Studies in Seventeenth-Century Opera

Abstract

Contents: Introduction Part I 17th-Century Opera: The Early Years: Singing Orfeo: on the performers of Monteverdi's first opera, Tim Carter Training a singer for Musica Recitativa in early 17th-century Italy: the case of Baldassare, John Walter Hill Re-voicing Arianna (and laments): two women respond, Suzanne G. Cusick. Part II Monteverdi and Cavalli: Monteverdi's mimetic art: L'incoronazione di Poppea, Ellen Rosand Tacitus incognito: opera as history in L'incoronazione di Poppea, Wendy Heller Didone by Cavalli and Busenello: from the sources to modern productions, Dinko Fabris Censoring Eliogabalo in 17th-century Venice, Mauro Calcagno. Part III Italian Opera During the Second Half of the 17th Century: La sirena antica dell'Adriatico: Caterina Porri, a 17th-century Roman prima donna on the stages of Venice, Bologna and Pavia, Beth L. Glixon Dances from the 'four corners of the Earth': exoticism in 17th-century Venetian opera, Irene Alm On the road with the 'suitcase aria': the transmission of borrowed arias in late 17th-century Italian opera revivals, Jennifer Williams Brown. Part IV Opera Outside Italy: Why the first opera given in Paris wasn't Roman, Margaret Murata The articulation of Lully's dramatic dialogue, Lois Rosow Recovering the Lullian divertissement, Rebecca Harris-Warrick Opera and the Spanish political agenda, Louise K. Stein What did Handel learn from Steffani's operas?, Colin Timms Performance and political allegory in Restoration England: what to interpret and when, Andrew R. Walkling The politics of opera in late 17th-century London, Robert D. Hume Name Index.