyond. The libretto has been preserved; versions were published in Mantua in 1608, and in Venice in 1622 and 1639.
1238:(tragedy with a happy ending). He acknowledges numerous departures from the original, including the introduction of a comic character, "Numanus". This was done, he admitted, because "Iro", an analogous character type in
1242:, had proved popular with theatregoers. The text had been written to meet Monteverdi's requirements for emotional variety, thus enabling him, said Torcigliani, to demonstrate the full range of his musical genius.
961:, unlike the earlier work, is generally considered by scholars of Monteverdi to be an opera, although Denis Stevens, translator of Monteverdi's letters, has termed it a "parergon" (subsidiary work) to
787:, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.
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and music intact. Four of the five lost Mantuan works were written after the composer had left the service of the Gonzagas in 1612 and was ensconced in Venice, but still retained contacts with Mantua.
1054:. Symbolic rape was a common theme in wedding entertainments designed for Italian courts, intended in Carter's words "both to proclaim the power of love and to set proper bounds on female behaviour".
244:. This timespan saw opera develop, from its beginnings as a limited form of court entertainment, to become part of the mainstream of public musical theatre. Before the Italian word "opera"—short for
830:, about a woman who feigns madness for the sake of love. Monteverdi sent Striggio a copy of Strozzi's play on 7 May 1627; Striggio liked it and instructed Monteverdi to begin the music.
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describes as "superhuman". Monteverdi felt slighted by the lack of acknowledgement from the duke for his efforts; nearly 20 years later, in a letter to the Mantua court secretary
557:. Theseus, she reports, will then abandon Ariadne, as he believes her to be unacceptable to the people of Athens as their queen. Venus plans to match her instead with the god
683:"if you tell me to do so". In January 1617, however, he became more enthusiastic on learning that the project had been scaled down and was now being projected as a series of
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1335:. Goehr worked from Rinuccini's original script and, as a tribute to the historic opera, incorporated sections of Monteverdi's setting of the lament into his score.
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Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on
900:." Strozzi's libretto has vanished along with whatever music Monteverdi managed to write, but Strozzi wrote a second libretto under the same name, which was set by
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became a fraught affair for Monteverdi, being only one of three works that the duke required from him for the wedding—he had also to compose a musical prologue for
1004:
were Monteverdi's final theatrical works for the Mantuan court. Vincenzo II's death ended the main Gonzaga line; the dukedom was inherited by a distant relative,
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1131:. Proserpina's temperament anticipates the character Poppea in the later opera; likewise Pachino may be a forerunner for Ottone, while some of the discourses in
1889:
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1968:
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Confusion over the exact genre of this lost work has persisted. Commentators refer to it in a number of ways: as an "opera", an "operatic composition", or
1161:
In the three years before his death in 1643, Monteverdi composed a trilogy of operas for the Venetian opera theatres following the opening in 1637 of the
687:. He informed Striggio that what he had first considered a rather monotonous piece he now thought fully appropriate to the occasion. He began work on the
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s performance were, however, cancelled when Duke Vincenzo died at the end of December 1627. On 4 February 1628, Striggio was still asking for a copy of
494:. His life had been disrupted by the fatal illness of his wife Claudia; she died on 10 September 1607, but Monteverdi was given no respite by the duke.
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for St Mark's. On 29 December, perhaps hoping that the commission would be withdrawn, Monteverdi told Striggio that he was ready to begin work on
664:, had previously been offered to the Mantuan court by Peri, whose setting of a libretto by Francesco Cini had been rejected in 1608 in favour of
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sections, but before he could start setting the more expressive numbers, the duke had a change of heart and cancelled Monteverdi's commission.
1432:, who might design a painting and handle the important details himself but leave the more mundane aspects ... to younger apprentice artists."
597:'s birthday was cancelled for unknown reasons. Otherwise, there are no records of the opera's performance before its revival in 1640 at the
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The music for this work has survived; scholars do not classify it as an opera, although its genre is difficult to establish with certainty.
1075:, to cure his unrequited obsession with Proserpine. Pluto obliges by turning Pachino into a mountain, though promising his soul a place in
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was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for
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653:
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1109:, one of which concluded the opera with words that provided a thinly disguised tribute to the composer: "Quanto nel chiaro mondo / su
945:. He spent several weeks in Parma working on these; nevertheless, on 18 December 1627 he was able to tell Striggio that the music for
1189:; the libretto survives in manuscript form, though no trace of the music has been found. In her analysis of Monteverdi's late works,
1099:
survives, a song for three voices: "Come dolce oggi l'auretta". This was published posthumously in Monteverdi's ninth Madrigal Book (
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454:
279:, Mantua, seat of the Gonzaga dynasty who ruled the city from 1530 to 1627. Monteverdi was their court musician from 1590 to 1612.
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Between 1630 and 1643 Monteverdi wrote four operas for performance in Venice. All were staged in Monteverdi's lifetime, but only
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speaks from the heavens, and amid festive scenes Bacchus promises Ariadne immortality with the gods in return for her love.
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to bless the marriage. The opera ends with predictions of the greatness of Rome and the distant future glories of Venice.
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was equally complimentary, writing that the opera had "visibly moved the entire audience to tears." It is possible that
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the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
331:. This was a development from various older forms of musical theatre that had existed since the earliest years of the
1147:, but he provides no details of performances. A second edition of the libretto was published in Venice in that year.
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appeared in 1587, and the last in his lifetime, the Eighth Book, in 1638. The ninth book is a miscellany that, as
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Rosand, Ellen (2007b). "An Incognito debate: questions of meaning". In Whenham, John; Wistreich, Richard (eds.).
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1198:. The common theme of the three works is the mythical power of love, at first beneficial but later destructive.
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playing a man and a woman with appropriate emotions and gestures. Later he enthused about the chance to write a
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Many of Monteverdi's lost works date from the 1610s and 1620s, and the manuscripts may have disappeared in the
938:
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MacAndrew, Hugh (May 1967). "Vouet's Portrait of Giulio Strozzi and Its Pendant by Tinelli of Nicolò Crasso".
158:, which employed him, was a major success. In the years that followed, at Mantua and in his later capacity as
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libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the
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indicates an imminent arrival; Ariadne hopes this is Theseus returning, but it is Bacchus and his entourage.
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Monteverdi's creative life covered more than 50 years. Between 1590 and 1612 he served as a musician in the
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937:, having been commissioned to provide musical entertainments for the marriage celebrations of the youthful
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220:—were abandoned by Monteverdi before completion; how much of their music was actually written is unknown.
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festivities that would celebrate Vincenzo's accession. Monteverdi replied offering three options: first,
741:, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the
119:, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included
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Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for
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3122:(1968). "Monteverdi and the Opera Orchestra of his Time". In Arnold, Denis; Fortune, Nigel (eds.).
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In Strozzi's version of the story, an amorous shepherd Pachino invokes the aid of Pluto, ruler of
957:; both works require three voices, one of which acts as the narrator. Despite these similarities,
170:, Monteverdi continued to write theatrical music in various genres, including operas, dances, and
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316:
315:. In the new genre a complete story was told through characters, and in addition to choruses and
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libretto. However, Rosand's researches reveal the librettist to be a close friend of Badoaro's,
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Rinuccini used numerous classical sources as the basis for his libretto, in particular works of
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Tomlinson, Gary (Summer 1983). "Twice Bitten, Thrice Shy: Monteverdi's 'finta' 'Finta pazza'".
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side in battle. When he refuses and abandons her, Armida curses him before falling insensible.
745:(ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a
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1083:, Pluto falls for Proserpine and claims her as his queen. Initially she resists him, but when
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was largely composed in the last two months of 1607, an exertion that Monteverdi's biographer
248:("musical work")—came into general use around 1634, musical stage works were typically termed
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Striggio that Strozzi had expanded and arranged the text into five acts, under the new title
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of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor,
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268:"); Monteverdi used these and similar descriptions for many of his early operatic projects.
196:—were completed and performed in Monteverdi's lifetime, but of their music, only the famous
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between the acts of straight plays. Another format in the later renaissance period was the
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1317:, hampers the study of how opera orchestration developed during those critical years.
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A depiction of Andromeda, chained to a rock in accordance with the ancient Greek myth
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substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining
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Rosenthal, Albi (January 1985). "Monteverdi's 'Andromeda': A Lost Libretto Found".
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comments, includes duets and trios that "are really no longer madrigals at all".
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For many years it was assumed that Monteverdi had written much of the music for
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Roman Empire, and points forward to the foundation and ultimate glory of the
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Monteverdi wrote six acknowledged operas for the Mantua court, of which only
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652:, as part of the celebrations for Duke Ferdinando's forthcoming marriage to
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Torquato Tasso, from whose poetic works Monteverdi often found inspiration
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was composed as a festive piece for the wedding of the heir to the duchy,
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was abandoned; its libretto and whatever music existed have disappeared.
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3312:. Berkeley and Los Angeles, California: University of California Press.
3242:. Berkeley and Los Angeles, California: University of California Press.
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were completed and performed; the others were all abandoned incomplete.
347:(a dance entertainment, often with sung passages), and particularly the
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Bujic, Bojan (1999). "Rinuccini the Craftsman; A view of his Arianna".
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1165:. Two of these three operas survive in complete, performable versions:
1139:. Redlich records that in 1644, the year following Monteverdi's death,
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771:, an eight-part song, was delivered to Marigliani on 15 February 1620.
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s successful premiere at the court in February 1607. The libretto for
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1224:. In a lengthy preface Torcigliani introduces his story, taken from
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Duke Vincenzo Gonzaga II, whose accession was the likely reason why
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in 1614; a projected performance in Mantua in May 1620 to celebrate
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have the rhetorical flavour of those between Nerone and Seneca in
3162:. Carter, Tim (tr.). Cambridge (UK): Cambridge University Press.
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Duke Ferdinando Gonzaga, for whose wedding celebrations in 1617
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Monteverdi recorded no apparent interest in the performance of
726:, and the project was sponsored by the duke's younger brother,
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Opera's First Master: The Musical Dramas of Claudio Monteverdi
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656:. This story, based on the wedding of the mythical Greek hero
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was by Rinuccini, whose literary skills had earlier impressed
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Monteverdi's madrigals were published in "books"; the first,
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538:
357:, a short dramatic musical episode inserted as a prologue or
343:
289:
253:
3705:
3291:. New York: Press Syndicate of the University of Cambridge.
2084:
2082:
1782:
1780:
1677:
1675:
1673:
1283:
was performed during the Venice Carnival of 1640–41, at the
457:, in May 1608. Monteverdi received the commission following
2866:
2818:
2682:
2680:
2678:
2676:
2567:
2565:
2141:
2139:
2099:
2097:
1828:
1489:
1487:
1485:
1483:
1481:
1479:
1477:
1475:
514:
324:
2974:
2926:
1612:
1610:
506:, he wrote that he had almost killed himself when writing
3015:
3013:
2490:
2423:
2399:
2266:
2242:
2230:
2218:
2079:
2067:
2013:
2001:
1777:
1670:
1499:
734:
delayed its performance, first to 1619 and then to 1620.
2806:
2748:
2746:
2709:
2707:
2673:
2613:
2562:
2526:
2478:
2351:
2349:
2307:
2305:
2290:
2278:
2136:
2126:
2124:
2094:
2057:
2055:
1991:
1989:
1907:
1840:
1816:
1804:
1699:
1646:
1583:
1571:
1472:
751:(dance with sung parts) to Striggio's libretto entitled
208:
are known to have survived. The other three lost operas—
2998:
2878:
2854:
2030:
2028:
1948:
1765:
1743:
1741:
1728:
1726:
1607:
1450:
1448:
929:, Monteverdi did not immediately turn his attention to
812:("The Battle of Tancred and Clorinda"), a setting from
283:
The first work now generally considered as an opera is
3010:
2986:
2950:
2938:
2902:
2830:
2782:
2731:
2577:
2550:
1511:
1185:
provided the text. Between these, Monteverdi composed
3682:
2962:
2914:
2842:
2794:
2770:
2758:
2743:
2704:
2649:
2637:
2601:
2589:
2538:
2514:
2502:
2411:
2387:
2346:
2302:
2254:
2194:
2121:
2109:
2052:
2040:
1986:
1792:
1711:
1658:
1547:
1535:
1523:
1150:
767:
music be sent to him forthwith. The final segment of
3025:
2692:
2661:
2025:
1931:"Monteverdi, Claudio: Works from the Venetian years"
1753:
1738:
1723:
1687:
1634:
1622:
1559:
1445:
1389:"), the name by which Monteverdi first described it.
1212:
Because of textual and structural similarities with
953:
Carter indicates several structural similarities to
373:(1624) has proved particularly difficult to define.
2719:
1595:
1216:, it was once assumed that Badoaro had written the
232:court in Mantua, followed by 30 years (1613–43) as
1245:The principal theme of the story is the desire by
798:
3140:. New Haven, Connecticut: Yale University Press.
1460:
755:. On 9 January 1620, still with 400 lines of the
3732:
3327:Whenham, John; Wistreich, Richard, eds. (2007).
3326:
2631:
2372:. Vol. 109, no. 770. pp. 264–73.
1311:and the next Monteverdi opera to have survived,
1257:to prevent the marriage of the Trojan Aeneas to
671:Initially, Monteverdi had little enthusiasm for
1158:(English: "The Marriage of Aeneas to Lavinia")
608:
848:. Feigned madness was a standard theme in the
549:, fleeing from Crete after his slaying of the
533:. After a prologue, the main action begins as
111:(1567–1643), in addition to a large output of
3363:
2449:Journal of the American Musicological Society
1079:. After being struck by a love-dart fired by
3239:Monteverdi's Last Operas: A Venetian trilogy
488:, and write the music for a dramatic dance,
2329:"Strozzi, Giulio [Zorzisto, Luigi]"
1031:
3462:
3370:
3356:
141:(1643)—have survived with their music and
40:
3309:Monteverdi and the End of the Renaissance
3305:
2619:
2446:
2367:
2162:
1822:
1356:The other theatrical works comprise four
985:effect. Although there is no record that
840:(English: "The feigned madwoman Licori")
376:Monteverdi's first acknowledged opera is
16:Lost operas written between 1604 and 1643
3333:. New York: Cambridge University Press.
3267:. New York: Cambridge University Press.
3045:"Royal Opera House Collections: Arianna"
2158:
2156:
2154:
1200:
1056:
916:
857:
833:
705:
618:
429:
270:
3529:Il combattimento di Tancredi e Clorinda
3281:
3256:
3232:
3198:
3184:. New York: Columbia University Press.
3004:
2980:
2932:
2884:
2872:
2860:
2848:
2788:
2737:
2643:
2583:
2556:
2520:
2508:
2496:
2442:
2440:
2438:
2429:
2405:
2393:
2323:
2272:
2248:
2236:
2224:
2212:
2073:
2019:
2007:
1786:
1681:
1652:
1553:
1529:
1143:was added to the repertory of Venice's
1101:Madrigali e Canzonette a due e tre voci
810:Il combattimento di Tancredi e Clorinda
370:Il combattimento di Tancredi e Clorinda
3733:
3377:
3210:
3154:
3130:
3019:
2992:
2968:
2956:
2944:
2920:
2908:
2896:
2836:
2824:
2812:
2800:
2776:
2764:
2752:
2713:
2698:
2686:
2667:
2655:
2595:
2571:
2532:
2484:
2355:
2296:
2284:
2145:
2115:
2103:
2088:
2046:
2034:
1966:
1954:
1913:
1887:
1858:
1846:
1834:
1810:
1798:
1771:
1759:
1747:
1732:
1717:
1705:
1693:
1640:
1628:
1616:
1601:
1589:
1577:
1565:
1517:
1493:
1454:
1329:on 15 September 1995, under the title
1287:where it alternated with a revival of
698:
413:
3351:
3330:The Cambridge Companion to Monteverdi
3260:The Cambridge Companion to Monteverdi
3218:. Newark, New Jersey: Amadeus Press.
3176:
3069:
2151:
1541:
1505:
1466:
1307:regrets that the 30-year gap between
907:
828:Licori finta pazza inamorata d'Aminta
3118:
3031:
2725:
2607:
2544:
2435:
2417:
2361:
2311:
2260:
2200:
2130:
2061:
1995:
1925:
1919:
1664:
1095:One small fragment of the music for
1039:(English: "The Rape of Proserpine")
616:(English: "The Marriage of Thetis")
3761:Operas based on classical mythology
3047:. Royal Opera House. Archived from
13:
3206:. London: Oxford University Press.
3204:Claudio Monteverdi: Life and Works
14:
3787:
3288:The Letters of Claudio Monteverdi
1301:wars that overcame Mantua in 1630
472:of Mantua after a performance of
303:wrote separate musical settings.
3716:
3704:
3692:
3667:
3666:
3492:
3477:
3451:
3429:
3416:
3063:
3037:
1418:
2461:10.1525/jams.1983.36.2.03a00060
2317:
1960:
1881:
1852:
1401:
1392:
1375:
1350:
1294:
904:and produced in Venice in 1641.
799:Two abortive projects (1627–28)
774:None of Monteverdi's music for
504:Alessandro Striggio the Younger
914:(English: "Armida abandoned")
1:
3447:Il ritorno d'Ulisse in patria
3265:Cambridge Companions to Music
1969:"Peri, Jacopo ("Zazzerino'")"
1864:"Monteverdi, Claudio: Mantua"
1338:
1314:Il ritorno d'Ulisse in patria
1285:Teatro Santi Giovanni e Paolo
1261:, daughter of King Latino of
1168:Il ritorno d'Ulisse in patria
1019:Il ritorno d'Ulisse in patria
1011:
939:Duke Odoardo Farnese of Parma
389:
293:of 1597, closely followed by
223:
132:Il ritorno d'Ulisse in patria
3766:Operas by Claudio Monteverdi
3137:Monteverdi's Musical Theatre
2632:Whenham & Wistreich 2007
1439:
1183:Giovanni Francesco Busenello
994:had been performed in 1624.
577:Caterina Martinelli died of
307:was the librettist for both
7:
1967:Porter, William V. (2011).
1281:Le nozze d'Enea con Lavinia
1187:Le nozze d'Enea con Lavinia
1152:Le nozze d'Enea con Lavinia
319:, the vocal parts included
299:(1600), for which Peri and
194:Le nozze d'Enea con Lavinia
95:Le nozze d'Enea con Lavinia
10:
3792:
3556:Vespro della Beata Vergine
3126:. London: Faber and Faber.
3112:
2215:, pp. 137–41, 146–47.
1325:was performed at London's
423:
335:; such forms included the
154:, written in 1607 for the
3662:
3611:
3585:
3566:
3548:Selva morale e spirituale
3539:
3520:
3501:
3490:
3412:L'incoronazione di Poppea
3403:
3385:
3084:10.1017/S0261127900001844
1409:Primo libro de' Madrigali
1178:L'incoronazione di Poppea
1171:(1640), to a libretto by
1128:L'incoronazione di Poppea
1025:L'incoronazione di Poppea
553:, will shortly arrive in
482:Giovanni Battista Guarini
138:L'incoronazione di Poppea
51:
39:
28:
23:
3629:Giulio Cesare Monteverdi
3306:Tomlinson, Gary (1987).
3182:A Short History of Opera
3124:The Monteverdi Companion
1368:(one lost) and one lost
1343:
1222:Michelangelo Torcigliani
46:The composer around 1640
3751:Italian-language operas
3598:Monteverdi-Chor Hamburg
3105:(subscription required)
2899:, pp. 257–58, 309.
2474:(subscription required)
2383:(subscription required)
2370:The Burlington Magazine
2342:(subscription required)
2190:(subscription required)
1982:(subscription required)
1944:(subscription required)
1903:(subscription required)
1877:(subscription required)
925:After the rejection of
162:(director of music) at
3510:Il ballo delle ingrate
1249:, who is feuding with
1236:tragedia di lieto fine
1209:
1068:
1062:The Rape of Proserpina
933:. Instead, he went to
922:
871:
720:the ancient Greek myth
711:
628:
491:Il ballo delle ingrate
443:
280:
2331:. Oxford Music Online
1971:. Oxford Music Online
1933:. Oxford Music Online
1892:. Oxford Music Online
1888:Fenlon, Iain (2011).
1866:. Oxford Music Online
1837:, pp. 93–94, 98.
1508:, pp. 35, 43–45.
1204:
1120:According to Carter,
1060:
943:Margherita de' Medici
920:
861:
846:La finta pazza Licori
835:La finta pazza Licori
709:
622:
476:. The composition of
433:
421:(English: "Ariadne")
274:
214:La finta pazza Licori
107:The Italian composer
76:La finta pazza Licori
3649:Stattkus-Verzeichnis
3395:list of compositions
2827:, pp. 137, 213.
1360:(three lost), seven
819:Gerusalemme liberata
728:Don Vincenzo Gonzaga
718:, an opera based on
654:Catherine de' Medici
260:(musical drama), or
3603:Monteverdi (crater)
3575:The Full Monteverdi
3072:Early Music History
2875:, pp. 37, 109.
2165:Music & Letters
2091:, pp. 199–201.
1496:, pp. 298–305.
1163:Teatro San Cassiano
660:to the sea-goddess
455:Margherita of Savoy
436:Bacchus and Ariadne
333:Italian Renaissance
160:maestro di cappella
3619:Concerted madrigal
3379:Claudio Monteverdi
3051:on 8 December 2020
2983:, pp. 10, 15.
2935:, pp. 144–47.
2815:, pp. 130–31.
2689:, pp. 227–29.
2574:, pp. 195–96.
2535:, pp. 216–19.
2499:, pp. 361–62.
2487:, pp. 201–04.
2432:, pp. 334–36.
2408:, pp. 314–15.
2299:, pp. 172–73.
2287:, pp. 198–99.
2275:, pp. 187–93.
2251:, pp. 174–75.
2239:, pp. 162–63.
2227:, pp. 142–44.
2148:, pp. 167–68.
2106:, pp. 111–13.
2076:, pp. 124–27.
2022:, pp. 119–21.
2010:, pp. 113–18.
1916:, pp. 146–47.
1849:, pp. 203–04.
1813:, pp. 174–75.
1789:, pp. 101–03.
1708:, pp. 205–06.
1684:, pp. 311–13.
1592:, pp. 190–91.
1580:, pp. vi–vii.
1364:(three lost), two
1210:
1069:
959:Armida abbandonata
923:
909:Armida abbandonata
894:Le nozze di Tetide
872:
851:commedia dell'arte
712:
693:Le nozze di Tetide
681:Le Nozze di Tetide
673:Le nozze di Tetide
650:Le nozze di Tetide
640:in August 1613 at
638:maestro di capella
629:
625:Le nozze di Tedite
610:Le nozze di Tetide
444:
281:
262:tragedia in musica
238:St Mark's Basilica
234:maestro di capella
218:Armida abbandonata
210:Le nozze di Tetide
164:St Mark's Basilica
109:Claudio Monteverdi
82:Armida abbandonata
64:Le nozze di Tetide
34:Claudio Monteverdi
3771:Unfinished operas
3680:
3679:
3624:Garklein recorder
3559:(SV 206 and 206a)
3488:
3487:
3340:978-0-521-87525-7
3319:978-0-520-06980-0
3298:978-0-521-23591-4
3274:978-0-521-87525-7
3249:978-0-520-24934-9
3225:978-1-57467-110-0
3191:978-0-231-08978-4
3178:Grout, Donald Jay
3169:978-0-521-35133-1
3147:978-0-300-09676-7
2610:, pp. 80–82.
2547:, pp. 77–78.
2420:, pp. 71–72.
2314:, pp. 61–63.
2263:, pp. 52–56.
2203:, pp. 47–48.
2177:10.1093/ml/66.1.1
2133:, pp. 49–50.
2064:, pp. 44–45.
1998:, pp. 40–44.
1957:, pp. 78–79.
1774:, pp. 79–80.
1667:, pp. 26–30.
1655:, pp. 17–18.
1619:, pp. 91–93.
1544:, pp. 23–30.
1520:, pp. 23–24.
1327:Royal Opera House
1206:Aeneas and Turnus
1196:Venetian Republic
1181:(1643) for which
1141:Proserpina rapita
1122:Proserpina rapita
1097:Proserpina rapita
1043:Proserpina rapita
1033:Proserpina rapita
1006:Charles of Nevers
902:Francesco Sacrati
724:Ercole Marigliani
589:was performed in
583:Marco da Gagliano
510:in such a hurry.
451:Francesco Gonzaga
305:Ottavio Rinuccini
190:Proserpina rapita
123:, of which three—
105:
104:
88:Proserpina rapita
84:(Mantua, 1627–28)
78:(Mantua, 1627–28)
72:(Mantua, 1618–20)
66:(Mantua, 1616–17)
60:(Mantua, 1607–08)
3783:
3721:
3720:
3719:
3709:
3708:
3697:
3696:
3695:
3688:
3670:
3669:
3634:Origins of opera
3593:Monteverdi Choir
3496:
3481:
3460:
3459:
3455:
3433:
3420:
3372:
3365:
3358:
3349:
3348:
3344:
3323:
3302:
3278:
3253:
3229:
3207:
3195:
3173:
3151:
3127:
3107:
3106:
3103:
3067:
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3060:
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3056:
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3029:
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2990:
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2978:
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2960:
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2912:
2906:
2900:
2894:
2888:
2882:
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2870:
2864:
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2846:
2840:
2834:
2828:
2822:
2816:
2810:
2804:
2798:
2792:
2786:
2780:
2774:
2768:
2762:
2756:
2750:
2741:
2735:
2729:
2723:
2717:
2711:
2702:
2696:
2690:
2684:
2671:
2665:
2659:
2653:
2647:
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2635:
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2605:
2599:
2593:
2587:
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2548:
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2530:
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2518:
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2506:
2500:
2494:
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2476:
2475:
2472:
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2433:
2427:
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2385:
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2381:
2365:
2359:
2353:
2344:
2343:
2340:
2338:
2336:
2321:
2315:
2309:
2300:
2294:
2288:
2282:
2276:
2270:
2264:
2258:
2252:
2246:
2240:
2234:
2228:
2222:
2216:
2210:
2204:
2198:
2192:
2191:
2188:
2160:
2149:
2143:
2134:
2128:
2119:
2113:
2107:
2101:
2092:
2086:
2077:
2071:
2065:
2059:
2050:
2044:
2038:
2032:
2023:
2017:
2011:
2005:
1999:
1993:
1984:
1983:
1980:
1978:
1976:
1964:
1958:
1952:
1946:
1945:
1942:
1940:
1938:
1923:
1917:
1911:
1905:
1904:
1901:
1899:
1897:
1890:"Orlandi, Santi"
1885:
1879:
1878:
1875:
1873:
1871:
1856:
1850:
1844:
1838:
1832:
1826:
1820:
1814:
1808:
1802:
1796:
1790:
1784:
1775:
1769:
1763:
1757:
1751:
1745:
1736:
1730:
1721:
1715:
1709:
1703:
1697:
1691:
1685:
1679:
1668:
1662:
1656:
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1632:
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1620:
1614:
1605:
1599:
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1587:
1581:
1575:
1569:
1563:
1557:
1551:
1545:
1539:
1533:
1527:
1521:
1515:
1509:
1503:
1497:
1491:
1470:
1464:
1458:
1452:
1433:
1422:
1416:
1405:
1399:
1396:
1390:
1383:favola marittima
1379:
1373:
1354:
1145:Teatro San Moisè
992:Il combattimento
974:
963:Il Combattimento
955:Il combattimento
646:Scipione Agnelli
627:was commissioned
599:Teatro San Moisè
595:Duchess Caterina
529:—and poems from
463:
341:("masque"), the
258:dramma in musica
250:favola in musica
204:and a trio from
98:
44:
21:
20:
3791:
3790:
3786:
3785:
3784:
3782:
3781:
3780:
3731:
3730:
3727:
3717:
3715:
3703:
3699:Classical music
3693:
3691:
3683:
3681:
3676:
3658:
3654:Stile concitato
3644:Seconda pratica
3607:
3581:
3562:
3535:
3516:
3497:
3484:
3458:
3440:Possente spirto
3399:
3381:
3376:
3341:
3320:
3299:
3275:
3250:
3226:
3192:
3170:
3148:
3115:
3110:
3104:
3068:
3064:
3054:
3052:
3043:
3042:
3038:
3030:
3026:
3018:
3011:
3003:
2999:
2991:
2987:
2979:
2975:
2967:
2963:
2955:
2951:
2943:
2939:
2931:
2927:
2919:
2915:
2907:
2903:
2895:
2891:
2887:, pp. 7–8.
2883:
2879:
2871:
2867:
2859:
2855:
2847:
2843:
2835:
2831:
2823:
2819:
2811:
2807:
2799:
2795:
2787:
2783:
2775:
2771:
2763:
2759:
2751:
2744:
2736:
2732:
2724:
2720:
2712:
2705:
2697:
2693:
2685:
2674:
2666:
2662:
2654:
2650:
2642:
2638:
2630:
2626:
2618:
2614:
2606:
2602:
2594:
2590:
2582:
2578:
2570:
2563:
2555:
2551:
2543:
2539:
2531:
2527:
2519:
2515:
2507:
2503:
2495:
2491:
2483:
2479:
2473:
2445:
2436:
2428:
2424:
2416:
2412:
2404:
2400:
2392:
2388:
2382:
2366:
2362:
2354:
2347:
2341:
2334:
2332:
2322:
2318:
2310:
2303:
2295:
2291:
2283:
2279:
2271:
2267:
2259:
2255:
2247:
2243:
2235:
2231:
2223:
2219:
2211:
2207:
2199:
2195:
2189:
2161:
2152:
2144:
2137:
2129:
2122:
2114:
2110:
2102:
2095:
2087:
2080:
2072:
2068:
2060:
2053:
2045:
2041:
2033:
2026:
2018:
2014:
2006:
2002:
1994:
1987:
1981:
1974:
1972:
1965:
1961:
1953:
1949:
1943:
1936:
1934:
1924:
1920:
1912:
1908:
1902:
1895:
1893:
1886:
1882:
1876:
1869:
1867:
1857:
1853:
1845:
1841:
1833:
1829:
1821:
1817:
1809:
1805:
1797:
1793:
1785:
1778:
1770:
1766:
1758:
1754:
1746:
1739:
1731:
1724:
1716:
1712:
1704:
1700:
1692:
1688:
1680:
1671:
1663:
1659:
1651:
1647:
1639:
1635:
1627:
1623:
1615:
1608:
1600:
1596:
1588:
1584:
1576:
1572:
1564:
1560:
1552:
1548:
1540:
1536:
1528:
1524:
1516:
1512:
1504:
1500:
1492:
1473:
1465:
1461:
1457:, pp. 1–3.
1453:
1446:
1442:
1437:
1436:
1425:L'incoronazione
1423:
1419:
1406:
1402:
1397:
1393:
1380:
1376:
1355:
1351:
1346:
1341:
1323:Alexander Goehr
1297:
1208:, Luca Giordano
1173:Giacomo Badoaro
1156:
1137:L'incoronazione
1037:
1014:
982:stile concitato
972:
912:
838:
801:
704:
614:
470:Duke Vincenzo I
461:
428:
419:
392:
246:opera in musica
226:
101:
93:
47:
17:
12:
11:
5:
3789:
3779:
3778:
3773:
3768:
3763:
3758:
3753:
3748:
3743:
3726:
3725:
3713:
3701:
3678:
3677:
3675:
3674:
3663:
3660:
3659:
3657:
3656:
3651:
3646:
3641:
3636:
3631:
3626:
3621:
3615:
3613:
3609:
3608:
3606:
3605:
3600:
3595:
3589:
3587:
3583:
3582:
3580:
3579:
3570:
3568:
3564:
3563:
3561:
3560:
3552:
3543:
3541:
3537:
3536:
3534:
3533:
3524:
3522:
3518:
3517:
3515:
3514:
3505:
3503:
3499:
3498:
3491:
3489:
3486:
3485:
3483:
3482:
3468:
3466:
3457:
3456:
3443:
3421:
3407:
3405:
3401:
3400:
3398:
3397:
3392:
3390:list of operas
3386:
3383:
3382:
3375:
3374:
3367:
3360:
3352:
3346:
3345:
3339:
3324:
3318:
3303:
3297:
3285:, ed. (1980).
3283:Stevens, Denis
3279:
3273:
3254:
3248:
3230:
3224:
3208:
3196:
3190:
3174:
3168:
3152:
3146:
3128:
3120:Beat, Janet E.
3114:
3111:
3109:
3108:
3062:
3036:
3034:, p. 281.
3024:
3022:, p. 197.
3009:
3007:, p. 144.
2997:
2995:, p. 310.
2985:
2973:
2961:
2959:, p. 107.
2949:
2947:, p. 139.
2937:
2925:
2913:
2911:, p. 171.
2901:
2889:
2877:
2865:
2863:, p. 242.
2853:
2841:
2839:, p. 218.
2829:
2817:
2805:
2803:, p. 226.
2793:
2791:, p. 110.
2781:
2779:, p. 232.
2769:
2767:, p. 165.
2757:
2755:, p. 222.
2742:
2740:, p. 203.
2730:
2728:, p. 192.
2718:
2716:, p. 223.
2703:
2691:
2672:
2660:
2658:, p. 224.
2648:
2636:
2624:
2622:, p. 203.
2620:Tomlinson 1987
2612:
2600:
2598:, p. 205.
2588:
2586:, p. 310.
2576:
2561:
2559:, p. 377.
2549:
2537:
2525:
2513:
2501:
2489:
2477:
2434:
2422:
2410:
2398:
2386:
2360:
2358:, p. 201.
2345:
2316:
2301:
2289:
2277:
2265:
2253:
2241:
2229:
2217:
2205:
2193:
2150:
2135:
2120:
2118:, p. 154.
2108:
2093:
2078:
2066:
2051:
2049:, p. 113.
2039:
2024:
2012:
2000:
1985:
1959:
1947:
1927:Chew, Geoffrey
1918:
1906:
1880:
1851:
1839:
1827:
1825:, p. 233.
1823:Tomlinson 1987
1815:
1803:
1801:, p. 144.
1791:
1776:
1764:
1752:
1737:
1722:
1720:, p. 208.
1710:
1698:
1686:
1669:
1657:
1645:
1633:
1621:
1606:
1594:
1582:
1570:
1568:, p. 171.
1558:
1556:, p. 197.
1546:
1534:
1532:, p. 196.
1522:
1510:
1498:
1471:
1459:
1443:
1441:
1438:
1435:
1434:
1417:
1400:
1391:
1374:
1348:
1347:
1345:
1342:
1340:
1337:
1296:
1293:
1269:, King of the
1155:
1149:
1073:the underworld
1036:
1030:
1013:
1010:
911:
906:
837:
832:
824:Giulio Strozzi
814:Torquato Tasso
800:
797:
779:confirms that
703:
697:
613:
607:
545:and her lover
424:Main article:
418:
412:
398:survives with
391:
388:
301:Giulio Caccini
277:Palazzo del Te
225:
222:
103:
102:
100:
99:
97:(Venice, 1641)
91:
90:(Venice, 1630)
85:
79:
73:
67:
61:
52:
49:
48:
45:
37:
36:
30:Opera projects
26:
25:
15:
9:
6:
4:
3:
2:
3788:
3777:
3774:
3772:
3769:
3767:
3764:
3762:
3759:
3757:
3754:
3752:
3749:
3747:
3744:
3742:
3739:
3738:
3736:
3729:
3724:
3714:
3712:
3707:
3702:
3700:
3690:
3689:
3686:
3673:
3665:
3664:
3661:
3655:
3652:
3650:
3647:
3645:
3642:
3640:
3639:Prima pratica
3637:
3635:
3632:
3630:
3627:
3625:
3622:
3620:
3617:
3616:
3614:
3610:
3604:
3601:
3599:
3596:
3594:
3591:
3590:
3588:
3584:
3577:
3576:
3572:
3571:
3569:
3565:
3558:
3557:
3553:
3550:
3549:
3545:
3544:
3542:
3538:
3531:
3530:
3526:
3525:
3523:
3519:
3512:
3511:
3507:
3506:
3504:
3500:
3495:
3480:
3475:
3474:
3470:
3469:
3467:
3465:
3461:
3454:
3449:
3448:
3444:
3441:
3437:
3436:Musical items
3432:
3427:
3426:
3422:
3419:
3414:
3413:
3409:
3408:
3406:
3402:
3396:
3393:
3391:
3388:
3387:
3384:
3380:
3373:
3368:
3366:
3361:
3359:
3354:
3353:
3350:
3342:
3336:
3332:
3331:
3325:
3321:
3315:
3311:
3310:
3304:
3300:
3294:
3290:
3289:
3284:
3280:
3276:
3270:
3266:
3262:
3261:
3255:
3251:
3245:
3241:
3240:
3235:
3234:Rosand, Ellen
3231:
3227:
3221:
3217:
3213:
3209:
3205:
3201:
3200:Redlich, Hans
3197:
3193:
3187:
3183:
3179:
3175:
3171:
3165:
3161:
3157:
3156:Fabbri, Paolo
3153:
3149:
3143:
3139:
3138:
3133:
3129:
3125:
3121:
3117:
3116:
3101:
3097:
3093:
3089:
3085:
3081:
3077:
3073:
3066:
3050:
3046:
3040:
3033:
3028:
3021:
3016:
3014:
3006:
3001:
2994:
2989:
2982:
2977:
2971:, p. 81.
2970:
2965:
2958:
2953:
2946:
2941:
2934:
2929:
2923:, p. 49.
2922:
2917:
2910:
2905:
2898:
2893:
2886:
2881:
2874:
2869:
2862:
2857:
2850:
2845:
2838:
2833:
2826:
2821:
2814:
2809:
2802:
2797:
2790:
2785:
2778:
2773:
2766:
2761:
2754:
2749:
2747:
2739:
2734:
2727:
2722:
2715:
2710:
2708:
2701:, p. 85.
2700:
2695:
2688:
2683:
2681:
2679:
2677:
2670:, p. 26.
2669:
2664:
2657:
2652:
2646:, p. 35.
2645:
2640:
2634:, p. xx.
2633:
2628:
2621:
2616:
2609:
2604:
2597:
2592:
2585:
2580:
2573:
2568:
2566:
2558:
2553:
2546:
2541:
2534:
2529:
2523:, p. 30.
2522:
2517:
2511:, p. 32.
2510:
2505:
2498:
2493:
2486:
2481:
2470:
2466:
2462:
2458:
2455:(2): 303–11.
2454:
2450:
2443:
2441:
2439:
2431:
2426:
2419:
2414:
2407:
2402:
2396:, p. 29.
2395:
2390:
2379:
2375:
2371:
2364:
2357:
2352:
2350:
2330:
2326:
2325:Whenham, John
2320:
2313:
2308:
2306:
2298:
2293:
2286:
2281:
2274:
2269:
2262:
2257:
2250:
2245:
2238:
2233:
2226:
2221:
2214:
2209:
2202:
2197:
2186:
2182:
2178:
2174:
2170:
2166:
2159:
2157:
2155:
2147:
2142:
2140:
2132:
2127:
2125:
2117:
2112:
2105:
2100:
2098:
2090:
2085:
2083:
2075:
2070:
2063:
2058:
2056:
2048:
2043:
2037:, p. 48.
2036:
2031:
2029:
2021:
2016:
2009:
2004:
1997:
1992:
1990:
1970:
1963:
1956:
1951:
1932:
1928:
1922:
1915:
1910:
1891:
1884:
1865:
1861:
1855:
1848:
1843:
1836:
1831:
1824:
1819:
1812:
1807:
1800:
1795:
1788:
1783:
1781:
1773:
1768:
1762:, p. 93.
1761:
1756:
1750:, p. 91.
1749:
1744:
1742:
1735:, p. 82.
1734:
1729:
1727:
1719:
1714:
1707:
1702:
1696:, p. 96.
1695:
1690:
1683:
1678:
1676:
1674:
1666:
1661:
1654:
1649:
1643:, p. 81.
1642:
1637:
1631:, p. 18.
1630:
1625:
1618:
1613:
1611:
1603:
1598:
1591:
1586:
1579:
1574:
1567:
1562:
1555:
1550:
1543:
1538:
1531:
1526:
1519:
1514:
1507:
1502:
1495:
1490:
1488:
1486:
1484:
1482:
1480:
1478:
1476:
1468:
1463:
1456:
1451:
1449:
1444:
1431:
1426:
1421:
1414:
1413:Nigel Fortune
1410:
1404:
1395:
1388:
1384:
1378:
1371:
1367:
1363:
1359:
1353:
1349:
1336:
1334:
1333:
1328:
1324:
1318:
1316:
1315:
1310:
1306:
1302:
1292:
1290:
1286:
1282:
1278:
1276:
1272:
1268:
1264:
1260:
1256:
1252:
1248:
1243:
1241:
1237:
1233:
1232:
1227:
1223:
1219:
1215:
1207:
1203:
1199:
1197:
1192:
1188:
1184:
1180:
1179:
1174:
1170:
1169:
1164:
1159:
1153:
1148:
1146:
1142:
1138:
1134:
1130:
1129:
1123:
1118:
1116:
1112:
1108:
1107:
1102:
1098:
1093:
1089:
1086:
1082:
1078:
1074:
1067:
1066:Luca Giordano
1063:
1059:
1055:
1053:
1049:
1044:
1040:
1034:
1029:
1027:
1026:
1021:
1020:
1009:
1007:
1003:
999:
995:
993:
988:
984:
983:
978:
971:
966:
964:
960:
956:
951:
948:
944:
940:
936:
932:
928:
919:
915:
910:
905:
903:
899:
895:
890:
885:
883:
878:
870:were composed
869:
865:
860:
856:
853:
852:
847:
841:
836:
831:
829:
825:
821:
820:
816:'s epic poem
815:
811:
806:
796:
793:
788:
786:
782:
777:
772:
770:
766:
762:
758:
754:
750:
749:
744:
740:
735:
733:
729:
725:
721:
717:
708:
701:
696:
694:
690:
686:
682:
678:
674:
669:
667:
663:
659:
655:
651:
647:
643:
639:
635:
626:
621:
617:
611:
606:
602:
600:
596:
592:
588:
584:
580:
576:
570:
568:
564:
560:
556:
552:
548:
544:
540:
536:
532:
528:
527:
526:Metamorphoses
522:
521:
516:
511:
509:
505:
501:
497:
493:
492:
487:
483:
479:
475:
471:
467:
460:
456:
452:
448:
442:
438:
437:
432:
427:
422:
416:
411:
409:
405:
401:
397:
387:
385:
381:
380:
374:
372:
371:
366:
362:
361:
356:
352:
351:
346:
345:
340:
339:
334:
330:
326:
322:
318:
314:
310:
306:
302:
298:
297:
292:
291:
286:
278:
273:
269:
267:
263:
259:
255:
251:
247:
243:
239:
235:
231:
221:
219:
215:
211:
207:
203:
199:
195:
191:
187:
183:
182:
175:
173:
169:
165:
161:
157:
156:Mantuan court
153:
147:
144:
140:
139:
134:
133:
128:
127:
122:
118:
114:
110:
96:
92:
89:
86:
83:
80:
77:
74:
71:
68:
65:
62:
59:
58:
54:
53:
50:
43:
38:
35:
31:
27:
22:
19:
3728:
3586:Recognitions
3573:
3554:
3551:(SV 252–288)
3546:
3540:Sacred music
3527:
3508:
3471:
3463:
3445:
3423:
3410:
3329:
3308:
3287:
3259:
3238:
3215:
3212:Ringer, Mark
3203:
3181:
3159:
3136:
3123:
3075:
3071:
3065:
3053:. Retrieved
3049:the original
3039:
3027:
3005:Redlich 1952
3000:
2988:
2981:Rosand 2007a
2976:
2964:
2952:
2940:
2933:Rosand 2007a
2928:
2916:
2904:
2892:
2885:Rosand 2007a
2880:
2873:Redlich 1952
2868:
2861:Rosand 2007b
2856:
2851:, p. 2.
2849:Rosand 2007a
2844:
2832:
2820:
2808:
2796:
2789:Redlich 1952
2784:
2772:
2760:
2738:Redlich 1952
2733:
2721:
2694:
2663:
2651:
2644:Redlich 1952
2639:
2627:
2615:
2603:
2591:
2584:Stevens 1980
2579:
2557:Stevens 1980
2552:
2540:
2528:
2521:Redlich 1952
2516:
2509:Redlich 1952
2504:
2497:Stevens 1980
2492:
2480:
2452:
2448:
2430:Stevens 1980
2425:
2413:
2406:Stevens 1980
2401:
2394:Redlich 1952
2389:
2369:
2363:
2333:. Retrieved
2319:
2292:
2280:
2273:Stevens 1980
2268:
2256:
2249:Stevens 1980
2244:
2237:Stevens 1980
2232:
2225:Stevens 1980
2220:
2213:Stevens 1980
2208:
2196:
2168:
2164:
2111:
2074:Stevens 1980
2069:
2042:
2020:Stevens 1980
2015:
2008:Stevens 1980
2003:
1973:. Retrieved
1962:
1950:
1935:. Retrieved
1921:
1909:
1894:. Retrieved
1883:
1868:. Retrieved
1854:
1842:
1830:
1818:
1806:
1794:
1787:Redlich 1952
1767:
1755:
1713:
1701:
1689:
1682:Stevens 1980
1660:
1653:Redlich 1952
1648:
1636:
1624:
1604:, p. 4.
1597:
1585:
1573:
1561:
1554:Redlich 1952
1549:
1537:
1530:Redlich 1952
1525:
1513:
1501:
1469:, p. 1.
1462:
1424:
1420:
1408:
1403:
1394:
1382:
1377:
1369:
1365:
1361:
1357:
1352:
1330:
1319:
1312:
1308:
1298:
1295:Consequences
1288:
1280:
1279:
1244:
1239:
1235:
1229:
1217:
1213:
1211:
1205:
1191:Ellen Rosand
1186:
1176:
1166:
1160:
1157:
1151:
1140:
1136:
1132:
1126:
1121:
1119:
1114:
1110:
1104:
1100:
1096:
1094:
1090:
1070:
1061:
1042:
1041:
1038:
1032:
1023:
1017:
1015:
1001:
997:
996:
991:
986:
980:
976:
969:
967:
962:
958:
954:
952:
946:
930:
926:
924:
913:
908:
897:
893:
888:
886:
881:
873:
867:
863:
849:
845:
842:
839:
834:
827:
817:
809:
804:
802:
791:
789:
784:
780:
775:
773:
768:
764:
760:
756:
752:
746:
738:
736:
731:
715:
713:
699:
692:
680:
672:
670:
665:
649:
648:'s libretto
637:
630:
624:
615:
609:
603:
586:
571:
524:
518:
512:
507:
500:Hans Redlich
495:
489:
485:
477:
473:
465:
458:
446:
445:
434:
420:
414:
407:
403:
395:
393:
377:
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368:
364:
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342:
336:
312:
308:
294:
288:
282:
261:
257:
249:
245:
233:
227:
217:
213:
209:
205:
201:
193:
189:
185:
179:
176:
159:
151:
148:
136:
130:
124:
113:church music
106:
94:
87:
81:
75:
69:
63:
55:
18:
3756:Lost operas
3746:1641 operas
3741:1608 operas
3578:(2007 film)
3464:Lost operas
3132:Carter, Tim
3020:Carter 2002
2993:Ringer 2006
2969:Carter 2002
2957:Carter 2002
2945:Ringer 2006
2921:Carter 2002
2909:Ringer 2006
2897:Fabbri 1994
2837:Ringer 2006
2825:Ringer 2006
2813:Ringer 2006
2801:Carter 2002
2777:Carter 2002
2765:Carter 2002
2753:Fabbri 1994
2714:Fabbri 1994
2699:Carter 2002
2687:Carter 2002
2668:Carter 2002
2656:Fabbri 1994
2596:Fabbri 1994
2572:Carter 2002
2533:Carter 2002
2485:Fabbri 1994
2356:Fabbri 1994
2335:11 December
2297:Carter 2002
2285:Fabbri 1994
2146:Carter 2002
2116:Fabbri 1994
2104:Ringer 2006
2089:Carter 2002
2047:Ringer 2006
2035:Carter 2002
1955:Fabbri 1994
1914:Fabbri 1994
1860:Carter, Tim
1847:Carter 2002
1835:Fabbri 1994
1811:Fabbri 1994
1799:Fabbri 1994
1772:Carter 2002
1760:Carter 2002
1748:Ringer 2006
1733:Fabbri 1994
1718:Carter 2002
1706:Carter 2002
1694:Fabbri 1994
1641:Fabbri 1994
1629:Carter 2002
1617:Ringer 2006
1602:Carter 2002
1590:Carter 2002
1578:Carter 2002
1566:Carter 2002
1518:Ringer 2006
1494:Carter 2002
1455:Carter 2002
285:Jacopo Peri
135:(1640) and
24:Lost operas
3735:Categories
3567:Depictions
3428:(SV 318) (
3160:Monteverdi
3078:: 75–117.
3055:27 January
2171:(1): 1–8.
1975:4 December
1937:4 December
1896:4 December
1870:4 December
1542:Grout 1971
1506:Grout 1971
1467:Grout 1971
1339:References
1305:Janet Beat
1253:'s mother
1133:Proserpina
1052:Proserpine
1012:For Venice
968:Plans for
689:recitative
634:Ferdinando
486:L'idropica
390:For Mantua
384:Tim Carter
355:intermezzo
350:intermedio
321:recitative
264:("musical
224:Background
206:Proserpina
3476:(SV 291)
3473:L'Arianna
3450:(SV 325)
3415:(SV 308)
3236:(2007a).
3100:192168763
3032:Beat 1968
2726:Beat 1968
2608:Beat 1968
2545:Beat 1968
2418:Beat 1968
2312:Beat 1968
2261:Beat 1968
2201:Beat 1968
2131:Beat 1968
2062:Beat 1968
1996:Beat 1968
1665:Beat 1968
1440:Citations
1387:sea story
1358:intermedi
1028:survive.
884:setting.
805:Andromeda
792:Andromeda
781:Andromeda
776:Andromeda
769:Andromeda
765:Andromeda
757:Andromeda
739:Andromeda
732:Andromeda
716:Andromeda
702:(1618–20)
700:Andromeda
685:intermedi
666:L'Arianna
642:St Mark's
612:(1616–17)
587:L'Arianna
508:L'Arianna
496:L'Arianna
478:L'Arianna
466:L'Arianna
447:L'Arianna
426:L'Arianna
417:(1607–08)
415:L'Arianna
408:Andromeda
404:L'Arianna
360:entr'acte
317:ensembles
252:(musical
202:L'Arianna
186:Andromeda
181:L'Arianna
172:intermedi
143:librettos
117:madrigals
70:Andromeda
57:L'Arianna
3672:Category
3532:(SV 153)
3513:(SV 167)
3214:(2006).
3202:(1952).
3180:(1971).
3158:(1994).
3134:(2002).
2327:(2011).
1929:(2011).
1862:(2011).
1370:maschera
1228:'s epic
1218:Le nozze
855:Aminta.
591:Florence
579:smallpox
573:leading
551:Minotaur
531:Catullus
523:and the
520:Heroides
484:'s play
474:Euridice
400:libretto
338:maschera
313:Euridice
296:Euridice
129:(1607),
3685:Portals
3612:Related
3425:L'Orfeo
3113:Sources
1332:Arianna
1309:L'Orfeo
1259:Lavinia
1234:, as a
1113:arcadi
1077:Elysium
785:Arianna
575:soprano
567:Jupiter
563:fanfare
559:Bacchus
547:Theseus
543:Ariadne
459:L'Orfeo
396:L'Orfeo
379:L'Orfeo
266:tragedy
230:Gonzaga
152:L'Orfeo
126:L'Orfeo
3776:Operas
3502:Ballet
3337:
3316:
3295:
3271:
3246:
3222:
3188:
3166:
3144:
3098:
3092:853825
3090:
2469:831068
2467:
2378:875297
2376:
2185:855431
2183:
1430:Rubens
1366:tornei
1289:Ulisse
1271:Rutuli
1267:Turnus
1263:Latium
1251:Aeneas
1240:Ulisse
1231:Aeneid
1226:Virgil
1214:Ulisse
1175:, and
1154:(1641)
1035:(1630)
1002:Armida
998:Licori
987:Armida
977:Armida
970:Armida
947:Armida
931:Armida
927:Licori
898:Licori
889:Licori
882:Armida
877:ballet
868:Armida
864:Licori
803:After
753:Apollo
662:Thetis
658:Peleus
537:tells
441:Titian
365:torneo
329:arioso
242:Venice
198:lament
178:works—
168:Venice
121:operas
3723:Music
3711:Opera
3521:Scena
3404:Opera
3096:S2CID
3088:JSTOR
2465:JSTOR
2374:JSTOR
2181:JSTOR
1362:balli
1344:Notes
1275:Hymen
1255:Venus
1115:monti
1111:verdi
1106:balli
1085:Ciane
1081:Cupid
1048:Pluto
973:'
935:Parma
761:ballo
748:ballo
555:Naxos
541:that
539:Cupid
535:Venus
517:—the
462:'
453:, to
344:ballo
309:Dafne
290:Dafne
254:fable
200:from
3335:ISBN
3314:ISBN
3293:ISBN
3269:ISBN
3244:ISBN
3220:ISBN
3186:ISBN
3164:ISBN
3142:ISBN
3057:2012
2337:2011
1977:2011
1939:2011
1898:2011
1872:2011
1247:Juno
1050:and
1022:and
1000:and
941:and
866:and
743:Doge
677:mass
515:Ovid
406:and
327:and
325:aria
311:and
275:The
216:and
192:and
115:and
3438:· "
3080:doi
2457:doi
2173:doi
353:or
287:'s
256:),
240:in
236:at
166:in
32:by
3737::
3442:")
3434:·
3263:.
3094:.
3086:.
3076:18
3074:.
3012:^
2745:^
2706:^
2675:^
2564:^
2463:.
2453:36
2451:.
2437:^
2348:^
2304:^
2179:.
2169:66
2167:.
2153:^
2138:^
2123:^
2096:^
2081:^
2054:^
2027:^
1988:^
1779:^
1740:^
1725:^
1672:^
1609:^
1474:^
1447:^
1385:("
1064:,
965:.
826:,
668:.
439:,
323:,
212:,
188:,
184:,
3687::
3371:e
3364:t
3357:v
3343:.
3322:.
3301:.
3277:.
3252:.
3228:.
3194:.
3172:.
3150:.
3102:.
3082::
3059:.
2471:.
2459::
2380:.
2339:.
2187:.
2175::
1979:.
1941:.
1900:.
1874:.
1372:.
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