Premiered: 1602, Florence Libretto by Ottavio Rinuccini, after Ovid Prologue The figure of Tragedy introduces the opera, explaining that to make the story suitable for marriage celebrations, the original ending has been altered. Act I The act opens in an Arcadian village, with Euridice preparing for her marriage to Orfeo, along with nymphs and shepherds ...
‘Julius Cesar in Egypt’ Handel’s operas usually revolve around the voices and particular gifts of the singers that were available to him. Giulio Cesare in Egitto was created in 1724 as a vehicle for Senesino and Cuzzoni, although the characteristic trademark of Handel’s best operas is that the emotions and experience of the characters are not sacrificed to the virtuosity ...
1551–1618, Italian At age 13, Giulio Caccini arrived at the court of the de’ Medici family in Florence and very quickly proved himself immensely gifted in several musical skills – as singer, composer, teacher, lutenist and harpist. In 1598, Caccini helped Peri compose Dafne. In 1600, he became superintendent of musicians and actors at ...
(Jool’-yo Ka-che’-ne) c. 1545–1618 Italian composer Caccini was a singer and instrumentalist at the Medici court. His most important publication was Le nuove musiche (‘The New Music’, 1602), which contained madrigals and strophic songs with basso continuo. Its preface, in which ornamentation and figured bass are discussed, outlines the stile rappresentativo. In this new monodic style he sought to follow ...
1600–69, Italian Priest and librettist Giulio Rospigliosi served the opera-loving Barberini pope Urban VIII. Urban’s family gave Rospigliosi a magnificent setting for his libretto for Il Sant’Alessio (1632) by Stefano Landi, which was performed at the opening of the opera house in the Barberini palace in 1632. Three more libretti in the next decade included Rossi’s Il palazzo incantato. ...
Opera, with its unique blend of poetry, drama and music, has come a long way from its humble beginnings in ancient Greek theatre. The grandiose, all-encompassing music dramas of Verdi and Wagner may seem a world away from the era of Aristotle and Plato, but this noble civilization, which held music and theatre in high ...
Baldassare Castiglione’s Il libro del cortegiano (‘The Book of the Courtier’) was published in 1528 and became the most influential book of manners of its time. It was still being reprinted well into the eighteenth century and was translated into many languages. The Courtier presents a series of evening conversations purported to have taken place at the court of Urbino, ...
The affectionately nicknamed ‘squeeze box’ is the smallest of all conventional keyboard instuments, and the lowliest cousin of the organ (except the shirt-pocket harmonica). Strictly speaking, however, it has neither keys nor a keyboard. Nor has it a uniform shape. Playing Technique Whereas the standard English concertina is hexagonal, German and American models are square. The basic ...
The revival and imitation of ancient theatrical genres in sixteenth-century Italy bore fruit in seventeenth-century England and France in the works of the great dramatists of those countries: William Shakespeare and Christopher Marlowe, Pierre Corneille and Jean Racine. In Italy, however, the sixteenth-century innovations in spoken drama were followed in the next century not by a great national ...
The traditions and styles of opera from Venice and Naples dominated operatic life in Rome, although for a short time public opera performances were forbidden in the papal city. The influence of Italian opera stretched much further, and companies were established outside Italy – most notably the Dresden opera house at the court of the Elector of Saxony, ...
Classical ideals began to emerge and take shape in musical treatises in the late fifteenth century. One of the most famous exponents of this was Johannes Tinctoris (1430–after 1511), who, in his writings, claimed that music had been reborn in the works of John Dunstaple (c. 1390–1453) and his followers around 1440. Also central to Renaissance thinking about music ...
‘Saint Alexius’ Premiered: 1632, Rome Libretto by Giulio Rospigliosi Prologue The figure of Roma (Rome), surrounded by a chorus of slaves, dedicates the performance to the Prince of Polonia (Poland). Act I Eufemiano, a Roman senator and Alessio’s father, encounters Adrasto, a knight returning from war. While pleased to see Adrasto, Eufemiano mourns the disappearance ...
‘The Triptych’ In constructing an operatic triple-bill, Puccini followed no precedent. He had nursed the idea for some time, to the despair of Giulio Ricordi, who felt it would be a box-office disaster. With the publisher’s death in 1912, Puccini soon felt able to work on the project. His librettist for La rondine, Giuseppe Adami, ...
c. 1620–c. 1660, Italian Singer Anna Renzi created the part of Ottavia, the neglected wife of Emperor Nero in Monteverdi’s L’incoronazione di Poppea, in 1642, and she sang many other operatic roles in Venice. Renzi was one of the first female opera singers and also one of the first, if not the first, singers to ...
1619–67, Italian Venetian-born Barbara Caterina Strozzi, singer and composer, was the daughter of the poet and librettist Giulio Strozzi by one of his servants. Although she was the principal singer at the Accademia degli Unisoni in Perugia, which had been founded by her father in 1634, her most important contribution to music was as one of ...
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