- Title Pages
- Musical Examples
- Editorial Procedure
- 1 Orpheus in Venice
- 2 Discoveries and Reception
- 3 Sources and Authenticity
- 4 Two Scores
- 5 Ancients and Moderns
- 6 A Master of Three Servants
- 7 Constructions of Character
- 8 The Philosopher and the Parasite
- Appendix 1 Giacomo Badoaro, <i>Il ritorno dʼUlisse</i>, Preface
- Appendix 2 Argomento et Scenario delle <i>Nozze dʼEnea in Lavinia</i>
- Appendix 3 Giacomo Badoaro, <i>Ulisse errante</i>, Preface
- Appendix 4 <i>Lʼincoronazione di Poppea:</i> Argomento, Scenario, Preface
- Appendix 5 <i>Il ritorno dʼUlisse:</i> Badoaro's Argomento Compared with Dolce's <i>Allegorie</i> and Dolce's Argomenti Compared with Badoaro's Structure
- Appendix 6 <i>Le nozze dʼEnea e Lavinia:</i> Scenario Compared with Dolce's <i>Allegorie</i>
- Appendix 7 Supernatural Scenes
- Appendix 8 Singers
Orpheus in Venice
Orpheus in Venice
- (p.1) 1 Orpheus in Venice
- Monteverdi's Last Operas
- University of California Press
This chapter serves as a prologue that introduces the cast of characters and describes the setting. Claudio Monteverdi has long been celebrated as the first great composer of opera; he was acknowledged as such during his lifetime. The chapter argues that a particular dramatic vision links Ritorno and Incoronazione to one another and to Nozze. This ghost opera joins with the two survivors to form a coherent body of works that attests to Monteverdi's position within the world of Venetian opera as a whole. One of the most distinctive aspects of Monteverdi's three Venetian operas is that their librettos are known to have been written specifically for him, as part of an effort to lure him back to the musical theater.
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