Table of Contents

List of Illustrations List of Tables List of Musical Examples Preface Editorial Procedure Abbreviations 1 Orpheus in Venice Prologue A New Ulysses The Myth of Venice 2 Discoveries and Reception Scholarship Performance 3 Sources and Authenticity: Three Librettos Il ritorno d'Ulisse Le nozze d'Enea L'incoronazione di Poppea 4 Two Scores Il ritorno d'Ulisse in patria L'incoronazione di Poppea 5 Ancients and Moderns A Question of Genre Five Acts or Three Modern Taste 6 A Master of Three Servants Monteverdi's Way with Words Speech and Song, Recitative and Aria The Role of Meter Fashioning the "Just Lament": Arianna's Venetian Progeny Comedy 7 Constructions of Character Shaping an Epic or Rewriting Penelope The Wily Hero Deepening a Psychological Drama 8 The Parasite and the Philosopher Heroic Pedant, Ambiguous Philosopher Tragic Buffoon Directors and Critics Music and Text Post Mortem 9 Epilogue APPENDICES 1. Giacomo Badoaro, Il ritorno d'Ulisse, preface 2. Argomento et Scenario delle Nozze d'Enea in Lavinia 3. Giacomo Badoaro, Ulisse errante, preface 4. L'incoronazione di Poppea: argomento, scenario, preface 5. Il ritorno d'Ulisse: Badoaro's argomento compared with Dolce's Allegorie and Dolce's argomenti compared with Badoaro's structure 6. Le nozze d'Enea e Lavinia: scenario compared with Dolce's allegories 7. Supernatural scenes 8. Singers Bibliography Index

About the Author

Ellen Rosand is George A. Saden Professor of Music at Yale and author of Opera in Seventeenth Century Venice: The Creation of a Genre (UC Press, 1991, 2007).

Reviews

"A strong contribution." -- Edward Rutschman, Western Washington University Opera Journal