Abstract
Abstract Two exceptional fully-sung operas on amorous Ovidian stories were produced by Gaspar de Haro y Guzmán, Marquis de Heliche, for dynastic celebrations at the royal court in Madrid. La púrpura de la rosa and Celos aun del aire matan, poetry by Pedro Calderón de la Barca and music by Juan Hidalgo de Polanco, commemorated the Peace of the Pyrenees and the marriage of the Infanta María Teresa with Louis XIV. The chapter summarizes Heliche’s rise to power and positions at court, arguing that his personal characteristics, temperament, and appreciation for and expertise with erotic art conditioned his productions. He produced musical theater and opera as epithalamia at a time of crisis for the Spanish monarchy (due to the lack of royal succession). The fully-sung operas on erotic stories were performed by casts of very young actress-singers and designed to educate and stimulate the newly arrived and barely nubile Queen Mariana de Austria (married to the aged Philip IV). Heliche’s productions established conventions of Hispanic musical theater that responded to the sexual habits of the aristocracy, concepts of masculine dignity, and isolation of women at the royal court. The music of Hidalgo’s extant score (Celos aun del aire matan) is the focus of analysis.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
