- 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
- (p.379) Epilogue
- Monteverdi's Last Operas
- University of California Press
This chapter places Monteverdi, the dramatist, within the context of the history of opera, as initiator of and participant in the grand tradition that links him with such figures as Handel and Mozart, and especially his co-nazionale—and near namesake—at the other end of that tradition, Giuseppe Verdi. Although the modern Monteverdi revival came long after his death, Verdi, by the example of his last operas, may have prepared the way for that new appreciation, reaffirming the dramatic power of music which his Venetian predecessor had first demonstrated over three centuries earlier.
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