Abstract
Throughout most of the seventeenth and eighteenth centuries a three-act structure prevailed in Italian opera. Spoken plays in Renaissance Italy had been in five acts, a structure which was maintained both when music was inserted into them (as in Guarini's Il pastor fido of 1584) and, later, when they were set entirely to music (as was Rinuccini's Orfeo of 1600). Whereas spoken plays generally continued to follow a five-act structure, the favola in musica soon assumed a different, three-act structure (T. de Cupis's Eumelio of 1606 set by Agostino Agazzari and Ottavio Corsini's Aretusa of 1620 set by Filippo Vitali were among the first to be in three acts) and this remained the norm until the 1770s.
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