Baroque opera

Might composers of solo song and opera c.1600 have modelled these emerging musical forms, in part, on plainchant recitation? As this dissertation demonstrates, chant and monody were contiguous musical practices, united in their imitation of ancient speech-like song, with composers like Jacopo Peri, Giulio Caccini, and Claudio Monteverdi inserting chant-like formulas into their solo vocal works. The evocation of plainchant in early monody may have had a pointed purpose: to gesture musically towards antiquity and to formulate a distinct melodic character for solo-voiced music. This was by virtue of plainchant’s apparently “antique” remnants: use of mode, extended recitation, and centrality of text. By exploring intersections between sacred and secular spheres in Early Modern Italy, and by examining chant, monodies, and theoretical writings from ca. 1600, this dissertation highlights the previously obscured triangle of plainchant, ancient song, and monody. It furthermore provides new tools for analysis of music in the formative years of the first operas, and reframes sixteenth-century plainchant—largely neglected in music histories—as a significant creative force in Early Modern musical culture.

Im Zentrum dieses Bandes steht die Fest- und Opernkultur am Wittelsbacher Hof während der Herrschaft der Kurfürsten Max Emanuel (1680–1726) und Karl Albrecht (1726–1745). Betrachtet wird vor allem die Intention des Fürstenhauses, den Unter­tanen auf diese Weise die Notwendigkeit der bestehenden Ordnung zu vermitteln und zugleich die konkurrierenden Höfe von der Macht des bayerischen Hofes zu über­zeugen. Opern, Turnierspiele und Festkantaten werden dazu in die höfischen Kommunikationszusammenhänge eingeordnet. Der Autor zeigt, wie die politisch-kulturelle Gegenwart in den Aufführungen gespiegelt wurde, indem in ihnen der konkrete Aufführungsanlass verarbeitet, aber auch Aspekte der höfischen Lebenspraxis in symbolischer Form zum Ausdruck gebracht wurden.

This chapter examined Claude's seaports through their relationship with contemporary theatre and the intellectual and cultural life of the Barberini era. In particular it linked Claude's sunsets to both the intense scientific study of the sun taking place in these years and Urban VIII's use of the solar imagery as his personal iconography.

L’ambigua identità delle Amazzoni e la loro rivendicazione di un potere esclusivamente femminile hanno affascinato fin da subito il mondo operistico seicentesco, che ne ha sfruttato con prontezza il potenziale drammaturgico e spettacolare. La significativa ricorrenza, fra Sei e Settecento, di opere sul mito delle Amazzoni è stata più volte segnalata, ma finora mai studiata nella sua complessità, come avviene in questo lavoro. L’analisi di opere basate sulle stesse figure e sugli stessi nuclei narrativi permette di indagare il teatro musicale barocco attraverso punti di vista assai proficui e spesso inediti. Gli episodi scelti e le differenti configurazioni assunte dai medesimi consentono di evidenziare le specificità culturali e politiche dei vari contesti teatrali, dei singoli committenti, nonché di ripercorrere le evoluzioni della drammaturgia operistica in un importante arco cronologico. Inoltre, il caso specifico delle Amazzoni – guerriere che vivono in regni femminili autonomi e si scontrano con eserciti maschili – porta alla ribalta figure che nel dibattito dell’epoca simboleggiano la capacità femminile di governare stati e di maneggiare le armi, legittimando il potere delle donne e le donne al potere. Il volume, dopo una ricostruzione dell’immaginario storico e ideologico incarnato dalle mitiche virago in età moderna, analizza tempi, modi e presupposti che hanno determinato la fortuna dei singoli episodi del mito nel dramma per musica italiano e d’importazione oltralpina. Episodi che mettono in scena, grazie alla musica, il delicato e conflittuale rapporto fra amore e gloria, fra sesso, genere e potere, e in ultima istanza fra uomo e donna.

L a segunda mitad del siglo XVII fue un período de gran experimentación en la música teatral española. La boda de Felipe IV con Mariana de Austria en 1649 supuso el fin de casi una década de luto y abrió una etapa dorada de fiestas cortesanas, en la que confluyeron varios personajes: un maduro Calderón, que a partir de 1651 abandonó las tablas de los corrales para consagrarse al teatro áulico; el libretista Rospigliosi, nuncio apostólico de 1644 a 1653, que trajo a Madrid algunas convenciones de la ópera italiana con la ayuda del ingeniero Baccio del Bianco; el compositor Juan Hidalgo, que durante tres décadas reinaría en la música teatral de la corte; Gaspar de Haro, marqués de Eliche, responsable de la organización de los espectáculos cortesanos durante el tercer cuarto de siglo; y, especialmente, el florecimiento de una extraordinaria generación de actrices-cantantes sin las cuales nada hubiera sido posible.

P r e f a c e with eighteenth-century re-embodiments of these tales and characters. the experiment was refreshing, to say the least, and led to the conclusion that opera seria lacked a standard formula to represent even a specific myth-for instance, we found three composers endorsing as many different dramaturgical solutions to conclude the iphigenia in Aulis, despite their libretti being adapted from the same tragedy, Jean Racine's Iphigénie (1674). 4 Illustration 1. soprano soetkin elbers rehearsing clytemnestra in Ifigenia (brussels, December 2006). photograph by matthias schellens. 4. Ifigenia contained excerpts from Antonio caldara's Ifigenia in Aulide (Vienna, 1718; libretto by Apostolo Zeno), carl heinrich graun's Ifigenia in Aulide (berlin, 1748; libretto by Leopoldo de' Villati after a scenario by Frederick the great and Francesco Algarotti), and niccolò Jommelli's L'Ifigenìa (Rome, 1751; anonymous libretto). on their various conclusions, see Reinhard strohm's chapter. Reprint from (Dis)embodying Myths in Ancient Régime Opera-ISBN 978 90 5867 900 0-© Leuven University Press P r e f a c e 1 (Dis)embodying myths in Ancien Régime opera seeks to shed new light on the chameleonic appearance of mythology in musical drama between c. 1600 and 1800. 5 indeed, opera in this period capitalized on the scenic potential of myth to no mean degree. At its inception, in late Renaissance Florence, the favola in musica (literally: 'fable in music') was almost uniquely built upon the crystal palace of ovidian mythology. With the 'rediscovered' monody (recitar cantando) seen as a genuine equivalent to orphic song, 6 the magical and healing powers of which were ascribed to extraordinary men, early opera staged the "ancient deities, such as Apollo, thetis, neptune, and other respected gods," but also the "demigods and ancient heroes," and in particular those "perfect musicians" like orpheus himself, Amphion, or David-the words are drawn from the anonymous tract Il Corago (see Jean-François Lattarico's chapter). 7 but the presence of myth in Ancien Régime opera was anything but uninterrupted or unproblematic. Difficulties arose from the very concept of 'myth' itself, which we today could define, with mircea eliade, as a "story of the deeds of supernatural beings" that "concerns a creation" and is considered "absolutely true" and "sacred" by its users. 8 When applied to seventeenth-or eighteenth-century opera, however, this definition proves unstable, if not inadequate. For instance, pietro metastasio's Didone abbandonata (1724), the most popular libretto ever to deal with the legend of Dido and Aeneas, introduces the supernatural in only an indirect, invisible sense (as bruno Forment's chapter points out). granted, the libretto alludes to two creations (carthage by Dido and Rome by Aeneas and his offspring), the latter of which must have borne 'sacred' implications for metastasio, Roman-born and a lifelong representative of romanitas. All the same, the poet cannot have considered the Vergilian story "absolutely true," for in his foreword, metastasio acknowledged the concurrence of Aeneas' wanderings after the trojan War (thirteenth century bc) and the 5. the term 'Ancien Régime' was chosen for the sake of comprehensiveness: alternative labels (e.g., 'baroque' or 'classicism') simply fail to encompass the stylistic breadth of the two centuries of operatic history dealt with in this book. 6. see tomlinson 1999, 17. 7. Anonymous 1983, 63: "per cominciare da personaggi o interloquitori che la rapresentazione armonica pare che più convenevolmente abbracci, sembrano molto a proposito per le azioni profane le deità antiche come Apollo, teti, nettuno et altri stimati numi, come anche i semidei et eroi vetusti ... e sopra tutti quei personaggi che stimiamo essere stati perfetti musici, come orfeo, Anfione e simili." 8. eliade 1991, 5.

Nel 1988, quando Carl Dahlhaus pubblicava il suo contributo sulla Drammaturgia dell'opera italiana, l'atteggiamento degli storici nei confronti dell'opera seria settecentesca era già ambiguo. Accanto ai detrattori, che vi rintracciavano un'assenza di coerenza tra i diversi numeri, vi era chi intendeva rendere giustizia all'opera metastasiana in un'ottica evoluzionistica, ovvero cercando in questa presunta mancanza il «carattere originario di una forma drammatico-musicale che soltanto nelle "opere riformate" [...] avrebbe trovato la sua "vera" fisionomia, fin da sempre latente e prefissata». 1 Vi era poi chi, secondo Dahlhaus, negava del tutto la sua incoerenza e chi, infine, provava a giustificarla drammaturgicamente. Numerosi sono gli studi che negli ultimi anni hanno contribuito a migliorare la conoscenza di questo genere: edizioni critiche, monografie, convegni e un'ampia saggistica su opere, compositori, cantanti settecenteschi sino a quel momento quasi del tutto trascurati. 2 Nonostante ciò, l'opera seria settecentesca stenta a tro-* Questo articolo rappresenta un approfondimento di alcuni capitoli della mia tesi di dottorato (Affetti in scena. Le opere serie di Pergolesi tra drammaturgia e regia), discussa all'Università degli Studi di Siena nel 2013. Desidero ringraziare Andrea Chegai, mio tutor di dottorato, e Carlo Lanfossi per avere letto in anteprima queste pagine, contribuendo con i loro commenti a migliorarle.

El artículo relata el proceso de recuperación de una ópera inédita de José de Nebra, Venus y Adonis (Madrid, 1729), desde la investigación documental en archivos y el estudio crítico de fuentes hasta la preparación de una edición crítica para el estudio y una edición práctica destinada a la interpretación. El proceso concluye con la interpretación, en salas de conciertos, de la obra y su grabación y transmisión por diversos medios. El artículo incluye una reflexión sobre los criterios y
límites de la recuperación de patrimonio musical histórico.

This paper deals with the process of recovery of an unpublished opera by José de Nebra, Venus y Adonis (Madrid, 1729), starting from the documentary research in archives and the critical study of sources and continuing with the preparation of a critical and practical edition for both study and performance. The process concludes with the performance, in concert halls, of the work and its recording and transmission by various media. The article includes a reflection on the criteria and limits of the recovery of historical musical heritage.

The morphology of Baroque arias, both in their few pre-eighteenth-century variants and in the later da capo model, has not been fully explained in relationship with its symbolic function, which is that of being the privileged site of subjective expression. In arias, unity of affect and formal standardization contradict the post-eighteenth-century idea of a psychological development. It is therefore necessary to study them through the aesthetic and cultural categories of the time in which they were composed. In this perspective, in the last decades scholars have interpreted the tendency of aria to be stereotypical and circular as a sounding metaphor of human beings’ rationality (Michael Robinson), as a discursive model to self-regulate an emotional outlet and to dissimulate it (Silke Leopold), and as a moment in which a character recognizes and identifies thoughts and passions from which he or she is stirred, codifying them according to shared formal parameters, in order to assure their recognizability.
Starting from these hypotheses, and in particular from this last, this article—through a comparative reading of different types of sources concerning the musical theory and the aesthetics of opera, but also wider cultural reflections on passions (in philosophy, physiology, and rhetoric)—aims at providing a conceptual basis to explain Baroque arias (and their morphological and chronometric transformations) as symbolic projections of the temporality needed by the soul to organize thoughts and affections. Isabelle Moindrot has emphasized that one of the assumptions on which the coherence of Italian musical dramaturgy is founded is precisely the illusion of the temporal development of the soul, besides that of the spatial development of opera stages. Her perspective facilitates the study of the morphological transformations affecting arias between the end of the seventeenth and the beginning of the eighteenth centuries—their increasing structural articulation, the multiplication of the repeated sections, and the lengthening of coloraturas. These transformations are means aimed not only at offering an ever increasing space to virtuosic display (of both composers and performers) but also at prolonging the temporal extension of the pieces themselves; this in a period in which philosophical and scientific thought tends to consider cognitive processes as becoming increasingly wide-ranging and complex, thanks to the more relevant role assigned to passions.
The article is organized into three sections. The first section shows that arias, according to the correspondence between interiority and exteriority pursued by seventeenth-century culture, probably are popular because they, like monologues, play on the audiences’ voyeuristic pleasure for private aspects: those same aspects that instead, in court life, had to be dissimulated, thus becoming hardly known. Furthermore, contemporaneous considerations regarding the relationship between the shorter length of a monologue and the actual mental process that it represents (or, as we would call it today, between a closed and an open temporality) emphasize the awareness of the meanings implicit in the chronometric dimension of subjective expression; this awareness is perhaps reflected in the tendency to increasingly extend the length of arias.
In the second section of the article, the frequent repetitions and the formal circularity of da capo arias are interpreted as projections of a process of mental “rumination.” This process is typical of the cognitive developments determined by emotions and reflections, and it is characterized by a redundant, obstinate, and persisting thought. Both the rumination—which happens in the soul— and the successive externalization of one’s own feeling—which happens in arias—are today defined by psychologists as strategies of “coping,” aiming at producing meaning: by ruminating, one can identify one’s own feelings, understand their implications, and control emotional experiences, keeping an objective as aim. Moreover, the repetitions of lines and sections of arias can be interpreted, based on contemporaneous treatises on rhetoric, as figures of speech that indicate one’s own emotional involvement, as if the power of an emotion were such that it could block the linearity of speech.
The last section of the article deals with the chronometric extension of arias, by discussing contemporaneous philosophical and physiological references to a subject’s emotional and cognitive temporality. Its duration is proportional not only to the psycho-physic impulse of a passion but also to the age and maturity of an individual, that is, to his or her capacity for mental elaboration. This explains why in operas, according to conventions, the longest and more complex arias are assigned to the protagonists and to the more noble characters in the drama, since they are indeed those who experience the most intense affects and the most profound reflections. This diversity in affective or gnomic content, however, is not reflected by the formal structure of arias, which remains identical, especially in the da capo version: this may mean that this musical structure embodies a generic discursive model of organized rationalization and communication of interiority. Through arias, then, characters, by representing through music the temporal extension of their conscience, give both a meaning to their selves and a symbolic form to mental processes often triggered by passions.

(English translation by Mauro Calcagno)

Un grand nombre de pièces du xviie siècle sont « encadrées » par des ornements parathéâtraux : prologues, épilogues, intermèdes et choeurs. Rarement représentés, ces encadrements sont pourtant des indices, laissés par les auteurs, qui nous fournissent des informations sur la pièce principale. En analysant les encadrements de George Dandin et de Cadmus et Hermione, nous illustrerons la façon dont ces ornements nous permettent de mieux comprendre non seulement les idées d’une pièce, mais aussi son style.

A considerable number of 17th century plays are “framed” by various paratheatrical ornaments such as prologues, epilogues, intermèdes and choruses. Although seldom performed, they are in fact clues left by the author which give information about the principal work. By analysing the function of paratheatrical “frames” in George Dandin and Cadmus et Hermione, this article aims to illustrate how these ornaments can help us better understand not only the ideas of a play, but also its style.""

In 17th-century works, the use of prologues which put on stage personifications of the arts involved in the show itself plays on an argument which is typical of 16th-century ideas: the 'paragon' or the debate about the superiority of one art to another. This metatheater serves to assert the aesthetic premises of the new artistic genre - the dramma per music, before the 18th-century development of a specific poetics. The work is only realized if the components, rather than competing, seek to merge in a beautiful combination, today one would say in a Gesamtkunstwerk. A new theatrical show on a such an elevated multimedial level is as grandiose as it is disorienting for an aesthetic classification of the genre.. In the absence of genuine aesthetic discussion, the frequency of metatheatrical prologues seems, however, to be a symptom of a need for legitimation and for progressive artistic awareness. Prologues are examined from various inter-related aspects, in order to answer several questions. The first aim is to reconstruct the progressive success and diffusion of this these works in Italy and beyond the Alps. Second, an analysis of the aesthetic signifiers is attempted, emphasizing the points of contact between the staging of the paragon and the world of the academies, site of reflection on the arts but also of commissions and destinations of compositions on this subject. Finally, other functions performed by the multi-art prologues, as 'paratexts' of a performative event, are explored.

Il ricorrere, in opere seicentesche, di prologhi che inscenano le prosopopee delle arti coinvolte nello spettacolo sfrutta un argomento tipico della riflessione cinquecentesca: il ‘paragone’, ovvero il dibattito attorno alla superiorità di un’arte sulle altre. Attraverso il metateatro, vengono affermate le premesse estetiche del nuovo genere artistico, il dramma per musica, prima dell’elaborazione settecentesca di una poetica specifica. Di fatto, a differenza di altre forme d’arte, l’opera si realizza solo se le singole componenti, anziché primeggiare, mirano a fondersi in un ‘bel composto’ – oggi diremmo in un Gesamtkunstwerk – che dovrebbe essere ben di più della semplice somma di ciascuna di loro. Un nuovo spettacolo di livello ‘multimediale’ così elevato è tanto grandioso quanto disorientante per la classificazione estetica del genere. In assenza di una vera discussione estetica, la frequenza di prologhi metateatrali sembra perciò il sintomo di un’esigenza sia di legittimazione che di progressiva consapevolezza artistica. Il contributo affronta lo studio dei prologhi su piani differenti e interconnessi, per rispondere a più domande. In primo luogo, mira a ricostruire la progressiva affermazione e circolazione del soggetto nei centri della Penisola e oltralpe. In secondo luogo, analizza i significati estetici assunti, evidenziando i punti di contatto fra la messinscena del ‘paragone’ e il mondo delle accademie, luogo di riflessione sulle arti ma anche di committenza e destinazione di composizioni sullo stesso soggetto. Infine, sonda altre funzioni assolte dai prologhi multiarti in quanto ‘paratesti’ di un evento performativo.

From the 1680s onwards, Ferdinando Galli Bibiena (1657– 1743) revolutionized the art of stage design by experimenting with a so-called “manner of seeing scenes from an angle”. The scena per angolo substituted the traditional, single-point perspective with two distance points and worm’s-eye views that rendered architectures in more monumental fashion than ever before. At the same time, the new system’s reliance on backdrops and wings that were placed irregularly, instead of symmetrically, restricted the illusionary compass of perspective to enclosed spaces, rather than “infinite” vistas. It reduced the theater’s optical scope by limiting itself to horizontal slices of earthly reality, devoid of the celestial and infernal.
Especially noteworthy is the fact that vertical descents, especially of dei ex machina, could only be implemented in Bibiena’s schemes at the cost of upsetting vertical proportions. Not that this defect complicated stagings of contemporary Italian opera. Quite the contrary: opera seria’s poetics of verisimilitude chimed perfectly with the phenomenal breadth of two-point perspective. Yet, operatic genres hinging on the marvelous through the deployment of machinery, most notably the tragédie en musique and the various forms of feste, held on to central perspective so as to allow divine descents. Evidence for this intriguing development can be gleaned from a rich array of visual and textual sources.

No, these first steps will not make you a master of Baroque Gesture. But they will create the conditions in which you can study and practise further.

So, whilst you are putting in the time to internalise the collected wisdom of Quintilian, Bulwer & Bonifacio, to memorise the complete works of Shakespeare and/or to translate all the ‘opera’ libretti from Anima e Corpo (1600) to Poppea (1643), to learn all of Negri’s courtly dances, and to become a rapier-master according to Capo Ferro, here are some quick and easy short-cuts, literally from the ground up.

Nell'opera di Händel Amadigi di Gaula (1715) si combinano elementi di diverse culture europee: un soggetto spagnolo ricavato dal romanzo cavalleresco Amadís de Gaula di Montalvo; un impianto dram-maturgico francese, basato sull'opera Amadis de Grèce di La Motte; un genere teatrale italiano, concepito per il pubblico inglese. Oltre a illustrare alcuni effetti di tale sinergia di elementi (narrativi, spettacolari, estetici), nel contributo si discutono le opere seicentesche basate sul romanzo spagnolo, l'assenza del soggetto nella produzione operistica italiana, e la scelta del libretto francese come testo fonte di Amadigi. Infine, analizzando le modifiche apportate alle sezioni chiave dell'opera francese, i divertissements, nell'opera italiana, si riflette sulle peculiarità delle relative poetiche drammaturgiche.

Handel's opera Amadigi di Gaula (1715) combines elements of various European cultures: a Spanish subject derived from the chivalric novel Amadís de Gaula by Montalvo; a French dramaturgy, based on La Motte's Amadis de Grèce; an Italian theatrical genre, conceived for the English audience. In addition to showing some of the effects of this synergy of elements (narrative, spectacular, aesthetic), this paper discusses the seventeenth-century operas based on the Spanish novel, the absence of the subject in Italian opera production, and the choice of the French libretto as source text for Amadigi. Finally, analysing the changes made to the key sections of the French opera (divertissements) in the Italian one, the article reflects on the peculiarities of the two dramatic poetics.

The opera aria, having to express the emotional and reflective feeling of a subject, is the result of factors which are not only related to the production system, but also to anthropological and cultural codes belonging to the people who employ it. Dramaturgical poetics, rhetorical formulas, and formal structure are the elements through which the aria em bodies these codes, becoming a symbolic projection of how a specific population conceives and represents the reaction of an individual in an existential instant and in a specific relational context. In order to consider the anthropological factors that may have affected the musical elaboration of the aria, it is useful to examine contemporary stereotypes about the temperaments of people in each nation, which were often used at that time to explain differences in the artistic productions of various countries. After a rereading of the querelle, straddling the 17th and 18th centuries, on the superiority of ltalian or French opera, I reflect on the relationship between emotional stereotypes attributed to Italians and the compositional aspects that characterize perception, especially the transalpine one, regarding the Italian aria, in contrast with the French one. More generally, my objective is to study in depth the interrelationship between formal strategies and the specificity of “national” anthropological cultures.

Michele Cumis, «Vantaggioso patto l toccar con gl'occhi e rimirar col tatto». Drammaturgia. poetica, retorica nel ~<Giasone» di G.A. Cicognini Hendrik Schulze, Plot Structure and Aria Position in Nicolò Minato and Francesco Cavalli's "Artemisia" (1657) Davide Daolmi, Attorno a un dramma di Rospigliosi: le migrazioni europee di un soggetto di cappa e spada Roberta Carpani, Materiali e tecniche da un cantiere drammaturgico del secondo Seicento: «La Bianca di Castiglia" di Carlo Maria Maggi James Leve, "Gl'inganni amorosi scoperti in villa" (1696): A Comic Opera in Bolognese Dia/ect Giovanni Morelli, Di alcuni effetti di 'Ferner Klang', nelle trame drammatiche veneziane ~~~ g

This is the first study to examine Antonio Vivaldi's opera, Orlando finto pazzo, in relation to its source text, Matteo Boiardo's masterpiece, Orlando innamorato. The intent of this analysis is to revive interest in a work that was overshadowed by the critically acclaimed Giovanni Ristori opus, Orlando furioso. While the librettist Grazio Braccioli preserves familiar traits of Boiardo's protagonists, he inventively develops their strengths and weaknesses to the audience's delight. Orlando, who remains hopelessly clueless about his adored Angelica's nefarious motives, nevertheless eventually wises up to his former mistress Origille's pattern of treachery.

In Singing in Signs: New Semiotic Explorations of Opera. Edited by Gregory J. Decker and Matthew Shaftel. New York, Oxford University Press.

In this chapter, I make a case for the interpretive significance of Baroque topics by examining historical thought and modern analytical precedent, detailing the types of significations these topics might convey, and presenting case studies that demonstrate the efficacy of musical topics in the analysis of opera seria. These case studies are drawn from the Italian language operas of G.F. Handel and focus on his uses of the minuet and the gigue. The strategic use of dance topics in the late Baroque was likely meaningful to Handel’s audiences and can still be useful for interpretation today.

The myth of Ariadne, echoing the tradition of Ovid, Catullus and other sources, was one of the preferred themes of opera writers. Over the centuries, opera composers interpreted the two parts of the myth differently – whether in Crete or Naxos – in librettos often very far removed from the original myth, in accordance with the prevailing tastes of the times. Sometimes the boundary between comedy and tragedy is very fine. In this essay, it is possible for the reader to follow a path, a veritable Ariadne’s thread, in order to explore and understand the many Ariadnes through the labyrinth of the History of Music, from Monteverdi to Strauss, and the Ariadnes also mentioned in novels and poems and in the lesser-known operas.

How can academic research, continuing professional development, artistic training and international-level Early Opera performance be better integrated?

17th-century priorities guided Andrew Lawrence-King's 5-year investigation at the Australian Research Council's Centre for the History of Emotions and with IL CORAGO, the production company for historical staging. With a unique combination of academic rigour, unified focus, practitioner expertise and international scope, this program applied historical research to the development of new training methods for modern performers in some 2 dozen award-winning productions of Early Modern music-dramas and Historical Action worldwide.

The posted paper includes open access links to documentary films, videos and further articles.

The fascinating phenomenon of the migration of theatrical subjects between literary genres, languages and countries is enriched through a new example discussed in this article. A handwritten libretto compiled in Rome for the court of Vienna, "La simpatia nell’odio, overo Le Amazoni amanti" by Giovanni Pietro Monesio (1664), was discovered to be a faithful translation of the Spanish play "Las Amazonas" by Antonio de Solıs (1657), hitherto known as the elaboration of a much earlier libretto, "La caduta del regno delle Amazzoni", by Domenico De Totis (1690), set by Bernardo Pasquini. Monesio’s libretto not only allows us to reconstruct the manner and time of the European circulation of a Spanish subject (from Madrid to Rome, to Vienna and Naples), but also to shed light on wider cultural aspects. First of all, it increases the number of librettos closely based on Spanish plays, of which so far only a few examples by Giulio Rospigliosi were known. Secondly, it provides further proof of the hypotheticised Spanish influence on the fortune of the Amazons in Italian opera and confirmation that its first appearance was beyond the Alps rather than in Italy. Finally, in the context of the Habsburg Viennese court, the success of the Amazons seems to be linked to the political need to create a strong symbolic association between the ‘discourse’ on the virago and the legitimation of female power.

Ricostruzione della vita musicale presso la chiesa di Santa Maria delle Anime del Purgatorio ad Arco di Napoli tramite lo studio delle fonti d'archivio (secc. XVII-XVIII).
Tesi del Biennio di Specializzazione in DISCAMUS (Discipline storiche, critiche, analitiche della Musica) del Conservatorio D. Cimarosa di Avellino, relatore: Prof. Paologiovanni Maione; correlatore: Prof.ssa Marina Marino, a.a. 2013-14.

Femminile e maschile nel Settecento / a cura di Cristina Passetti, Lucio Tufano. -Firenze : Firenze University Press, 2018. (Biblioteca di Storia ; 31) http://digital.casalini.it/9788864537139 ISBN 978-88-6453-711-5 (print) ISBN 978-88-6453-713-9 (online)

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Biografía del compositor Francesco Corselli, nacido en Piacenza (Ducado de Parma, Italia) en 1705 y muerto en Madrid en 1778. TRas una brillante trayectoria como compositor en Parma y Venecia se trasladó a España donde ejerción como maestro de la Capilla Real durante 40 años. Fue un brillante compositor de ópera y música religiosa.