The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Library, U of T 9781442687219

Table of contents :
Contents
List of Plates
Preface
Introduction to the Baroque Libretto
The Collection
The Opera Libretto
The Music
Dance in Italian Opera
The Oratorio
Italian Librettos, 1600-1728, in the Thomas Fisher Library
Appendix I: French Librettos
Appendix II: English Librettos
Bibliography
Indexes
Titles
Librettists
Composers
Cast Members
Dancers
Dedicatees
Performance Venues
Places of Publication
Production Personnel

Citation preview

THE BAROQUE LIBRETTO Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto

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DOMENICO PIETROPAOLO AND MARY ANN PARKER

THE BAROQUE LIBRETTO

Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto

UNIVERSITY OF TORONTO PRESS Toronto Buffalo London

© University of Toronto Press Incorporated 2011 Toronto Buffalo London www.utppublishing.com Printed in Canada ISBN 978-1-4426-4163-1

Printed on acid-free paper

______________________________________________________________________________ National Library of Canada Cataloguing in Publication Data Pietropaolo, Domenico, 1949The baroque libretto : Italian operas and oratorios in the Thomas Fisher Library at the University of Toronto / Domenico Pietropaolo and Mary Ann Parker. Includes bibliographical references and index. ISBN 978-1-4426-4163-1 1. Librettos-Bibliography-Catalogs. 2. Thomas Fisher Rare Book Library-Catalogs. 3. Librettos-Analysis, appreciation. 4. Opera-Italy-17th century. 5. Opera-Italy-18th century. I. Parker, Mary Ann, 1951- II. Title. ML136 .T7T45 2010

016.782'00268

c2010-906610-3

______________________________________________________________________________ This book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Aid to Scholarly Publications Program, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council.

University of Toronto Press acknowledges the financial support for its publishing activities of the Government of Canada through the Book Publishing Industry Development Program (BPIDP).

Contents

List of Plates

vii

Preface

ix

Introduction to the Baroque Libretto The Collection The Opera Libretto The Music Dance in Italian Opera The Oratorio

3 4 12 26 29

Italian Librettos, 1600-1728, in the Thomas Fisher Library

57

Appendix I French Librettos Appendix II English Librettos

207 219

Bibliography

227

Indexes Titles Librettists Composers Cast Members Dancers Dedicatees Performance Venues Places of Publication Production Personnel

235 236 238 239 242 242 243 244 244

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List of Plates

PLATE 1

Title page, La Cleandra (Bologna, 1678)

41

PLATE 2

Title page, Diocletiano (Venice, 1675)

42

PLATE 3

Opening scene, Diocletiano (Venice, 1675)

43

PLATE 4

Opening scene, continued, Diocletiano (Venice, 1675)

44

PLATE 5

Third scene, Diocletiano (Venice, 1675)

45

PLATE 6

Title page, Diocleziano (Ferrara, 1683)

46

PLATE 7

End of third scene, Diocleziano (Ferrara, 1683)

47

PLATE 8

Opening scene, Diocleziano (Ferrara, 1683)

48

PLATE 9

Title page, Alessandro (London, 1726)

49

PLATE 10

End of Act 2, scene 2, Alessandro (London, 1726)

50

PLATE 11

End of Act 2, scene 2 (English), Alessandro (London, 1726)

51

PLATE 12

Title page, Alessandro (London, 1726)

52

PLATE 13

Title page, La Regina Sant’Orsola (Florence, 1625)

53

PLATE 14

List of characters, La Regina Sant’Orsola (Florence, 1625)

54

PLATE 15

Frontispiece, Innocentiӕ de hypocrisi triumphus (Rome, 1696)

55

PLATE 16

Page 7, Il pentimento di Davidde (Rome, 1722)

56

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Preface

The Italian Play Collection at the Thomas Fisher Library, University of Toronto, contains thousands of librettos dating from the early seventeenth through the twentieth century. A few words of explanation are in order here, as to why we have selected the dates 1600 to 1728 as the start and end points for the librettos included in this book. The early date is easy to explain. The first operas go back only as far as the last decade or so of the sixteenth century, and the earliest operatic works represented in our collection date from 1600. The cutoff date of 1728 requires a more complex explanation. It is an arbitrary date, of course, but it does have an important symbolic value for historians of literature because 1728 was the year of the death of Giammario Crescimbeni, the first president of the Accademia dell=Arcadia in Rome. In the long period during which he was in office, from 1690 to 1728, his poetics and his ideological vision, along with those of a select number of other influential Ashepherds,@ were readily assimilated by the vast majority of contemporary poets, scholars, and, generally, men of culture. Within this time-frame, the Accademia dell=Arcadia established 36 branches in other Italian cities and had an aggregate membership of over 2,600, including in its list even such important and powerful figures as pope Clement XI and Maria Casimira of Poland. Virtually all the librettos in the Fisher collection published or performed after 1690 were authored by members of the academy or were conceived under the influence of its poetic theory. The literary theory of the academy was centred on the idea of reform, its main purpose being to rid Italian culture of baroque excesses while preserving and further developing some fundamental aspects of the literary heritage. The dominant poetic ideas of this period stood, in more ways than one, in direct opposition to the notorious baroque taste for rhetorical opulence represented by Marino and his imitators, in replacement of which the Arcadians proposed giving greater space to the slender baroque aesthetic of Chiabrera, melded with a diluted vision of classicism and couched in a rationalist view

of the task of the literary arts. Crescimbeni=s death coincides with changes in emphasis upon the characteristic ideologies that distinguish the period that literary historians call the age of Arcadia. From around 1728 onwards, the academy=s capacity to influence contemporary culture diminished as its visionary theories blended increasingly with the foundational ideas of the Enlightenment and Neo-classicism that progressively emerged from other centres of irradiation to dominate the literary imagination. Likewise, in the field of music history, the year 1728 can be adopted for our purposes to signal the beginning of the new classical or galant style in music, and thus an end to the baroque period. Of course, many composers continued the magnificent baroque tradition well into the century; in fact, it was for a long time the practice to pinpoint the end of the baroque era with the death of Johann Sebastian Bach in 1750. However, it has become clear during the last half-century or so, that the origins of the modern style lie much earlier, in what Kurt Markstrom has called Athe radical hothouse environment of fashion-conscious Naples and Rome.@1 The collaboration of the composer Leonardo Vinci with the librettist Pietro Metastasio was crucial to the development of the Adynamic periodicity@ which became the hallmark of classical style, as was widely recognized by eighteenth-century writers such as François-Jean Chastellux, Jean-François Marmontel, and Charles Burney.2 This collaboration occurred during the composition of six drammi per musica for Rome and Naples during the years 1725-1730. Since we have chosen to focus on the Italian librettos, non-Italian librettos have been placed in appendixes. Exceptions to this distinction are a handful of Latin oratorios, which we have elected to include in the main body of the catalogue because they are so much a part of the Italian tradition. Although the oratorio and its forerunners had been in existence from the first few decades of the seventeenth century, the

x Preface

practice of printing librettos to be consulted during performances did not begin until the 1660s.3 Thus it is not surprising that the earliest of our 39 oratorio librettos dates from 1685.4 Music played a significant role in many stage entertainments of the period, and it is not always easy to decide what should be classified as a libretto. There are a number of works in the collection which we have chosen to omit, even though some are listed in Sartori=s catalogue.5 Some of these are stage plays written mostly in prose but with a few songs. For example, Pietro Angelo Zaguri=s La Messalina (Venice, 1656) is called AOpera scenica@ on the title page, but it is a prose play with four short canzonettas and a prologue that may have been set to music. Likewise, Dryden=s Amphitryon (London, 1691) is a five-act spoken play with a spoken prologue, though it includes what the poet describes as Athree songs.@ One of the Asongs@ is actually a Apastoral dialogue,@ featuring a rondeau for chorus, but we have concluded that it is best considered a spoken play, rather than a libretto.6 The collection contains a number of books representing entertainments which include music, sometimes in prologues and intermezzos, but which we have not classified as librettos. An example is entitled Preparamenti festivi di Parnaso (Rome, 1656). This elaborate celebration in honour of Queen Christina of Sweden is constructed in three acts, featuring a prologue and three intermezzos in verse, as well as a canzone near the end of act three, and a dance at the final scene. It is impossible to determine how much of the evening=s entertainment was set to music. The format of our catalogue requires a few words of explanation. We have listed the items chronologically by year of publication as recorded on the title page (without making fine distinctions with regard to local calendars, discussed below). Within each year, the works appear alphabetically according to title. Any catalogue of librettos owes much to Claudio Sartori=s massive Libretti italiani a stampa dalle origini al 1800. In particular, we have endeavoured to provide a series of indexes which should prove helpful to researchers in a variety of fields. In an effort to offer considerable detail on each item, we have modeled many aspects of our catalogue on the format devised for the U.S. RISM Libretto Project.7 These include an

exact transcription of the title as it appears on the title page8 and the physical dimensions of the book (see the example, the entry for Le amazoni nell 'isole fortunate). Where the composer (CMP) and librettist (LBT) are mentioned in the libretto, the attribution of responsibility is quoted. If the identity of either has been determined by consulting other sources, the name is surrounded by square brackets and the source is mentioned in the notes. We include a brief summary of the structure of the work, such as the number of acts, intermezzi and balli; and the elements of printed libretto such as preface, dedication, argomento and list of scenes. Next comes the list of characters; where the characters are given descriptions in the original, these have been omitted. If the names of the singers appear, we have included them. If the libretto contains statements of responsibility for production personnel, such as the stage architect or choreographer, they are quoted. The theatre and date of performance are not always known and can only sometimes be derived from the libretto itself; whatever information we have is noted. Where there are quasi-separate elements such as a prologue, balli or intermezzi, there are sometimes brief instructions or brief descriptions in the prefatory material, which we provide, usually in quotations. If the libretto appears in the listings of Allacci, Alm, Franchi, Sartori, Sonneck or Weaver, we give the item numbers (or column numbers, in the case of Allacci).9 In some cases, particulars about the music are noted in the libretto and are quoted here. Additional details such as specific imprimaturs or signatures appear before the description of any details which distinguish this copy, such as damage or handwritten annotations. In most cases, we have provided notes on the production and derivation of the work, with special attention paid to related works and prints. When the libretto has been bound with other, separate publications, we include a note designated BDW. At the end of each entry we have included the Thomas Fisher call number.10 Except for short, formulaic phrases or sentences, we have provided translations for Italian quotations. In considering the dates of production, composition, dedication, and imprimatur given in the individual librettos, and in working with archival materials pertaining to these productions, the reader should take

Preface xi

into account that, in the period of baroque opera and oratorio, several calendar systems were in use in Italy. In the Republic of Venice the first day of the year was March 1 and the way of reckoning the years was known as more veneto;11 in most of the grand Duchy of Tuscany, including Florence, it was March 25 and therefore years were counted ab incarnatione; in Pisa it was also March 25, though Pisa was one year ahead of Florence; and in the Papal States, in Naples, and other areas of southern Italy, it was December 25, the Example 1: Sample catalogue entry

years being counted a nativitate, that is seven days before the first day of the year according to the modern system. For example, March 1, 1700, New Year=s day and the first day of the new century for Venetians, was designated as March 1, 1699 in Florence (since there 1700 did not start until March 25th), March 1, 1700 in Rome (since there 1700 started on the preceding December 25th), and March 1, 1700 in Pisa, because this city was exactly one year ahead of Florence.12

xii Preface

Acknowledgements The idea for this book took shape many years ago. At that time, we benefited from the advice and support of Timothy McGee, Bill Bowen, and Marita McClymonds. Over the years, many graduate students and other young colleagues have contributed to the research for the catalogue. Above all, we owe our thanks to Kurt Markstrom, whose expertise enriched many of the notes. Among the others to whom we owe our gratitude are Bryan Martin, Norma Vascotto, Anna Gaspari, Sylvia Gaspari, Erika Reiman and Keith Johnston. Timothy Neufeldt helped us through the final stages of the book. We would also like to thank the two anonymous readers for the University of

Toronto Press, whose comments and suggestions we found most helpful. We are particularly thankful to the wonderful staff at the Thomas Fisher Library, University of Toronto. Luba Frastacky, who knows as much about the libretto collection as anybody, has always been extremely supportive. Sandra Alston helped us comb the university library catalogue for relevant items. We are also grateful to Ron Schoeffel of the University of Toronto Press. We were fortunate to have the financial support of the Social Sciences and Humanities Research Council of Canada. The earliest stages of our research were assisted by the Department of Italian Studies and the Faculty of Music, University of Toronto.

Notes 1

Kurt Markstrom, AThe Operas of Leonardo Vinci@ (PhD dissertation, University of Toronto, 1992), p. 75. 2 See Daniel Heartz, Music in European Capitals: The Galant Style 1720-1780 (New York: Norton, 2003), p. 102. Heartz also provides a concise discussion (p. 88ff) of the effect of Metastasio=s poetry on Vinci=s musical style, during which he acknowledges his reliance on Markstrom, AThe Operas of Leonard Vinci.@ 3 Howard E. Smither, A History of the Oratorio, vol. 1 (Chapel Hill: University of North Carolina Press, 1977), pp. 3-9. 4 On the oratorio librettos from the entire eighteenth century, see Robert Elliott and Harry M. White, AA Collection of oratorio libretti, 1700-1800, in the Thomas Fisher Rare Book Library, University of Toronto,@ Fontes Artis Musicae 32 (1985): 102-114. 5 Claudio Sartori, Libretti italiani a stampa dalle origini al 1800, 5 vols., (Cuneo: Bertola & Locatelli, c.1990-1992). For most of these, Sartori does not list Thomas Fisher as a location. It seems that we are not the first to determine that these not be classified as librettos. See Sartori 231, 8529a, 10790, 10823, 14254, 15577, 19033, and 22175. 6 This source is also of special interest because it includes Dryden=s endorsement of Purcell as a great English composer. See Amphitryon (London: Tonson, 1691), p. [5].

7

Marita P. McClymonds and Diane Parr Walker, AU.S. RISM Libretto Project: With Guidelines for Cataloguing in the MARC Format,@ MLA Notes 43 (1986): 19-35. 8 In a few cases, the uniform title used by library catalogues is not the same as the one on the title page. See, for example #44. 9 For complete titles and publication details, see the list of abbreviations on page 208. 10 At the time of writing, not all the librettos had been assigned call numbers; some have to be requested using only Aitp@ and the basic title information. 11 For an extensive discussion of time, chronology and Venetian operas, see: AInterpreting the Calendar of Venetian opera,@ in Eleanor Selfridge-Field, A New Chronology of Venetian Opera and Related Genres 1660-1760 (Stanford, CA: Stanford University Press, 2007), pp. 21-44. See also her Song and Season: Science, Culture, and Theatrical Time in Early Modern Venice (Stanford, CA: Stanford University Press, 2007). 12 A complete reference for all major cities of Italy may be found in Adriano Cappelli, Cronologia, cronografia e calendario perpetuo, ed. Marino Viganò (Milan: Hoepli, 1999), pp. 8-11.

Introduction to the Baroque Libretto

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The Collection The librettos described in this book are part of the Italian Play Collection housed in the Thomas Fisher Rare Book Library at the University of Toronto. In her 1961 catalogue of items published in the sixteenth and seventeenth centuries, Beatrice Corrigan gave the following account of the acquisition of the plays: Hugh Hornby Langton, then Chief Librarian, spent the final year of his tenure of office (1922) in Europe, provided with a fund which was to be spent on the purchase of special collections. Professor Milton A. Buchanan, at that time head of the Department of Italian and Spanish in the University, suggested the Italian Renaissance theatre as an important and as yet not too expensive field, and provided Mr. Langton with lists of the most desirable plays, particularly comedies. The major part of the collection was accumulated by 1924, but it is now one of the largest in North America and can be matched in few libraries in Italy itself, with the exception of the Vatican library.1 The part of the collection examined by Corrigan represents thirty-five Italian cities and nearly two hundred printers, some of them not widely represented elsewhere. Since 1961 the collection has grown considerably, with books acquired from a variety of sources, including private libraries, most notably that of Hannibal S. Noce, and antiquarian dealers. Moreover, the collection is destined to keep growing: early dramatic works fall in a category of Italian books for which the Thomas Fisher Library has funds in perpetuity from the Emma and Emilio Goggio endowment for the acquisition of early printed editions. While acquiring spoken plays, Langton also picked up several hundred works intended for musical performance. On their title pages are such widely varying designations and descriptions as: rappresentato in musica, opera rappresentata in musica, dramma in musica, drama per musica,

drama musicale, drama fantastico musicale, recitata in musica, oratorio, and many others. Sometimes there is no reference to music on the title page, and it seems possible that Langton was not always aware that he was buying what we call a libretto. The vast majority of the librettos are in Italian, but there are a few in French, German, and even English. A number of the oratorios are in Latin. Most of the acquisitions since the 1920s come from the nineteenth century, especially from the years 18001840. Librettos are crucial documents for the study of musical and theatrical literature and practice. In the baroque period, the musical and literary text of an opera was fluid and variable, and information about different productions can be revealing. When Cavalli’s Egisto (#32) was produced in Florence in 1667, twenty-four years had passed since the premiere in Venice, and there are significant changes in the later libretto.2 Some librettos contain indications of what the production might have looked like: published in a 1647 collection, our copy of Il Faneto, cio è ile sole innamorato della notte (#16, libretto by Bonarelli della Rovere) contains not only detailed stage directions, but also notes about the arrangement of a ballet. The stage directions in Diocletiano (#38, Carlo Pallavicino and Matteo Noris, Venice, 1675) include details of stage movement and acting. A few of the librettos contain handwritten annotations of considerable interest. Only a few illustrations can be given here. Il trionfo della libertà (#123) and Il sagrifizio d’Isacco (#160) have cast lists. La Cleandra (#44, see Plate 1) includes production details, and several other librettos have textual corrections (e.g. Pharaonis infaustus amor, #74). At least one (Eteocle e Polinice, #40) has the name of the composer. The collection includes a number of librettos which seem to be the sole surviving exemplars. In addition, we have been able to identify a number of copies which have eluded previous cataloguers, including Sartori.

4 The Baroque Libretto

The Opera Libretto The most interesting feature of the baroque as an aesthetic movement was its goal to achieve the collaboration of various arts in the creation of works that could not be produced by any of them working in isolation, not even at the conceptual level. This collaboration resulted in buildings in which basic principles of architecture have been fused with those of sculpture, fountains in which sculpture incorporates elements of dance, and urban landscapes in which street plans are both architectural and painterly. Perhaps at the pinnacle of this complexity is opera, which unites music and poetry with all the arts of staging and performance. For heterogeneous works of this kind, which were intentionally endowed with a multi-dimensional structure and a multi-aspectual appearance, the loss of one or more of the original components indicates that their aesthetic integrity has been irremediably compromised by history. Their original unity and complexity of form cannot be reconstituted. The opera historian is akin to the archaeologist. Like the archaeologist, he or she must begin with the largest piece, gather all the scraps of material evidence pertaining to it, consider contemporary styles, techniques and conventions, and make a concerted effort to visualize the probable appearance of the original object and to understand the logic of production that informed it. Most of the operas of the seventeenth and early eighteenth centuries have survived only in fragmentary form. For instance, one might have a pamphlet containing the verbal text of the opera, scanty production credits, a few traces of a planned performance, some information concerning its cultural and social context, and, occasionally, manuscript annotations on one or two of these components (see Plate 1). Only in a few cases has the score survived. Our purpose in this book has been to present in a systematic form all the significant details that can be gleaned from the libretto collection in the Thomas Fisher Rare Book Library at the University of Toronto, in the hope that scholars focusing on single works may be able to make use of the history of styles and of the techniques of the collaborating arts in order to reconstruct as closely as possible the probable shape of the original work as a multidimensional performance text.

In libretto scholarship, both the pamphlet and the verbal text it contains are called librettos, the term being used in its literal sense of small book in the first case and in its figurative sense, musical play text, in the second. In its earliest occurrences in the history of opera, the term “libretto” is used exclusively in the literal sense, a sense imported into the field from other areas of printing, such as the production of prayer books, in which small editions called libretti were popular long before the emergence of musical theatre. However, even in this literal sense, the term made its appearance in the operatic world, or at least gained sufficient currency to be noted by scholars and lexicographers, long after most of the librettos listed in this book were actually published. It is noteworthy that the term does not appear with specific reference to opera in any of the four editions of the authoritative Vocabolario of the Crusca published in the seventeenth and early eighteenth centuries, though it was surely current in the theatrical jargon during the preparation of the fourth edition, in which it does have an entry.3 Moreover, it is clear that for some time it competed with the other diminutives of libro, such as libriccino, still used by Muratori in 1706, and libruccio, which was preferred by Martello as late as 1714.4 The figurative sense of the term designating the play text of an opera emerged somewhat more slowly than the literal sense, on the acceptance of which it logically depends. The most popular term for the genre came to be dramma per musica. The first known use of “libretto” as a designation of the text of the drama per musica to be performed occurs in the context of professional jargon in Metastasio’s L’impresario delle Canarie, which premiered in Naples on 1 February 1724 in the setting by Domenico Sarro. In a conversation about the relationship of words to music in performance, the impresario Nibbio says to the prima donna Dorina: Eh! non si prenda affanno. il libretto non deve esser capito; il gusto è ripulito, e non si bada a questo: si canti bene, e non importi il resto.5

Introduction 5 At this stage the non-literal use of the term “libretto” to designate the text performed was still very much jargon used among professionals, and it took some time before it went from the world of backstage conversations and rehearsal rooms into the outside world. It is not until 1740 that we find evidence that its popularity had reached the world of the non-professional operatic community. We find it, not, as one might have expected, in a work of dramatic criticism, but in Richardson’s best-selling novel Pamela, where we read the following remarkable observation: In Italy, judges of operas are so far from thinking of the drama or poetical part of their operas as nonsense, as the unskilled in Italian rashly conclude in England, that if the libretto, as they call it, is not approved, the opera, notwithstanding the excellence of the music, will be condemned.6 Pamela’s observation is interesting for at least three reasons. In the first place it attests that by 1740 the term libretto was already so common in popular Italian and Italianate culture that Richardson could use it in an English work. In the second place, it shows that the deliteralization of the term was complete, with the result that its metaphorical meaning of the words to be performed required no explanation beyond the expression “as they call it.” In the third place, it shows that the art of the librettist, in a positive vision of baroque opera, was susceptible to being judged by its own logic as an artistic form, implying that in the consciousness of the cognoscenti the term “libretto” also designated a genre of dramatic composition. As a particular type of book, the libretto has a very interesting history, the first century or so of which is well documented in the Thomas Fisher collection. Two categories of librettos can be identified: librettos produced for courtly patrons, before and after the opening of public theatres, and librettos produced for the commercial theatre. The librettos of courtly performances are generally larger, are always elegantly designed, and tend to be lavishly illustrated. Commercial librettos are in comparison very modest in both appearance and quality. Though there was still considerable fluidity with respect to the designation of this species of little books, by the early

eighteenth century the libretto had a well-established physical form and a clear identity as the booklet that accompanied the production of an opera. Hastily produced and proofread, printed on inexpensive paper in a small format, the libretto was a printed aid to the appreciation of a production.7 It was generally sold at the door on the night of the performance or at the printer’s shop a few days before.8 It was meant to be consulted occasionally in the theatre for segments of the verbal text that were too difficult to follow in performance, and to be read at a more leisurely pace at home, where it might even be enriched with handwritten annotations by its owner. The contents of the librettos in each of these two categories varied considerably from the beginning to the end of the period considered. While most of them included some credits, the details are by no means the same, varying with the perceived significance of the contribution made by each of the collaborating arts. By the end of the seventeenth century the anatomy of the libretto had become more or less standard. In addition to the cast list, the production credits, and the verbal text, other significant sections are found in the prefatory material, which usually includes a dedication, a preface, and an argument. Over the historical period covered in this book, there is a wide variety of practices in the listing of composers, librettists and production personnel. Often, neither composer nor librettist will be identified, either on the title page or in the dedication and preface. Sometimes, both will be named on the title page, as in the following example: “IL PENTIMENTO/ DI DAVIDDE/ COMPONIMENTO SAGRO/ DI ANDREA TRABUCCO/ Accademico ravvivato di Benevento, detto fra gli/ Arcadi di Roma ALBIRO MIRTUNZIANO; POSTO IN MUSIC DAL SIG./ FRANCESCO ANTONIO DI ALMEIDA PORTUGHESE... (#170).” Note that Trabucco’s Arcadian nom de plume is given here. In this oratorio libretto, we also find information in the Preface about Trabucco and Almeida, who is called “Giovine Compositor della Musica.” In other cases, only one of the composer and librettist is named, as in the following: “IL SAGRIFIZIO/ D’ISACCO/ ORATORIO/ Posto in Musica/ Dal SIG. CARLO CESARINI (#160).”

6 The Baroque Libretto Very often, when not identified on the title page, the composer and librettist may be named in the prefatory materials. For example, in Le due Auguste (#98, Bologna, 1700), only the dedicatee is named in the title. However, the dedication is signed by Pietropaolo Seta, who may well be the librettist, and he refers to the “armoniose lodi del Sig. Giuseppe Aldrovandini.” This libretto provides an example of the inclusion of all the singers in the cast, as well as the set designer Ferdinando Galli Bibiena. This practice of including cast members’ names becomes increasingly prevalent during our period, 1600-1728.9 The earliest Italian libretto in our collection which contains the names of cast members is Il pazzo per forza (#26), produced in Florence in 1658. The identification of cast members seems to be relatively unusual until the 1680s, when it becomes more frequent. By the eighteenth century, the names of singers are usually included in opera librettos. In the 1707 Venice libretto of Il trionfo della Libertà (#123) by Alessandro Scarlatti and Girolamo Frigimelica Roberti, there are no cast members listed in the printed text, but our copy contains the names written in by hand.10 The rarity of cast names in oratorio librettos is indicated by the fact that only two of our oratorios include them – Il sagrifizio d’Isacco (#160, 1719) and La madre de Maccabei (#130, before 1709). The names of stage architects, scene painters and designers, costume designers, machine engineers, choreographers, and even the directors of battle scenes are sometimes given, even when singers’ names are not. The practice of naming dancers and orchestral musicians belongs, for the most part, to a later historical period. However, there is one example of the naming of dancers in the librettos of our period: the libretto for the second production in 1652 of the Parma court spectacle Le vicende del tempo (#21), by Francesco Manelli and Bernardo Morando, includes the names of the noble participants in the three ballets. Though there are all manner of exceptions, in general the dedication is the place in which the publication is presented as a tribute to a benefactor or a highly placed person of distinction, the preface is where the dramatic form of the theme is presented as a function of theoretical presuppositions, and the

argument the place where the dramatic action in the text is narratively defined in its essential features as a function of the pre-history of the plot. Usually cast in the form of an epistle addressed to an aristocratic patron, the dedication concerns, at least on the surface, the merits of the patrons: their nobility, heroic deeds, generosity towards underlings, protection of the innocent, and the like. Many dedicatees were women. Those who signed the dedications of librettos could hope to accomplish at least two things from their rhetorical display of admiration and servility. The first was to create the public perception that the relationship of vassalage that made possible the dedication was a natural one. In the rigid hierarchical structure of contemporary society, in which virtually no upward mobility was possible, the endorsement of the rich and powerful could serve the author of the dedication as an effective means of self-promotion and could achieve for the libretto a higher level of artistic dignity, for the legitimacy of the entertainment industry rested partly on the fiction that the rich and famous were also arbiters of taste and champions of good judgment. Thus packaged the libretto had greater value as a personal commodity, as an object to be perused long after the performance, and as a record of the role of the patron in the annals of the operatic stage. The second thing that a dedication could achieve for its author was financial support from a person of higher station, support in the form of a personal grant prior to the publication of the libretto. Although the contribution was officially regarded as an unsolicited gift, in fact the dedication of books carried with it a clear expectation of compensation.11 By consenting to the dedication, the patron agreed to offer the author a more or less substantial financial reward for his tribute. The author in turn counted on receiving such an award as a form of income during the preparatory stage of the production of the opera. Despite the fact that it was invariably expressed by means of a rhetoric designed to foreground both the author’s loyalty and the patron’s enlightened generosity, the arrangement had little to do with either. It was no more than a contract from which they both hoped to profit, for the patron thereby could advance his reputation as an admirable benefactor among the common purchasers of the

Introduction 7 libretto and as a baron of the art among his peers and, of course, among the poets, composers, and impresarios who governed its development. In the case of new librettos, the author of the dedication was generally the poet himself, and so he was the beneficiary of the patron’s endorsement.12 But when the libretto was dramaturgically adapted from an earlier one, the author of the dedication was either the dramaturgical editor, who thereby became a co-author of the libretto, or the impresario himself, who planned the revival of an old libretto in a new setting or simply in a new production. Many revived librettos do not include a dedication. The librettos in the Fisher collection document well this aspect of the history of baroque opera, an aspect that has not hitherto attracted much scholarly interest but which deserves to be studied in detail for the light that it can shed on the social, financial, and ideological context in which individual operas were produced.13 Among the factors that give shape to the whole world of opera, those to which the dedicatory epistle offers us access are by no means negligible. The preface of the baroque libretto brings us into contact with the world of business in a purview that also includes the traditional issues of dramatic theory. It would be instructive to examine the prefaces of the librettos in the collection from the perspective of Benedetto Marcello in the first chapter of his Il teatro alla moda (ca. 1720), minus the indignation and the satire. This is a work in which the Venetian composer denounces the excesses of the typical opera poet in the exercise of his art. Here we can consider only what Marcello says in relation to the dramaturgy of the theme. Feigning sincere advice, Marcello recommends that the poet always consult the impresario, who will tell him what type of scenes and special effects he must work into the plot, before he begins outlining the dramatic action.14 The satirical message is that, in the routine practice of the art, much of the dramatic action is a function of the impresario’s budget and of his perception of what the audience wants to see. The theoretical perspective behind the satire is that the poet is guided by the determinism of the commercial theatre rather than the poetics of dramatic action. Once it is divested of its satirical elements, the principle illustrated by Marcello is clearly docu-

mented in the libretto collection as the practice of choice in composition. In the preface to the reader of Tebaldo Fattorini’s Eteocle e Polinice (#40, 1675) we find the following observation: Tu troverai questo dramma nella sua disposizione poco accomodato alle regole insegnate dagli autori, perché essendo stato composto all’uso di questi teatri, l’autore di lui ha creduto non seguire altra legge che quella del diletto, né ha saputo prefiggere altro fine che l’universale compiacimento. Trascorri però sulla lettura di esso con un cortese compatimento, ed appagati, nel vederlo rappresentare di tutto ciò che lo rende maggiormente adornato.15 The expression “poco accomodato alle regole insegnate dagli autori” means that the dramatic action was not conceived in accordance with the Aristotelian and pseudo-Aristotelian tradition. After the rediscovery of the Poetics in the Renaissance, this tradition dominated the history of dramatic theory which was of course a theory of the spoken drama as a work of literature. The interpretation of the libretto cannot be founded on that critical tradition, which, in the consciousness of the author, remains essentially alien to the art of the librettist. It knows much about the Aristotelian concept of drama but nothing of the demands of the operatic stage. Members of the audience who planned to reread the libretto at some point after the performance were apt to be disappointed if they allowed their reading to be conditioned by the tradition of dramatic theory rather than the musical and visual experience of the performance. The author knew, however, that the public’s reading habits change slowly, and so he asked that the reading be carried out with charitable understanding, “con cortese compatimento,” a conventional expression of humility. Though readers and audiences were identical, the two contexts of reception were worlds apart. That is why Lotto Lotti, in the preface to Didio Giuliano (#57, 1687), states categorically that the libretto should be read only in the theatre during a performance as an aid to its appreciation and nowhere else:

8 The Baroque Libretto leggilo dunque solo in teatro, contemplando chi lo rappresenta unito all’ingegnosa armonia del Sig. Bernardo Sabatini, eroico compositore de’ nostri tempi, ma non applicare a trascorrerlo con occhio curioso fuori di teatro.16 Some critics may dismiss Marcello’s observations as a satirical trivialization of the operatic environment, and perhaps even those of the librettists themselves as attempts at self-justification, on the basis of the principle, at least as old as Quintilian, that literary mediocrities can be successful on stage. One of the advantages of having an extensive collection at one’s disposal is that it is easier to reduce the risk of dismissive readings resulting from the application of limited perspectives and critical categories to the baroque libretto. In the history of opera scholarship, the relationship between the collaborative arts, of which individual operas are products, has been variously understood, especially with reference to the role that each of these arts can play in the aesthetic judgments of critics. Since at least Zeno’s reform, the only components routinely taken into account are the score and the poetry, hierarchically arranged. However, whether it is prima la musica e poi le parole [first the music and then the words], or the other way round, no other art is called forth to play a role in the critical act leading to an aesthetic declaration. And yet in the self-understanding of the libretto of the seventeenth and early eighteenth centuries there is built-in a clear sense of dependence on the arts of production. Pier Iacopo Martello’s approach to the opera libretto summarizes the practice of the librettist and discusses the nature of composition as a craft and as a problem of poetics simultaneously. According to him, in the composition process the professional librettist first familiarizes himself with the theatre, then discusses with the impresario the degree of technical sophistication budgeted for and desired in the production, and finally consults the composer on the nature of the music planned for the opera and on the sequence of voice types envisaged for each act of the finished product.17 The collaboration between composer and librettist is a familiar theme of scholarship and needs no further discussion here. But the collaboration be-

tween the poet and the impresario, which is normally regarded as little more than a business relationship with little or nothing to contribute to a critical discussion of opera as an art form, calls for further commentary. One of the distinguishing features of the baroque libretto as a literary product is its intrinsic economic dimension, a feature not shared by any other genre of the period. Since the very beginning of commercial opera, the libretto has clearly purported to have market value. The market-related aspect of the work of the librettist was not regarded as an extra-artistic concern, as if its consideration were suddenly to become inappropriate when the librettist moved from the vulgar world of business to the ideal realm of literary and musical aesthetics. Let the poet not be embarrassed at the mention of budgets in the context of a theory of the libretto, says bluntly Martello, “ché questa è l’unica sorta di poesia destinata a servire per mercede.”18 The libretto was the only literary genre of the baroque period that could command a direct payment, and hence it had a distinct market value. Court poets had always received a stipend for their creative work, whatever their genre of preference. One overt function of the court poet is to please his patron and thereby to earn a generous reward. However, beyond the boundaries of courtly patronage, poets could not normally regard their art as a marketable skill and their compositions as marketable commodities to any significant degree. But the establishment of public opera theatres in the baroque period changed that situation in a radical way for poets with the requisite dramaturgical skill. Such poets could now aspire to employment as writers of commercial librettos or else − and more frequently than is generally assumed − as dramaturgical editors of earlier librettos, adapting them for a different theatre, a new production concept, a different audience, and very often a different composer. The art of the commercial librettist included both composition and dramaturgical revision. The extent to which the commercial nature of the genre affected the composition of an original libretto, or conditioned the dramaturgical adaptation of an earlier one, is immediately clear when we recall that the impresario’s budget determines the number and quality of the performers that can be engaged, the

Introduction 9 type of sets and the number of set changes that can be included, the type and size of machines that can be constructed for the creation of special effects, the costumes that can be made available for the performance, the lighting design, and the number of crowd scenes that can be included in the dramatic action.19 In a very real sense, the budget was little more than a label for the material parameters of the dramaturgical plan of the libretto. It could both limit the possibilities available for the articulation of the drama as a series of stage actions and determine the material dimension of each dramatic scene at the foundational level. The composition process in such a commercial setting is described clearly by Bernardo Morando in the preface to Le vicende del tempo (#21, 1652). Normally the poet prepared a draft and then altered it as necessary in collaboration with the composer, the impresario, the production crew, and the cast. Morando confessed that he had to make changes even during the printing of the work, “per accomodarmi alle scene, alle macchine, alle occasioni.” At the end of it all, he would be ready to concede that, “l’opera è stata prima, si può dire, cantata, che scritta.”20 At times the libretto needed to be changed during the rehearsal process, to adapt the text to the skill of the performer. In such cases the dramaturgical amendments were not always done by the author. Lest anyone think he had changed the author’s text arbitrarily, the dramaturgical adaptor of Massimo Puppieno (#69) explained that “per incontrare il genio de’ virtuosi cantanti, che non potendo uniformarsi in tutto alle prime ariette, fu necessario cangiarle in varj luoghi.”21 The same is found in Tullo Ostilio (#104), the arias of which were revised at many points: “fu necessario variarle in molto luoghi, non già per pregiudicare punto alla singolare virtú dell’autore, ma piuttosto per conformarsi al genio de’ virtuosi cantanti.”22 In the absence of manuscripts and notes by the authors, it is not possible to say exactly what changes were made in such dramaturgical operations on the script. But they likely included individual words containing vowels unsuited to newly composed music, or the voice and training of the performer. In the composition of librettos, we are told by the rhetorical works of the times, the composer must pay

attention not only to the literary traditions and expectations of his audience, but also to the musical dimensions of vowels, particularly if they occur in stressed positions and in rhymes. On the musical front, Pier Francesco Tosi observed that, on the high notes, the vowels e and i may be sung “with more strength and less fatigue” than the vowel a, and that less accomplished performers frequently sing a when they think they are singing e, with the consequence that balla may be mistaken for bella or that sasso may be mistaken for sesso.23 On the literary front, Giambattista Bisso summarizes traditional practice by advising apprentices of the genre that, to avoid conflict with the performers and musical director, they accept the principle that texts meant for singing should privilege the sonorous and open vowels of the Italian language, namely a and o, especially in stressed and final syllables, since these are the vowels that are more conducive to the performance of elaborate ornaments. A trill on the vowel e and, even more noticeably, on the vowels i and u would produce an effect that most people would find decidedly unpleasant.24 In other words, the vocabulary that had evolved in the literary tradition for the expression of sentiments and passions, especially since Petrarch, continued to be a major resource, but it had to be used with great care, paying due attention to the ability of the performers and to the expectations of the audience. The revision of librettos, in other words, is not like the revision of literary works. The latter process is more autonomous and self-contained, whereas the former process increases the aesthetic dependency of the written words on the skill of the performers and the music they will be singing. The ideal libretto is built on the awareness of its incomplete nature, on the fact that it cannot be regarded as a self-contained object. At the heart of the libretto, as conceived by baroque poets, lies an awareness that its dramaturgical refinement is a process whereby the libretto increasingly displays its need to become incorporated into a larger whole, as the literary component of a multi-dimensional performance text. In literary production “language is incorporated,” says Jacques Rancière, “when it is guaranteed by a body or a material state; it is disincorporated when the only materiality that supports it is its own.”25

10 The Baroque Libretto Baroque dramaturgy sought to incorporate the libretto into the compositional logic of the music and into the programmatic logic of staging and performance. The integrated performance text is incorporated into the entertainment market and hence into the world of power and affluence. Incorporation is the acquisition of aesthetic and social materiality. The disincorporated critical approach to the libretto, which flourished in the nineteenth and in the early twentieth centuries, is still so common as to warrant stressing that the self-understanding of baroque libretto stands in direct contradiction of it. The idea of will-to-incorporation, which is at the basis of the dramaturgical preparation of the final draft of the libretto, is relevant in at least three ways. First, the final incorporation of the libretto into a larger whole was an aesthetic operation resulting from the heterogeneous nature of opera as an artistic genre. Second, it was a formal operation, since there was a larger and more complex concept of artistic form in view of which the dramatic structure was being shaped. Third, it was a pragmatic exercise, in recognition that audience response is ultimately what determines the success or failure of an opera. Since the early Renaissance, the theory of dramatic plot, developed especially under the influence of the Terentian commentators and the rhetorical tradition, made use of several technical terms, separated in analytical discourse by subtle distinctions but used as near synonyms when such distinctions appeared unnecessary. The key terms are argumentum, dispositio, ordo, and oeconomia.26 All of these terms more or less survived in the scholarly tradition, especially in the critical theory of plot and action, but clearly the most enduring term as far as the opera libretto is concerned was by far argumentum. The Terentian commentator Benedetto Ricardini, better known as Benedictus Philologus, had defined the argumentum as “the statement of the whole play about to be performed.”27 Early in the baroque period, the argomento emerged as a separate part of the libretto pamphlet, aimed not at the scholar but at the members of the audience, to whom it was offered as an effective point of access to the dramatic action and as an aid to the interpretation of the text during the performance. Almost all opera librettos feature an argomento, which is not a synopsis of the

events of the opera, such as one might find in a modern program book. Rather it is a summary of events that form the background of the operatic plot, as presented in historical or literary sources. Occasionally, the argomento is combined with the preface, as in Bernardo Sabadini’s Amor spesso inganna (#62, Parma 1689), where it is entitled “L’Autore del drama a chi legge l’Argomento.” Or it may be included in the author’s “Protesta,” as in La Dafne (#14, Bologna 1647), whose libretto may have been written by Lavinia Contini. The argomento may also appear under a different name, for example “Favola,” which we find in Prospero Bonarelli della Rovere’s libretto Il merito schernito (#18, Ancona 1647). In rare cases, the argomento is omitted from a libretto, as is the case with Antonio Cesti’s La Dori (#31, Florence 1661), Francesco Cavalli’s L’Egisto (#32, Florence 1667) and Jacopo Melani’s Il Girello (#34, Bologna 1669, with a prologue by Alessandro Stradella). The argomento was sometimes issued as a stand-alone publication, without a full libretto. An example is the one that is related to the 1625 production of La regina Sant’Orsola (#6), which Sartori lists as item 2505 in a section of his catalogue devoted to separately published argomenti.28 The operatic argomento tends to offer a unique picture of the librettist’s method and relationship to his material. It is most commonly structured in two parts: first, a summary of the background story as found in historical or literary sources; and second, a discussion of the elements of the operatic story that originate in the imagination of the librettist. The 1696 Reggio libretto for Carlo Francesco Pollarolo’s Almansorre in Alimena (#85) features no heading “Argomento” in Giovanni Matteo Giannini’s libretto, but rather two separate passages entitled “Vero” and “Verisimile.” A more complex relationship between historical and operatic material is reflected in Pietro Francesco Trecchi’s libretto for Paolo Magni’s Il Radamisto (#84, Milan 1695). In the argomento, Trecchi names the fifteenth-century writer Battista Fulgoso (sometimes called Fregoso) as the most famous author who has written a version of the story. Trecchi states: “Da questo fondamento deduconsi gli accidenti principali del Drama, variando bensì la maniera, ma non la sostanza del fatto.”29 One must look to the preface, however, to discover the real es-

Introduction 11 sence of Trecchi’s approach: “Tutto il vero è un successo de’ secoli trasandati, tutto il finto è un’ istoria de’ giorni nostri.” In other words, whatever is true in the libretto derives from history, while the fictional elements are references to recent times. It was not unusual for the librettist to point out the specific plot elements he had invented. In his libretto for the 1696 Lucca production of Giovanni Maria Pagliardi’s Il Caligula delirante (#86), Domenico Gisberti begins the argomento by outlining the historical events on which the opera is based. He adds: Porge questa bizarra Istoria il motivo al presente Melodrama Intitolato Il Caligula delirante, nel quale si fingono per episodio gl’Amori di Tigrane Rè di Mauritania fatto schiavo d’Artabano Rè de Parti, che celando la sua condizione in abito, & aspetto di Moro capita in Roma fingendosi pittore con gl’altri avenimenti che intrecciano il Melodramma.30 The librettist often used the argomento as an opportunity to affirm his literary credentials or justify his aesthetic choices. In the argomento of Niccolò Minato’s libretto for Cavalli’s Antioco (#24, Venice 1658), the reader is assured that the principles of Aristotle have been followed. The argomento of Il Ruggiero by Giovanni Tamagni (#96, Parma 1699, music by Bernardo Sabadini) clearly refers to Ariosto’s Orlando furioso, but never actually names it as the literary source. Perhaps the writer assumes politely that his reader must be aware of the connection. Also based on Ariosto is the relatively early Il Medoro, written by Andrea Salvadori and set to music by Marco da Gagliano (#5, Florence 1623). After acknowledging his literary source, Salvadori comments on the process of distilling the literary text for musical setting: L’Istoria di questi Amanti è descritta in universale dall’Ariosto; I particolari accidenti di essa, e come questi pervennero al fin de’ loro amori, son propri di questa Favola, descritta però quella brevità, che

richiede la Musica, per la quale è stata composta.31 Probably the most common alteration of historical and literary models occurred in the pursuit of the increasingly obligatory happy ending.32 In the 1656 print of Cavalli’s La Didone (#23) on a libretto by Giovanni Francesco Busenello, the writer of the argomento notes that Virgil’s story had been altered to achieve a lieto fine. The structure of dramatic action in opera has long been characterized as confused and generally rejected as illogical. Indeed it is illogical, when the locus of logic is placed in the object itself, and when logic figures as a law of internal coherence, almost as if the libretto were a kind of syllogism. In that sense, the second half of the seventeenth century coincides with the least interesting librettos, filled with implausible development of the dramatic situation and events that, taken in a single purview, are founded in a total disregard for credibility. However, it is difficult to argue that such criteria of assessment, borrowed as they are from the alliance between logic and theory in much of the classical tradition, may be alien to the intentionality of the works themselves, which are more deeply rooted in the logic of the commercial theatre than in that of the classical tradition. In fact the same librettos are perfectly logical, when the locus of logic is placed not in the work itself, as a literary artefact endowed with its own generative centre of unity, economy and coherence, but in the interests of the commercial theatre, which seeks to offer, with the least expenditure, the best product, in a spectacular performance. The entertainment industry had reversed the Aristotelian hierarchy of the components of drama, placing opsis, that is to say, spectacle, at the top rather than at the bottom of the list of ingredients.33 Baroque entertainment sought to please the audience, rather than to educate it, and had a plural rather than a singular concept of authorship, both in terms of the actual contribution to the composition of the final product and in terms of the control that it could exercise over the composition process. In order to please the audience, it allowed virtuosos to do what gained them the greatest applause with the fewest rehearsals, and it encouraged stage artists to con-

12 The Baroque Libretto struct the most impressive technological effects. The talented librettist was the poet who was able to accommodate all those needs by providing a dramatic action that allowed each of the collaborating arts to showcase the talent of its artists

The Music When we examine the pages of an early libretto print, we find a series of clues as to how the words may have been brought to life by the music. The music for a great many of the librettos of the period is lost. Nevertheless, by studying a few examples for which the music survives, we gain an impression of the performative effect of music upon the words we see before us. In doing so, we can help to reveal the deep connection between the two meanings of “libretto,” and to show how the study of one aspect can be informed by the study of the other. Examining the layout of the text as it appears on the page of a libretto, and then describing the music composed for it will help to construct more fully an impression of the operatic production represented by the libretto. We have selected two operas, exemplifying the two central styles of our historical period: Diocletiano, an example of the Venetian style of the seventeenth century, and Alessandro, to demonstrate the widespread opera seria style of the first half of the eighteenth century. Since both of these are represented in the Thomas Fisher collection by two different libretto prints, we have the opportunity to discuss the textual fluidity which was widespread during the seventeenth and eighteenth centuries. Many of our librettos represent Venetian productions of the seventeenth century. As an example, let us take Diocletiano (#38). Published in 1675 by Francesco Nicolini, it was printed in connection with a production at the Grimani family’s theatre SS Giovanni e Paolo (Plate 2). The dedication is dated 10 December 1674, and signed by the Venetian-born librettist Matteo Noris. The music was composed by Carlo Pallavicino, who wrote 21 operas for Venice during the 1670s and 1680s. Fortunately, a manuscript copy of the score survives in the collection of the influential arts patron Marco Contarini.34 At Piazzola sul Brenta, his estate near Padua, he built

two theatres, where he produced operas during the 1670s and 1680s. His association with Pallavicino is well documented, since the latter’s Le amazoni nell’isole fortunate inaugurated his opera theatre in 1679. (The Mercure galant issues of December 1679 and February 1680 contain a description of the production, with an engraving.) If we examine the first few scenes of Diocletiano, we can get a sense of the dynamic variety of Venetian operatic music. The music not only feeds the sense of spectacle and occasion, but it creates a powerful dramatic momentum. Not mentioned in the libretto is the fact that the opera is introduced by an overture, entitled Sinfonia in the score. This brief instrumental movement opens with a fanfare-like passage featuring the trumpet, and ends with a lively contrasting section. Venetian opera orchestras were relatively small, often with only one player on each part. Although the only instrument specified is the trumpet, we can deduce from the four-line score that there were first and second violins, violas (or period instruments like violas), and basso continuo including violone. In addition to one, two, or even three harpsichords, the continuo would have included additional instruments such as lutes and theorbos, in order to provide contrast and variety throughout the opera. In the opening scene, the emperor Diocletian celebrates Rome’s victories with his general and right-hand man Massimiano and the two “Caesars” Galerio and Licinio. (History records that Diocletian, who reigned from 284 to 305 AD, divided the rule of his vast empire among his three most powerful generals.) On the first page of the libretto (Plate 3), we read that they enter on a “Machina Imperiale,” driven by none other than La Vittoria, or “Vittoria imaginativa,” as she is called in the score. Vittoria’s opening passage is set for soprano voice and basso continuo. The layout of her poetic text reveals a central feature of Italian librettos. The first three lines are versi sciolti, or freely alternating lines of seven and eleven syllables; here, the pattern is 7, 11, 11. Versi sciolti may be rhymed or unrhymed; in this case we have a pattern of abb. Metrical structures like this generally suggest a declamatory musical setting, in a style most often called recitative. As we can see in Example 1, the instrumental bass part is relatively

Introduction 13 static, while the rhythms of the vocal line imitate spoken declamation. Near the end of the recitative passage, the musical element becomes more intense,

Example 1: Diocletiano, Act 1, scene 1

with a descriptive dotted-note extension of the last syllable of “eternità,” imitated in the bass.

14 The Baroque Libretto The lines starting “Di Trombe e Timpani” signal a change in metric structure and therefore in musical style. Passages in versi misurati, with regular metric patterns and rhyme schemes, suggest musical settings in aria style, which is more songlike than recitative. In Venetian opera, these passages are often brief, with little or no text repetition. As we see in Example 1, the neutral duple metre in which the recitative is notated gives way to a lively triple metre, which is more dancelike and singable. At the end, the words “viva, viva” are repeated in increasingly exuberant melismatic style. At the end of Vittoria’s passage, the stage direction suggests some kind of flourish of brass instruments, with waving of flags: “Dopo suon di Trombe, e ventilamento di bandiere.”35 In the Contarini score, there is a note, “si ritorna alla tripla della Sinfonia ut supra,” indicating a repetition of the lively triple metre section of the Sinfonia. In this way, the music creates a closed structure for Vittoria’s preludial announcement, bounded by the fanfare opening of the Sinfonia and the repetition of its last section. It seems likely that Vittoria made her exit during the Sinfonia, so it is not surprising that we find in the score the indication of a new scene before Diocletian’s first recitative. Diocletian’s first utterance is in recitative style (Example 2). In a high tenor or alto range, he praises Jove for the Roman victories in Africa. The exultant praise of Jove is immediately echoed by Galerio

Example 2: Diocletiano, Act 1, scene 2

(soprano) in a very short aria-style passage in triple metre (Plate 4). Massimiano then enters, in a contrasting bass or baritone range, with a more extended contribution. Comparison of his initial recitative text in the score and libretto raises an interesting point; part of the fluidity and variability of early operatic texts lies in the reality that librettos did not always reflect the “finished” work in every detail.36 Librettos were often prepared in a hurry, perhaps for submission to censors.37 The minor textual differences we see in the Contarini score, here and elsewhere, may reveal changes that were made during the rehearsal process. Alternatively, the Contarini score may be related to a production at his estate which was not identical to the Venetian premiere. In any case, Massimiano’s recitative, which colourfully depicts Roman military might in terms of Jove’s “tonante” thunderbolts, is followed by a more lyrical passage, marked “Aria” in the score. The aria falls into an ABBA1 pattern, with the text of the third and fourth poetic lines repeated, and the first two lines inverted in the final section. Although it presents a cogent musical and poetic form, it could not last for more than a minute. This is a significant point: the widely contrasting styles of text setting and music follow one another in a sequence marked by its conciseness. The resulting variety provides a sense of constant dramatic momentum, a hallmark of Venetian opera.

Introduction 15

16 The Baroque Libretto

The effect of brevity and continuity is confirmed as the scene ends. Licinio, an alto, sings a lilting interjection in 6/8 time; although songlike in style, it features no text repetition and lasts for only a few seconds. We sometimes use the word “arioso” to denote passages like this, which seem to be in aria style but feature neither the structural organization nor the text repetition of arias. The scene ends with Diocletian’s recitative, in which he announces that

the celebrations will be crowned by the execution of the prisoner, the King of Persia, and his son. For a more static and emotionally intense example, we turn to scene 3 (marked scene v in the score). Rosimonda, wife of the captured king of Persia, is alone (see Plate 5). A glance at the layout of the libretto reveals that there are three sections, suggesting contrasting musical styles. In the first part, the first five lines, the queen addresses the “Stelle

Introduction 17 perfide,” which have doomed her and her beloved to such a horrific fate. Looking at the score (Example 3), we find first that her scene is introduced by a ritornello. (Although this ritornello appears in the score at the end of the previous scene, it is clearly related to “Stelle perfide,” beginning with the same melody.) Rosimonda’s outburst of sorrow and anger on “Stelle perfide” is followed by a flowing and expressive aria-style passage, intensified by the high

Example 3: Diocletiano, Act 1, scene 3

vocal range, the florid style on the words “girate” and “cangiate,” and by the repetition of the last three poetic lines. Dramatically, the aria style is interrupted (after a double bar line in the score) by a change in the style of expression at “O sposo.” In this passage, Rosimonda’s thoughts turn to her husband and son. She resolves that, if they are dead, she wishes to die also. Here, the setting is in recitative style, fully declamatory and with no text repetition.

18 The Baroque Libretto

Introduction 19

20 The Baroque Libretto

The final six lines of the scene come to life in a lyrical movement marked “Aria” in the score. During this period, 6/8 time was a characteristic of the military topos, a perfect reflection of her strength and resolve in the face of disaster. The aria poem falls into two sections, marked by the period at the end of line 2 (see Example 4). The first two lines focus on Rosimonda’s courage facing whatever comes. As she turns her attention to her husband, a new musical section begins. The music retains the same rhythmic

character, but explores new tonal areas. After the last line, “Chieder morte è crudeltà” [To ask for death is cruelty], the text of the first two lines is repeated, with its original music. This is indicated in the libretto by the presence of the first word “Voglio,” followed by “etc.” At the conclusion, the instruments play a short passage marked “Ritornello,” based on the aria’s principal melody. This music would have accompanied Rosimonda’s exit.

Introduction 21

Example 4: Diocletiano, Act 1, scene 3 1675 Voglio morte, e voglio vita Bramo laci, e libertà. S’il mio Amor, non vive più Frà le pene anc io morrò; Ah s’in me morir non può, Chieder morte è crudeltà. Voglio, &c.38 This type of closed aria form was a significant feature of Venetian operas. In the middle part of the century, there was a wide variety of formal designs, including strophic, binary, and various refrain forms. As the century drew to a close, composers favoured the kind of three-part structure we have seen in “Voglio morte.” Later called da capo form, it featured the complete (or nearly complete) repetition of the first musical and poetic section.40 The Fisher collection contains another libretto of Diocletiano (#50), published for a production in Ferrara. Dated 1683, eight years later than our Venetian libretto, it features a number of differences, reflecting a significant feature of operatic practice in the baroque period. Unlike the virtually immutable versions of late nineteenth and twentieth-century operas, baroque operas were subject to multiple revisions virtually every time they were revived. As we saw in our discussion of prefaces, a composer or librettist of the period would have thought it perfectly normal to find his original work altered for production at a different theatre. For example, the title page of the Ferrara libretto (Plate 6) features a proud announcement that new arias have been included; audiences of the time were attracted by novelty, and would have placed no importance on notions of a score wholly created according to the artistic concept of a single creator. If we examine Rosimonda’s first-act solo scene in the 1683 version, we find that the opening aria and recitative sections remain the same (Plate 7). However, the language of the final aria has been revised: The first section, up to “libertà,” remains the same, but the words of the second part, reproduced diplomatically in Example 4, have been rearranged or rewritten. There is no indication of the repetition of the first part; the music may have been recomposed,

1683 Voglio morte, e voglio vita Bramo lacci, e libertà: Se il rigor d’un’ empio Cor L’Alma mia soffrir non può Frà le pene, anch’io morrò Vil Trofeo di Crudeltà.39

this time not in da capo form, but it is just as likely that the indication of the da capo repeat was simply omitted in the 1683 reprint. Revisions of both poetic text and music were common, as was the practice (not a factor in this case) of substituting arias from other operas, which became widespread during the early eighteenth century.41 The Ferrara production seems to have been less lavish and elaborate than the Venetian. The opening scene in Ferrara starts with Diocletiano’s recitative: there is no mention of a “Machina Imperiale,” as in the scene listing for Venice, and no character corresponding to “Vittoria imaginativa” (Plate 8). In Venice, Act 2 ended with a song and dance of Persian prisoners, followed by an additional ballo. This scene does not occur in Ferrara, and, although there had been a dance after the first act, none is mentioned after Act 2. The collection also includes two different prints of the libretto for Handel’s Alessandro, on a story about Alexander the Great. Dating from some five decades later than Diocletiano, the opera exemplifies the type of highly conventional seria or heroic opera that dominated European stages from the early years of the eighteenth century. It was produced in London, during the heyday of the opera company called the Royal Academy of Music. Alessandro’s first performance, represented by the 1726 King’s Theatre libretto (#173, Plate 9), was a dazzling affair attended by the cream of London society, headed by the royal family.42 The excitement was fuelled by the participation of a star-studded cast, including the newly arrived Faustina Bordoni who sang the part of Rossane (as confirmed in the cast list). Taking as an example a recitative and aria from Alessandro, we can observe fundamental differences from the Diocletiano excerpts. First, instead of the

22 The Baroque Libretto frequently changing styles of the Venetian opera, there is a more marked contrast between passages exclusively in declamatory style and the lyrical elements. Second, aria forms, and especially the predominant da capo form, have become lengthy, highly formalized closed structures. In Act 2, scene 2, Alessandro discovers Rossane, whom he loves, asleep in a shady garden retreat. The jealous Lisaura enters, and decides to observe the pair, but she is seen by Alessandro, who turns to her for “consolation.” Lisaura responds by repeating the words he had originally addressed to Rossane, and then leaves. Delighted to be left alone with Rossane, he is shocked when she repeats to him the sweet words he had said to Lisaura, and makes her exit. Left alone, Alessandro expresses his anger at being treated this way by a slave and a barbarian. The nine lines beginning with “Che onor si rende al Vincitor del Mondo!” [“What honour is due to the Conqueror of the World!”] are set in recitative style, introducing a da capo aria starting “Vano Amore.” Plate 10, from the King’s Theatre libretto, shows the Italian text, while Plate 11 is the English translation that appears on the facing page. The convention of closing a scene with a da capo aria, introduced by recitative and followed by the exit of the character, was central to the dramatic and musical structure of eighteenth-century Italian opera. Recitative was for the most part a fast-moving affair; the nine lines preceding the aria fly by in around half a minute, while the eight short lines of the aria require a musical setting lasting around six or seven minutes. Like all of Handel’s London operas, Alessandro was based on a continental model, in this case La superbia d’Alessandro by librettist Ortensio Mauro and composer Agostino Steffani, which had been produced in Hanover in 1690. Handel’s librettist Paolo Rolli made a number of alterations to the libretto, but the first two scenes of Act 2 are almost entirely Mauro’s creation.43

In the recitative, Alessandro comments sarcastically on his treatment by the two women, who have rejected and even made fun of the world conqueror. As a lover, he might have been prepared to let them get away with this behaviour, but as a king he cannot allow it. Winton Dean finds that Alessandro is “at his most humanly credible” in these opening scenes of Act 2. Surely, even the audiences of the 1720s would have been amused by his indignation, given his unashamed pursuit of both women. Mauro had made it clear that Alessandro’s attentions to Lisaura were motivated by his desire to ingratiate the Scythians, while Handel’s Alessandro seems more of a cad. However, Handel’s setting of the aria lends weight to Alessandro’s anger, reminding us of his stature as monarch and military hero.44 Da capo arias of this period differ from the ones of earlier Venetian opera; not only are they much longer, but they follow a set pattern. “Vano Amore” provides a fine example. An introductory ritornello for string orchestra with continuo combines the dignity of a courtly style with the affective melody that will dominate the first section of the aria. Here, the ritornello is an essential organic element of the musical structure; it returns, at least in partial form, at various key moments, and, unlike the vocal lines in the Diocletiano example, the vocal passages here are accompanied by the full orchestra (see Example 5). The extended quality of this first section is created by two features of text-setting which are the hallmarks of eighteenth-century aria style – text repetition and florid passagework. The words of the first three poetic lines form the entire text of this first section: they are repeated many times, including a complete repetition of the strophe. There are four examples of extended vocalization on a single syllable, on the words “cedete” and “agita,” which allow the singer – in this case the world-famous alto castrato Senesino – to display his technical prowess.

Introduction 23

Example 5: “Vano Amore,” Alessandro, Act 2, scene 2*

*Based on Friedrich Chrysander’s edition in The Works of George Frederic Handel, vol. 72 (Leipzig: German Handel Society, 1877).

24 The Baroque Libretto

In the second strophe, the affect takes a slightly different turn, as Alessandro resolves to “repay her Haughtiness with Scorn.” The music is in a sharply contrasting style; the andante of the aria’s first section is replaced with a vigorous presto, and the triple metre by a furious 4/4 or common time (see Example 6). Handel’s middle sections do not always feature this stark a contrast, but they are always much shorter than the first sections; here, the faster tempo and a

more concise setting combine to create a passage which goes by more quickly than the first part, even though it covers more poetic lines. At the end, we return to a shortened version of the opening ritornello (dal segno), and the entire first section is repeated. Essential to this repetition is not only the affective interaction between the two strophes, but also the opportunity for the singer to elaborate on the melody with stylistically appropriate ornamentation.

Introduction 25

Example 6: “Vano Amore,” Alessandro, second strophe

26 The Baroque Libretto

Turning to the collection’s second Alessandro libretto (#174, Plate 12), printed by Thomas Edlin for the librettist Paolo Rolli, we find that although it was published in the same year, it is quite different. Rolli intended it not as an accessory to a theatrical production but as a literary artefact. Where the King’s Theatre libretto features no preface or dedication, the Edlin print contains a quotation in Greek from Plato’s Republic and a dedication to the Princess of Wales. Rolli mentions that she might have seen the original Hanover version, but that he has revised the opera, and that it was a success in its first London production. The Edlin book is slightly smaller than the King’s Theatre libretto, but is on higher quality paper and features more generous margins – feasible because there is no English translation. The non-theatrical orientation is reinforced by the lack of singers’ names in the list of characters. Furthermore, the da capo repetitions in the arias are not indicated. The argomento includes an extra sentence, likely added for clarification. There are two passages of recitative which are not found in the King’s Theatre libretto.45

Dance in Italian Opera, 1600-1728 There are many questions still unanswered about the nature of the ballets that frequently formed part of operatic productions. The most important clues about this practice, which was far more prevalent than most opera histories lead us to believe, are found in the surviving librettos from the period. Even when scores survive, they do not always include music for the ballets mentioned in the librettos.46 The earliest court operas were closely related to Renaissance intermedi, with their elaborate combination of speech, singing, instrumental music, spectacle and dance. In Peri and Rinuccini’s Euridice (#2), the choruses of nymphs and shepherds dance to celebrate the wedding, and the work ends with a dance. Some of the dances in these early pastoral works are associated with sung numbers, and all are integrated with the dramatic action. Dances of this nature were very likely featured in the first three productions represented in our catalogue, all associated with the Florentine court during the earliest years of the Seicento.47 Over the next three decades, ballet continued to form a significant element in Florentine court celebrations. La regina Sant’Orsola (#6), variously described as a festa and a “sacred drama,”48 was

Introduction 27 probably first performed on 6 October 1624, in honour of Archduke Charles of Austria. Our libretto reflects a production in the Tuscan ducal theatre a year later for Ladislao Sigismondo, Crown Prince of Poland and Sweden (see Plates 13 and 14). Near the end of the fifth act, the stage directions call for a ballet danced by courtiers: “Quì per applauso della vittoria fù ballato da nobilissimi Cavalieri della Corte di Toscana, rappresentando parte di loro, Soldati Romani, e parte, Nobili di Colonia” (p.102).49 This libretto also features an early example of the identification of the choreographer: “L’abbatimento e’l Ballo del Sig. Agnolo Ricci” (pre-p. [12]). Ricci, described in 1616 by composer Antonio Brunelli as “aiutante di camera e Maestro di Ballar di S.A. Serenissima [di Toscana],”50 is perhaps most famous for his large-scale Florentine “dance drama” Le nozze degli dei (1637).51 According to Claudia Celi, Ricci was a specialist in abbattimenti (like the one in La regina Sant’Orsola), “performances of a kind of ‘figurative joust’ in which horseback riders executed dance patterns.”52 That the participation of noble courtiers survived at least until mid-century is revealed in Le vicende del tempo (#21). The wide variety of genres represented in the Thomas Fisher collection is exemplified in this libretto: as the librettist Count Bernardo Morando explains in the preface, this drama fantastico musicale can be interpreted as a series of introduzioni to three ballets. However, according to Morando, the Duke of Parma preferred it to be performed as a full-length opera containing ballets. Either way, it was a lavish spectacle, prepared for the ducal theatre on a particularly grand occasion, a visit in 1652 of Archduke Ferdinand of Austria and the Archduchess Anna of Tuscany. The first ballet, “Il Giorno vincitor della Notte,” features a dance of twelve rays of sunlight. The dancers are named in descending order of social rank, starting with the duke himself. During the second azzione, twelve stars perform a balletto, “La Notte vincitrice del Giorno,” and here the noble ladies are listed as performers. In the final balletto, the rays of sunlight and the stars unite in “Il Giorno, e la Notte pacificati.” Our impression of a rich spectacle is intensified when we examine the long list of “Personaggi dell’opera,” including several distinctive choruses: Cacciatori con

Cefalo, Pastori, Agricoltori con Pane, Argonauti con Giasone, Sogni con Morfeo. It seems possible that there were additional dances associated with these colourful groups. Unfortunately, the score by Francesco Manelli does not survive. Recent research, especially by Irene Alm, has unearthed valuable information about dance on the Venetian operatic stage. The practice starts with Andromeda in 1637; the first production at the Teatro Novissimo di San Cassiano featured numerous dances choreographed by the famous Giovan Battista Balbi.53 Examination of the many Venetian librettos in our collection confirms that it was conventional to include balli at the ends of the first two acts, sometimes near the end in a tightly integrated fashion and sometimes after the completion of the act. In addition, some librettos mention balli at other points in the text. For example, in Cavalli and Minato’s Antioco (#24, 1658 at San Cassiano), the stage directions call for a dance in Act 2, scene 5 (in addition to the conventional act enders): in a jolly scene, including duets, a dance is performed by the two servants Nainana (Mora confidente d’Antioco) and Lisetto (Paggio di Corte). They instruct the hunchback Liro to play for them, and he responds with a stutter: “Et io suo suo suono.”54 The stage directions confirm “Quì ballano, e Liro suona” (p. 35).55 Moreover, it is likely that dances were sometimes performed even when there is no reference to them.56 Whether dance was as important in other Italian operatic centres is not yet clear. Probably, practices varied widely; based on the evidence offered by some of our librettos, it seems that not all Italian theatres had the resources, nor all audiences the inclination to include dance as frequently as the Venetians. For example, when Minato’s Antioco was revived in Genoa in 1690, this time with music by Carlo Ambrogio Lonati, there may not have been any balli at all, if we go by the absence of mention in the libretto (#65). In any case, Kathleen Kuzmick Hansell has determined that, by the end of the seventeenth century, dance was a regular practice in most of the larger Italian theatres.57 As always, the imperial city of Vienna presents a special case. Our collection contains a volume of librettos by Count Prospero Bonarelli della Rovere, edited by his son Lorenzo and published in Ancona in

28 The Baroque Libretto 1647. Bonarelli acted as impresario for the Arsenale theatre in Ancona, and he was also a librettist and, by his own account, a composer.58 He was clearly interested in dance; of the nine librettos in the collection, eight mention ballets. Of these, two provide examples of the various entertainments Bonarelli created in the 1630s for Vienna. For the wedding of the future Emperor Ferdinand III to Maria Anna of Spain in February 1631, he wrote L’allegrezza del mondo, an “invenzione per un balletto Regale” [an invention for a Royal ballet] in one act. The next item represents a celebration for what must have been the last birthday of Ferdinand II, on 9 July 1636. Entitled L’antro dell’eternità, with music composed by Ludovico Bartolaia, it is described as “invenzione d’un torneo a piedi” [an invention for a torneo on foot]. A torneo was a depiction of a tournament, usually a contest among allegorical characters, such as the four seasons and various deities in L’antro dell’eternità.59 The contest was framed by a sung introduction and conclusion. Here, the conclusion featured dancing, and it is likely that the introduction did also. As Colin Timms points out, the torneo generally featured teams of horsemen, but sometimes, as in L’antro dell’eternità, the contest was performed on foot.60 Dance, including equestrian ballet, continued to be popular on the musical stage in the Vienna of Leopold I (reg.1657-1705). Carl B. Schmidt stresses an important distinction between the practice in Vienna and that of Italian cities: in the imperial city, ballet music was composed not by the creator of the opera of which it was a part, but by a second composer. As often happened in Italy, the dance music was not included in the opera score, and to this custom Schmidt attributes the frequent loss of dance scores.61 What was the subject matter of dance in seventeenth-century Italian opera, and how did it relate to the operas themselves? The librettists sought various ways to link their works to classical models and, in Venice particularly, to justify the increasing tendency to reduce the number of choruses in favour of act-ending dances. The anonymous author of Le nozze d’Enea (1640) justified his use of dance by suggesting that in ancient drama only the choruses had been sung. But when the whole drama is sung,

the choruses would not have the same effect, and the variety provided by dancing is preferable. As Ellen Rosand explains: Here the complete musical setting of the drama served as a double excuse, both for not writing choruses between the acts and for including ballets instead, which, in addition to providing that essential commodity, variety, could, by stretching classical theory a little, actually be justified as an extension of the ancient practice of choral dancing.62 And variety they certainly did provide. If we try to re-create Venetian-style operatic performances in our imaginations, some of the most vibrant and exotic images come in the dance. The librettos tell us that the dances were replete with exotic characters (Armenians in Il Girello, Persians in Diocletiano, gypsies in Amor spesso inganna), people plying colourful trades (gardeners in Medea in Atene, mint workers in Catone, gladiators in L’Amor di Curzio per la patria, hunters in L’Eraclio), and animals – real or costumed (bears in Elena and Il Girello, parrots in Il Girello, and of course horses in Le Amazoni nell’isole fortunate). As we have seen, dancers sometimes portrayed gods and goddesses and allegorical characters; indeed, they also played supernatural entities (Cori de’ Spiriti appear frequently, as in L’Annibale in Capua, Il Girello, Astiage et al.) and monsters (“infernal monsters” in Medea in Atene, or the battle between the dragon of jealousy and monsters of desperation in La Costanza vince il Destino). Some of the dances on the Venetian stage reflect contemporary experience. As Irene Alm points out, some refer to contact between Venice and the Muslim world.63 Dances with references to “la moresca” or to “Mori Africani” were part of La Didone, La Dori, and Brenno in Efeso. During the last few years of the seventeenth century, after the First War of Morea (1684-1699), when Venice achieved a number of victories over the Turks, Turkish dances appeared in a number of operas. As for the genre of slave or prisoner ballets, as in Diocletiano, it is hard to imagine what associations these might have evoked in Venetian audiences. This is particularly

Introduction 29 true in the case of the schiavi liberati of Elena, produced at San Cassiano in 1659. Many people must have heard stories of Europeans who had been kidnapped during their travels in the east and south, and returned to their homelands only after payment of a ransom. History has left us numerous clues as to the style of dancing in the Italian theatre. It is clear from several accounts64 that the social dances so common in French operas of the time, such as minuets and sarabandes, were not performed except in ballroom scenes. Rather, dance movement was designed to fit the characters or the situation, and pantomime was a significant element.65 In his Essay Towards an History of Dancing, John Weaver praised the Italian style of “scenical dancing” (pantomime): “Yet are these modern Mimes inimitable, and tho’ they have been aped by several in France, yet … the French could never come up to the Grimace, Posture, Motion, Agility, Suppleness of Limbs and Distortion of their Faces.”66 Weaver’s category of “grotesque dancing” refers to the virtuosic movements typical of comic plots, for which he and other commentators praise the Italians particularly. Very little of the music for theatrical balli has survived, although there is a recent collection culled from the scores in the Contarini collection.67 What we do have reveals a remarkable feature: there are numerous examples which, instead of the regular phrase structure and repeated sections we normally associate with dance, are characterized by sharply irregular phrase structures and expressive fermatas. We must conclude that the music was closely wedded to the particular pantomime associated with certain scenes. Irene Alm’s assertion about the historical significance of Venetian theatrical dance becomes even more convincing: it was clearly an important precursor of the ballet d’action.68 In her ground-breaking work of the 1980s, Kathleen Kuzmick Hansell identified general trends in the history of Italian operatic dance, all of which are confirmed by the study of the librettos in the Thomas Fisher collection. In the earlier part of the seventeenth century, operatic dance tended to be associated with singing, and, even when placed in the closing scenes of acts, closely connected to the plot of the drama. In the early court operas, the dance

steps likely conformed to the geometric choreography of the ballet nobile. Over the century, the dances gradually became more loosely connected to the dramas, functioning more as entr’actes. They were purely instrumental, and not sung. This, along with the practice of “grotesque” dance and pantomime, can be related to the advent of virtuoso professional dancers. The complete separation between sung acts and danced intermezzos was consistent with the theories of the early eighteenth-century Arcadians, who sought to eliminate comic scenes and divertissements from the drama per musica.69 While it is true that sung comic intermezzos became fashionable during the period from the late teens to the mid-eighteenth century, the danced intermezzo retained its popularity also. From the middle of the century, the comic intermezzo faded in favour of full-length comic operas, while the intermezzo ballet continued to flourish in Italian opera.

The Oratorio Like most forms of art that are born of real cultural ferments and are not generated by preconstituted theories, the oratorio existed for some time before it acquired for more than a handful of people the name by which we know it today. And even when the term “oratorio” had begun to gain appreciable currency, the form continued to flourish blissfully unconcerned with the terminological indeterminacy that surrounded it—a fact that would later frustrate scholars, theorists, and bibliographers intent on tracing its origins and on uncovering the order believed to be concealed by the confusion of its early history.70 Throughout the seventeenth century the oratorio libretto responded to such names as cantata, azione sacra, melodramma, dramma sacro, tragedia sacra, and, of course, oratorio, all documented in the Fisher collection. However, it was not until the beginning of the eighteenth century, when the oratorio was already about 70 years old, that scholars began to debate the legitimacy of these terms, the conceptual boundaries that they imply, and the precise nature of the art form that they designate. But even these reflections on the oratorio libretto are at best modest, when compared

30 The Baroque Libretto with the attention attracted by all the other literary genres in the flurry of critical activity inaugurated by the Accademia dell’Arcadia. Prior to that, throughout the seventeenth century, the oratorio poet did not come into any kind of prominence for his work in this field, which remained sheltered from the outside world and narrowly focussed on its message of conversion and spiritual fulfilment. Unlike the opera libretto, which needed to have a built-in readiness to adjust to the volatile conditions of the grand stage and was therefore always in the field of view of a variety of critics, the oratorio libretto had to contend with few external factors, having been developed in and for an environment that is stable and self-contained almost by definition. In the period covered by this book, the baroque oratorio is not concerned with the entertainment market, has no contact with budget-conscious impresarios, and has little curiosity for the scenic splendour of the stage, which is both beyond its reach and inimical to its worldview. Even in its most secular moments, when it yielded to the temptation to touch furtively on the prohibited details of human experience in both hagiography and Scripture – when, that is, it became what modern scholars call, somewhat improperly, an erotic oratorio – the genre remained steadfast in its mission and never betrayed the poetics of devotion on which it was founded. The poet of the oratorio libretto had no need to be concerned much with anything other than the composer’s music and his own theme. The structure of the oratorio libretto evolved independently of the world of opera, and, although towards the end of the baroque period, it came close to replicating the structure of its theatrical counterpart, it always retained its claim to uniqueness as a sacred artistic form that had no need for scenery and acting. The aesthetic power of the oratorio lies in its ability to activate aurally the visual imagination of its audience and to invite the interiorisation of the drama at a depth unknown in the theatres of baroque opera, which presuppose instead an audience that is by comparison imaginatively passive and desirous only of gratification. At the theoretical level, we can say that, whatever configuration it may have been given in a particular decade of the baroque period, the oratorio libretto never displayed from within its structure a

will-to-incorporation – that is to say, a logical need to be integrated into the body of a larger aesthetic and social whole – that went beyond the music appropriate for it and the religious context of its performance. Oratorio librettos were not published as an aid to performance appreciation until the 1660s, a fact that Howard Smither attributes to the origins of the genre in Rome, where printed librettos even for opera were rare during the first half of the seventeenth century.71 From a purely material point of view, the baroque oratorio libretto is much shorter than an opera libretto – seldom going over 500 lines or being able to sustain more music than two hours of performance72 – and generally consists of two parts separated by a homily,73 and includes few characters, no fewer than three and no more than six. It can be divided into three types, each of which flourished in a different period of history though occasionally practiced at other times as well. We can distinguish, then, three periods of history: an early period, starting around 1630, when the genre first emerged in its own right as a distinct literary and musical form, and ending around 1660, when the narrative structure of the libretto began to be regarded as inadequate and ready for a major change; a middle period of another 30 years, in which the oratorio libretto was brought into close proximity with the contemporary opera libretto, in accordance with a new aesthetic sensibility later articulated by Arcangelo Spagna, the first serious scholar of the oratorio libretto and a prolific librettist himself; and a late period, also of about 30 years, dominated by the work of Apostolo Zeno, who forced onto the oratorio libretto a concept of artistic unity derived from the secular theory of drama and grounded in the poetics of verisimilitude championed by the Accademia dell’Arcadia. In the first period, the dominant type of oratorio libretto had a decidedly epic character, in the Aristotelian sense of the term; that is, it had a structure that was governed by a narrative voice, the dramatic dialogue figuring as no more than embedded quotations in the story. In the wake of the Counter Reformation, which imposed on all the need for doctrinal clarity, the narrative voice was the most useful rhetorical device available to a genre that sought to edify while providing pious diversion during the Lenten period, when the theatres of Rome were

Introduction 31 closed and the season was appropriate for reflection and self-analysis. The narrator is usually called Testo, less frequently Historia, is routinely in the tenor range, and represents an allegorical personification of the magisterium of the Church. The purpose of his words is to provide the narrative co-ordinates for an easy visualization of the action in the story and the correct interpretive paradigms for the passages of direct speech included in it. The Testo stands outside the story, which he tells in a manner that is consonant with official teachings on articles of faith and on Scriptural interpretation. The function of his role in relation to the quoted dialogue is analogous to the function of the evangelists in relation to the quoted speech of the individual characters in an episode of the gospels. In his Discorso dogmatico on the genre, Arcangelo Spagna adroitly remarked that the formal configuration of the early librettos was probably derived from the “Sacri Passii che si cantano la Settimana Santa,” that is the texts of the Passion rite of Holy Week dominated by the evangelist speaking in propria persona.74 The Testo, in other words, provides the audience with the theological ideas to be derived from the dialogue and from the reported action of the other characters. But as it proceeds in its narration and explanation, the Testo can be heard enacting another story, in which he is the only active character. In this enacted story the Testo has the role of a fictional theologian imparting a lesson or delivering a sermon. The librettos that are frequently cited as the first specimens of the new genre, namely Filippo Balducci’s Il trionfo and La fede, both from 1630, are not entirely typical of the period but illustrate instead the experimentation with form that marked the beginnings of the oratorio.75 Il trionfo consists of one brief part, whereas La fede is divided into two. The narrative character Historia has a minor role in Il trionfo but a major one in La fede, which for that reason is much closer to the typical model, represented best in the Fisher collection by Alfonso Colombi’s La Maddalena pentita (#53, 1685) and Bernardino Rigotti’s La lega della bontà e della grazia (#55, 1686). Both librettos by Balducci include substantive roles for the Choro, which shares with Historia part of the epic role that in more typical oratorios of the early period was assigned to the single figure of the

Testo. In the Italian libretto, the chorus loses quickly this substantive role and virtually disappears from the genre, though it continues alongside the Textus or the Historicus in Latin librettos, such as, famously, those of Carissimi. There were, of course, regional variations: in the practice of northern confraternities, the Textus disappeared slowly; in Rome its function is taken over quickly by the chorus.76 Having eliminated the Testo, Spagna retains the chorus in many of his librettos, though its role, usually narrative, is minor and at times does not go beyond the aural equivalent of stage directions.77 The Fisher collection includes a few librettos, such as Pompeo Figari’s Abraham in Aegypto (#67, 1692) and Pharaonis Infaustus Amor (#74, 1693), both set by Domenico Zazzera, in which the chorus carries out by itself the didactic task of the narrator. In the second period, approximately 1660 to 1690, the structure of the typical libretto is almost always dialogical and the story that it tells is articulated as a secular dramatic action, the doctrinal voice having been subsumed into the plot line. The transition from the first to the second period was neither sudden nor simultaneous in all confraternities, as can be immediately surmised from the dates of Colombi’s and Rigotti’s librettos cited above. The uneven transition notwithstanding, the disappearance of the Testo from the libretto form was due to a sharp rise in the aesthetic taste for dramatic verisimilitude throughout Italy and, at the same time, to a general inclination of contemporary theory towards the elimination of hybridism from literary genres in favour of pure forms, as can be seen especially in the concerted effort to remove scenes of comic relief from the otherwise serious plots of contemporary opera librettos at the end of the century. When such principles of reform were applied to the oratorio, the text naturally acquired the appearance of a short opera libretto. In fact, the oratorio libretto of this period resembles the operatic one so closely that it has occasionally given rise to the mistaken impression that the oratorio is a sacred species of opera in which scenography, movement and costumes are sacrificed to safeguard religious dignity. The fallacy in such theorizing, to which Spagna himself came perilously close in his Discorso dogmatico, lies in positing opera as the starting point, and then dropping some of its compo-

32 The Baroque Libretto nents in order to accommodate sacred subjects. The historical facts are instead that the starting premise was the structure of the epic oratorio, from which the role of the narrator was dropped and in which the plot material was redistributed, with the result that the text resembled the structure of an opera libretto. The chief thematic aspect of the reconfiguration of the libretto concerned the theological perspective previously assumed by the Testo, which now had to be skilfully superimposed, by way of narrative and explicatory recitatives, onto the natural viewpoints of the dialoguing characters. This was not a trivial matter. Ridolfo di San Girolamo felt unequal to the task in his Gedeon in Harad (#87, 1696) and resorted to giving a detailed allegorical explanation in the libretto itself at the end of each of the two parts, showing essentially how the actions of the Old Testament characters in the story were typological prefigurations of the doctrine of redemption.78 Allegorical personifications of virtues, such as the Pietà and Giustizia that figure in Ambrosio Ambrosini’s La morte delusa (#56, 1686), could help when they could be logically worked into the action, as could, of course, the direct intervention of God in one of His persons. Occasionally pictorial allegorisations of theological principles were used as frontispieces in order to condition the interpretation of the text (see Plate 15). But such solutions were awkward compromises and not real solutions to the librettist’s problem of how to enable the magisterium of the Church to speak with an epic voice in a non-epic structure. In addition to carrying out the tasks of selfexpression and interaction, the characters of the libretto now had the burden of giving shape by themselves to an action that could make manifest the theological base of the spiritual message of the oratorio. The most significant effect of the structural transformation is that, whereas in the epic model there are always two actions – the primary one, enacted by only one character in the guise of a narrator addressing the public directly, and a secondary one, contained within it, as if in a frame, and with its own agents to enact it – in the new model there is only one action, propelled by several characters. On the thematic front, the elimination of the Testo meant that explicit doctrinal teachings could no longer oc-

cupy the foreground of the oratorio, that place being now reserved primarily for the retrieval of religious sentiments from the depths of a character’s consciousness. In the absence of a narrator operating as an intermediary between the audience and characters, the audience could best grasp the spiritual message of the story by participating vicariously in the emotional experiences of the characters in it. The several decades that now separate it from the Counter Reformation have distanced the oratorio from its original objective of doctrinal teaching and have redirected its focus onto the psychology of personal religiosity, in a manner that is fully consonant with the contemporary trend towards sentimentalism in the secular dramatic arts. The challenge of conveying a drama in entirely aural terms, without the assistance of stage movement and visual effects, elicited strikingly creative responses from oratorio composers. As an example, we can take Il Sagrifizio di Abel (#75, 1693) composed by Alessandro Melani on a libretto by Benedetto Pamphili. It is one of a very few of our librettos for which the music is not only extant but also available in a modern publication.79 Based on the biblical story of the murder of Abel by his brother Cain, this oratorio was successful, as indicated by the number of revivals it received during the two decades after its 1677 premiere. The score reveals a judicious alternation of styles, such as we encountered in Diocletiano – recitative, arioso, aria with continuo accompaniment, duets, a trio, and orchestral ritornello. In addition, there are arias in which the orchestra provides a rich textural background to the solo voices, intensifying the affects or passions. The emotional intensity reaches its zenith in Part Two, where Pamphili’s master stroke of placing the distraught parents at the scene of the murder inspires the musical dramatist in Melani. As events lead up to the fatal blow, the music has an immediacy and flow only hinted at on the pages of the libretto. Abel calls out “Madre,” to which Eva responds “Mio ben.” The dying boy sings an extended accompanied lament. The oratorio features a variety of aria forms, including a strophic structure in which is embedded a short da capo at the end of both stanzas (Eva’s first aria, “Mite il Ciel”). As Abel lies dying, Eva sings a

Introduction 33 magnificent extended da capo aria “Crudo figlio,” in which her rage is contrasted with a largo middle section. Although Melani’s characters represent the vocal ranges of a standard chorus – soprano (Eva), alto (Abel), tenor (Adamo), and bass (Cain) – Il Sagrifizio di Abel contains no choral ensembles. One of the early forerunners of oratorio had been the dialogue motet, and for many decades composers followed the traditional practice of assigning each of the vocal ranges (SATB or SSATB) to the characters, so that they could unite at strategic moments to sing a chorus or “madrigal.” However, the inclusion of choruses in Italian oratorios became less frequent as oratorios became more operatic in style. Spagna noted that modern composers had generally stopped including choruses, recommending instead that oratorios end with an “arietta allegra.” In fact, there is a wide variety of practices with regard to the use of chorus. A number of oratorio librettos in the Fisher collection represent performances at the Oratorio del Santissimo Crocifisso in Rome. As mentioned above, these works are in Latin, and many list chorus among the interlocutors. An example is Filippo Capistrelli’s Impii per Iustum in Josue Jericho Demoliente (1693), in which the chorus represents the Hebrews as well as the citizens of Jericho. Even so, Spagna testified to the decreasing size of the performing forces at the Crocifisso, which Smither attributed to “the diminished importance of the chorus.”80 Although it is impossible to generalize about the size or even the presence of choruses in Italian oratorio of this period, it is safe to say that the days of the massed choruses of late nineteenth and twentieth-century concert halls lay far in the future. In the third period of its baroque history (1690-c. 1720), the thrust of the oratorio libretto towards a secular dramatic form is more pronounced, as the dialogical structure achieved in the second period is brought into the domain of dramatic theory. By subjecting the oratorio libretto to the rules for dramatic unity and to the poetics of verisimilitude that were currently being applied to both the opera libretto and the spoken drama, Apostolo Zeno sought to make it equally stage worthy. His own librettos were potentially “non solamente cantabili ma rappresentabili ancora.”81 From a purely formal perspective, they remain oratorio librettos only because,

although they can be staged just like other types of drama, they do not actually require staging in order to achieve their intended fullness as works of art. The rules of unity help the poet and the audience focus on the single action of the drama. The laws of verisimilitude demand the dissolution of allegorical characters, such as the Testo and personifications of Christian virtues, the removal of the chorus, and the exclusion of divine persons from the list of characters that are agents of an entirely human action. However radical in appearance, such changes do not affect the religious nature of the subject matter and the edifying purpose of the oratorio. Zeno clarifies that the doctrinal content of the earlier stage–in the narrative voice of the first period and in the explicatory recitatives and choral passages of the second period–can and should be entrusted to style rather than characters or structure. The recitatives and arias of patriarchs, apostles and prophets, characters from whom the audience naturally expects authoritative teachings, should be based on a very limited vocabulary and type of phrasing, drawn directly from Scripture, from the writings of the Fathers, and from the recognized theological authorities of the Church. Made to speak “con lo stile delle Scritture e co’ sentimenti de’ padri e de’ dottori della Chiesa,”82 such characters become a stylistic embodiment of the Testo that dominated the librettos of the first period of the baroque oratorio. In the new libretto form, the magisterium of the Church has become invisible but may be heard in its full strength in the voice of the characters themselves, who can speak ex cathedra without appearing to do so and without refraining from the expression of spiritual sentiments in their personal psychology. Beyond its semantic field as a metaphor for spiritual orthodoxy, however, the magisterium of the Church has a pragmatic one in the world of social, political, and economic relations. Here the suggestion is that the teaching voice of the Church is the voice of real churchmen with influential roles to play in the field of culture, priests and theologians who occupy positions of authority in the institutional order of the world, wherein they frame policies and defend interests that may appear to be, but in actual fact are not, at loggerheads with their spiritual mission. In Italy the most important cultural organization permeated

34 The Baroque Libretto by men of the Church was the Accademia dell’Arcadia. Its first president, Giammario Crescimbeni was a literary theorist and historian but also a priest, pastor of the ancient church of Santa Maria in Cosmedin for many years. His leadership was not without serious opposition from men of great personal and academic integrity, such as Gianvincenzo Gravina, but his success was complete. During his long presidency (1690-1728), Crescimbeni spared no effort to achieve a perfect melding of Arcadian aesthetics and Catholicism. The fact that already within the first few years of its history the academy drew 38% of its members from the clergy, and the fact that by 1890 a total of 15 popes had been members of the academy speak well for the effectiveness of his program, both in the short and in the long range.83 The academy was a gigantic institution. Its seal was the Pan pipes and its divine patron was baby Jesus, who was first worshipped by shepherds. The academy knew its members by pastoral names and conducted its affairs in the playful metaphors of ancient literary pastoralism, but its business was real, and it exercised enormous authority, not only over the development of style but also over the advancement of careers in all the verbal arts, including the dramatic ones. Its relevance to the history of the oratorio libretto, which in the early eighteenth century has few traces of the literary baroque and much that is deliberately anti-baroque precisely as a result of the influence of Arcadian poetics of style, can hardly be overstated. In the baroque oratorio of this period, it is the music that is baroque and not the poetry, and the resulting combination is an aesthetically unique object that defies comparison. Founded to combat the gross exaggerations which the baroque imagination of the second half of the seventeenth century had frequently courted, Arcadia counted among its members not only dozens of poets and rhymesters but also distinguished composers like Arcangelo Corelli, Alessandro Scarlatti, and Benedetto Marcello, and some of the most important patrons of both music and poetry, including Cardinals Pietro Ottoboni and Benedetto Pamphili, himself an accomplished librettist for Scarlatti and Handel. When a member of the academy wanted to exhibit his membership on the cover of a new book, he

submitted his manuscript for review and applied for permission to publish his work under his Arcadian pseudonym followed by the letters PA, which stood for Pastore Arcade or Arcadian Shepherd, that is to say member in good standing of the academy. The Fisher collection includes a libretto that is singularly interesting in relation to this practice: Il pentimento di Davidde (#170, Roma: Bastiano de’ Rossi, 1722), written by Andrea Trabucco, alias Albiro Mirtunziano PA. It was performed in the church of San Girolamo della Carità, first church of St. Phillip Neri, founder of the Oratorians and hence distant father of the oratorio. Moreover, the libretto carries the personal approval of Crescimbeni himself (see Plate 16), signed by him in a meeting of the collegium of the academy.84 It was set to music by a young Portuguese composer, Francesco Antonio di Almeida, and was dedicated to the Most Reverend Father Diego Curado of the Congregation of the Oratory, who had been appointed Cunsultor to the Tribunal of the Holy Office in the Kingdom of Portugal. The message of the oratorio was no less spiritual than the best in the tradition, to the entirety of which it appealed by the strategic location of its performance; however, circumstances that had nothing to do with the tasks of spiritual aesthetics, brought it into a hitherto unknown contact with the external world and made it serve other ends. Arcadia wielded considerable power both within and without the realm of style. The following year, the king of Portugal, John V, having himself been inducted into the academy, expressed his gratitude with a donation large enough for the collegium to purchase the site and to construct on it the elegant garden theatre that would become the permanent headquarters of Arcadia. The oratorio had no doubt fulfilled its spiritual mission, but it had also lent its services to a major fund raising campaign. We have come a long way from the early exercises of piety that gave rise to the oratorio, as an art form that could lead one to God and away from the dangers of the world. The culture of the new age saw no incompatibility between the aesthetics of spirituality and the pragmatics of the external world, and it was not hypocritical about its commitment to either.

Introduction 35

Notes 1

Beatrice Corrigan, Catalogue of Italian Plays, 1500-1700, in the Library of the University of Toronto (Toronto: University of Toronto Press, 1961), p. vii. See also the supplements in Renaissance News 16 (1963): 298-307; Renaissance News 19 (1966): 219-228; and Renaissance Quarterly 27 (1974): 512-532. 2

The dates given here refer to the specific libretto in question, and not to the composition or first production of the opera.

3

The fourth edition was published in Florence in 6 volumes by Domenico Maria Manni in the period 1729-1738. 4

Ludovico Antonio Muratori, Della perfetta poesia italiana (Venice: Coleti, 1724; first ed. 1706), vol. 2, p. 35; Pier Jacopo Martello, Della tragedia antica e moderna (1714), in Scritti critici e satirici, ed. H.S. Noce (Bari: Laterza, 1963), p. 278.

9

The libretto for the extraordinary 1600 Florence premiere of Jacopo Peri and Ottavio Rinuccini’s court opera Euridice provides an unusual example. In keeping with its early date, the libretto does not name cast members; however, the printed score, published in the following year, contains in the preface the names of both singers and instrumentalists.

10

For more on the relative scarcity of cast listings in the seventeenth century, see Richard Macnutt, “Libretto,” in NG. 11

See the excellent discussion of Venetian dedicatees in Selfridge-Field, New Chronology, pp. 51-55. 12

See the analytical summary “The Authors of Libretto Dedications,” in Glixon and Glixon, Inventing the Business of Opera, p. 133. 13

A fine discussion entitled “The Libretto as Source of Income” appears in Glixon and Glixon, Inventing the Business of Opera, pp. 130-139.

5

“Oh! Do not worry/ The libretto need not be understood./ Our taste has been cleansed,/ and we should not pay attention to it./ Sing well: the rest does not matter.” Pietro Metastasio, L’impresario delle Canarie in Tutte le opere, ed. Bruno Brunelli (Milan: Mondadori, 1953), vol. 1, p. 56. The attribution of this work to Metastasio was recently challenged by Anna Laura Bellina and excluded from her edition of Metastasio’s Drammi per musica (Venice: Marsilio, 2002), in the introduction in which she argues that no positive evidence can be adduced to support the attribution (p. 30). 6

Samuel Richardson, Pamela (London: Dent, 1946), vol. 2, p. 257. 7

Ellen Rosand has concluded that Venetian librettos of the late 1630s and early 1640s were usually published after performances, as a sort of commemorative. See Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley: University of California Press, 1991), pp. 66-67.

8

Librettos were also sold at booksellers. For details on Venetian practice, as well as notes on prices, see Beth L. Glixon and Jonathan E. Glixon, Inventing the Business of Opera: The Impresario and His World in SeventeenthCentury Venice (Oxford: Oxford University Press, 2006), pp. 135-136.

14

Benedetto Marcello, Il teatro alla moda, ed. Ariodante Marianni (Milan: Rizzoli, 1959), p. 22. 15

“You will find this drama has not followed the rules laid down by the authors because it was composed to be performed in these theatres and the author followed no rule other than that of delight, and followed no goal other than that of universal enjoyment. Therefore read it with charitable understanding, and be satisfied, in seeing it represent everything that renders it more beautiful.” Tebaldo Fattorini, Eteocle e Polinice (Venice: Nicolini, 1675), p. 5. 16

“Read it, therefore, only in the theatre, beholding those who perform it to the ingenious harmony of Sig. Bernardo Sabatini, heroic composer of our times, but do not attempt to peruse it with curious eyes outside the theatre.” Lotto Lotti, Didio Giuliano (Parma: Stamperia Ducale, 1687), pp. 10-11. 17

Martello, pp. 281-184.

18

“Because this is the only type of poetry destined to serve for a reward.” Martello, p. 291. 19

For a detailed discussion of the budgetary aspects of opera production in Venice, see Glixon and Glixon, Inventing the Business of Opera.

36 The Baroque Libretto 20

“In order to suit the scenes, the machines, the circumstances,,, one could say that opera was sung before it was written.” Bernardo Morando, Le vicende del tempo (Parma: Erasmo Viotti, 1652), p. [7]. 21

“To accommodate the wishes of the virtuoso singers, it was necessary to change the ariette in various places, because they could not all adapt to them.” Aurelio Aureli, Massimo Puppieno (Bologna: Sarti, 1692), p. 7.

pretending to be a painter, with other adventures that occur in the story.” 31

“The complete story of these Lovers is told by Ariosto; the particulars of the story, and how their love came to an end, are described in this tale, told with the brevity required by the for which it was composed.” 32

See Beatrice Corrigan, “All Happy Endings: Libretti of the Late Seicento,” Forum Italicum 7 (1973): 250-267.

22

“It was necessary to change them in many places, not in order to challenge the skill of the author, but rather to conform to the wishes of the virtuoso singers.” Silvio Stampiglia after Adriano Morseli, Tullio Ostilio (Siena: Stamparia del Pubblico, 1702), p. 5. 23

Pier Francesco Tosi, Opinioni de’ Cantori antichi e moderni (1723), translated by John Ernest Galliard as Observations on the Florid Song, ed. Michael Pilkington (London: Stainer and Bell, 1987), pp. 6-7. 24

Giambattista Bisso, Introduzione alla volgar poesia, nuova edizione (Venice: Giuseppe Orlandelli, 1800; first ed. 1749), p. 194.

33

Aristotle, Poetics 50b16-20.

34

In the case of Diocletiano, there is another score in Modena, as well as selected arias in another Venice manuscript. However, in many cases the Contarini copies provide the only musical source. The Contarini manuscript score is available for downloading at www.internetculturale.it. On the Contarini collection, see Thomas Walker, “‘Ubi Lucius’: Thoughts on Reading Medoro,” in Thomas Walker and Giovanni Morelli, eds., Il Medoro: Partitura dell’opera in facsimile, p. cxli-cxlviii. 35

“After the sounding of trumpets and the waving of flags.”

25

Jacques Ranciere, The Politics of Aesthetics, tr. Gabriel Rockhill (London: Continuum, 2006), p. 57.

36

Ellen Rosand explains this point in more detail. See Opera in Seventeenth-Century Venice, pp. 88 and 205-206.

26

Marvin T. Herrick, Comic Theory in the Sixteenth Century (Urbana: University of Illinois Press, 1964), p. 92ff.

37

For details on censorship procedures in Venice, see Glixon and Glixon, Inventing the Business of Opera, pp. 123-124.

27

Benedictus Philologus, Terentius in sua metra restitutus (1506), cited by Herrick, p. 92. 28

Sartori also lists a number of separately published argomenti e scenari, as well scenari alone. An example of a stand-alone scenario in the Fisher collection is the one for Marco Marazzoli’s Il Giuditio della Ragione, published in Rome in 1643. For a discussion of Venetian scenarios, see Ellen Rosand, Opera in Seventeenth-Century Venice, pp. 81-87.

38

“I want death, and I want life/ I desire restraints and liberty./ If my love no longer lives/ I too shall die in suffering;/ Oh, if it cannot die,/ To ask for death is cruelty./ I want, etc.” 39

“I want death, and I want life/ I desire restraints and liberty:/ If the rigors of a full heart/ My soul cannot suffer/ I too shall die in suffering/ A vile Trophy of Cruelty.” 40

29

“From this principle we can deduce the main events of the Drama, with variations in manner but not in substance.” 30

“This strange history lays out the motifs of this libretto entitled Il Caligula delirante, in which are represented the loves of Rigrane, King of Mauritania (enslaved by Artabano, King of the Parthians), who, disguising himself in clothing and appearance as a Moor, arrives in Rome

Ellen Rosand has pointed out that in Pallavicino’s Il Vespasiano of 1678, only five of the 52 arias are not in da capo form. See her discussion of arias in Opera in Seventeenth-Century Venice, pp. 281-321. A fine discussion of mid-seventeenth century arias appears in Jennifer Williams Brown’s introduction to her edition of Francesco Cavalli’s La Calisto, in Collegium Musicum, 2nd series, vol. 16 (Middleton, WI: A-R Editions, 2007), pp. xx-xxii.

Introduction 37 41

See Jennifer Brown, “‘Con nuove arie aggiunte’: Aria Borrowing in the Venetian Opera Repertory, 1672-83” (PhD dissertation, Cornell University, 1992). 42

A photographic reproduction of the entire libretto is available in volume 5 of Ellen T. Harris, ed., The Librettos of Handel’s Operas (New York: Garland, 1989), pp. 1-67.

48

See Barbara Hanning, “Gagliano,” in NG.

49

“Here, in order to applaud their victory, the dance was performed by noble courtiers of the Court of Tuscany, part of them representing Roman soldiers, and the other part representing nobles of Cologne.” 50

43

See Winton Dean, Handel’s Operas 1726-1741 (Woodbridge, UK: Boydell, 2006), pp. 12-15.

44

Handel had originally begun a weaker version of the aria, which he rejected. On this, and other aspects of Alessandro’s character, see Richard G. King, “Classical History and Handel’s Alessandro,” Music and Letters 77 (1996): 34-63, esp. 49. 45

See Winton Dean, Handel’s Operas, 1726-1741 (Woodbridge, UK: Boydell, 2006), p. 30.

46

Irene Alm’s studies of dance in Venetian opera reveal that, although scores survive for only about one third of Venetian operas in this period, they contain more examples of dance than has hitherto been believed. See “Winged feet and mute eloquence: Dance in seventeenth-century Venetian opera,” Cambridge Opera Journal 15 (2003): 216-280, esp. 227-229. See also Irene Alm, “Theatrical Dance in Seventeenth-Century Venetian Opera,” PhD diss. (University of California at Los Angeles, 1993); and by the same author, “Pantomime in Seventeenth-Century Venetian Theatrical Dance,” in Creature di Prometeo: Il ballo teatrale dal divertimento al drama, Studi offerti a Aurel M. Milloss, ed. Giovanni Morelli (Florence: Olschki, 1996), pp. 87-102. On dance in Italian opera during the baroque period, see Kathleen Kuzmick Hansell, “Theatrical Ballet and Italian Opera,” in Opera on Stage, The History of Italian Opera Part II, Systems, vol. 5, ed. Lorenzo Bianconi and Giorgio Pestelli (Chicago: University of Chicago Press, 1998), pp. 177-198. See also Carl B. Schmidt, “Dance. 1. The 17th century and 2. The 18th century” in NG. ON the period 1690-1728, see Paolo Antonio Fietta, “The Poetics of Theatrical Dance in Early Eighteenth-Century Italy” (2 vols.), PhD diss. (University of Toronto, 1997). 47

See Sara Mamone, “Stage Dance in Florentine Intermedi from 1589 to 1637.” In Marie Claude Canova-Green and Francesca Chiarelli, eds., The Influence of Italian Entertainments on Sixteenth- and Seventeenth-Century Music Theatre in France, Savoy, and England (Lewiston, NY: Mellen, 2000), pp. 13-27.

See his Terzo libro di Arie, Scherzi, Madrigali, Canzonette a 1-3 voci (Venice, 1616), in particular “Balletto, cioè Gagliardo a 5 (…) fatta per I Serenissimi di Toscana al Signor Agnolo Ricci aiutante di camera & Maestro di Ballar di S.A. Serenissima.” 51

The generic designation comes from Claudia Celi’s section in “Italy. Dance Traditions before 1800,” in The International Encyclopedia of Dance, ed. Selma Jeanne Cohen and the Dance Perspectives Foundation (Oxford/London: Oxford University Press, 2003). See also the extended description of Le Nozze degli Dei by Mercedes Viale Ferrero in the same publication, also available at www.oxford-dance.com. 52

Celi, “Italy,” Not all abbattimenti featured horses. On horse ballets, see Kate Van Orden, Music, Discipline, and Arms in Early Modern France (Chicago: University of Chicago Press, 2005).

53

See Rosand, Opera in Seventeenth-Century Venice, p.71 for a description of the production, with mention of the dance. See also Schmidt, “Dance. The 17th century.” 54

“And I pl… pl… play.”

55

“Here they dance, and Liro plays.” Beth and Jonathan Glixon’s study of Marco Faustini’s account books for San Cassiano confirms the performance of dance in Cavalli’s operas of this period. See “Marco Faustini and Venetian Opera Production in the 1650s: Recent Archival Discoveries,” Journal of Musicology 10 (1992): 48-73. 56

Alm, “Winged Feet,” 223.

57

Hansell, “Theatrical Ballet,” p. 180.

58

See Marco Salvaroni in NG.

59

This theme is also featured in the prologue to Cavalli’s La Calisto. On the sources of this allegory, see Brown, “Introduction,” pp. xxviii-xxxii.

38 The Baroque Libretto 60

“Torneo,” in NG. On opera at the Viennese Court, see Herbert Seifert, Die Oper am Wiener Kaiserhof im 17 Jahrhundert (Tutzing: Schneider, 1985). 61

“Dance,” in NG.

62

Rosand, Opera in Seventeenth-Century Venice, p. 55. On theoretical links between operatic ballet and ancient theatrical dance, see Irene Alm, “Humanism and Theatrical Dance in Early Opera,” Musica Disciplina 49 (1995): 7993; and Heller, “Dancing Desire on the Venetian Stage.” 63

Alm, “Winged feet,” 249-250.

64

See Alm, “Pantomime,” p.87-88.

65

A theoretical foundation for this principle is found in Giovanni Battista Doni’s Trattato della musica scenica (1630s). For excerpts, and also relevant passages from other treatises, see Alm, “Pantomime,” pp. 88-93.

73

Some items in the collection specify the name of the preacher. For example Filippo Capistrelli’s Innocentiae de Hypocrisi Triumphus (Rome: Buagni, 1696) had a homily by the Jesuit A. D’Aquino, whereas in Gedeon in Harad (Rome: Buagni, 1696) we are told that, after the first part, “sermoneggiarà l’Autore dell’Oratorio” (p. 3). The future tense of this note is clear evidence that the libretto was meant as a program. 74

Arcangelo Spagna, Oratorii overo melodrammi sacri con un Discorso dogmatico intorno l’istessa materia (Rome: Buagni, 1706), vol. 1, p. 5. The observation was repeated almost verbatim in a popular work by Ireneo Affò, Dizionario precettivo, critico e storico della poesia volgare (Milan: Silvestri, 1824; first ed. 1777): “in quella guisa che è il Passio che si canta ne’ giorni della settimana santa.” [“in the manner of the Passion, sung during the Holy Week.”], p. 331. Howard Smither includes an excellent comprehensive discussion of Spagna’s Discorso in A History of the Oratorio, pp. 294-300.

66

An Essay Towards an History of Dancing (London: J. Tonson, 1712), p. 168. See also Alm, “Pantomime,” p. 92.

75

Riccardo Carnesecchi, ed., La danza barocca a teatro: Ritornelli a ballo nell’opera veneziana del Seicento (Vicenza: N. Pozza, 2003).

Originally included together in Francesco Balducci, Le rime, parte seconda (Venezia: Balba, 1662), both are also available in Domenico Alaleona, Storia dell’oratorio musicale in Italia (Milan: Bocca, 1945), pp. 289-293 and 293-303 respectively.

68

76

67

See especially Alm, “Pantomime,” pp. 98-102, where she provides two musical examples.

Cf. Frits Noske, Saints and Sinners: The Latin Musical Dialogue in the Seventeenth Century (Oxford: Clarendon, 1992), pp. 29-31.

69

See Paolo Fietta, “The Poetics of Theatrical Dance.” Fietta investigates the theory and practice of dance during the period 1690-1728, stressing the fundamental role played by dance in the development of early eighteenthcentury Italian theatre. 70

For a convenient overview of the terminological problems, see Malcolm Boyd, “Oratorio: A Terminological Inexactitude?” The Musical Times 119 (1978): 507-508. 71

Howard E. Smither, A History of the Oratorio, vol. 1 (Chapel Hill: University of North Carolin Press, 1977), p. 292. 72 Occasionally the printed librettos include passages only for the reader. For an example from the Fisher collection, see David Sponsae Restitutus (Rome: Buagni, 1699), p. 4, in which the librettist, Francesco Posterla, explains that some arias are omitted from performance and others performed only in part in order not to tire the audience. Illustrations are an aid to visualisation.

77

See for example his L’amazzone hebrea nelle glorie di Giuditta, part 2, in Oratorii overo melodrammi sacri, vol. 1, pp. 63-69. Here the chorus is used sparingly but epically to provide the time of the action ( “Ecco l’alba, ecco il sol” [“here is the dawn, here is the sun”] p. 63), to anticipate its beginning (“All’assalto, all’assalto,” [“Attack, attack”] p. 64), to indicate movement (“Il primo posto io prendo./ Nell’arena già scendo./ A pugnar pronto sono,” [“I take the first position/Already I descend into the arena/I am ready to fight”] p. 67), and to reveal intention (“Alle giostre, ai tornei, che più si bada?” [“At jousts and at tournaments, who pays attention to other things?”] p. 67). 78

Gedeon in Harad, pp. 6 and 11. Interestingly, while the allegorical explanations are written in Latin, the argomenti for the two parts are written in Italian. Many oratorio librettos do not feature argomenti. Presumably, the Biblical stories were well known to listeners, and, as long as oratorios were performed as parts of devotional exercises,

Introduction 39 the sermons may have rendered explications of the stories unnecessary. 79

See volume 3 of The Italian Oratorio 1650-1800: Works in a Central Baroque and Classic Tradition, ed. Howard E. Smither (New York: Garland, 1986). As well as a photographic reproduction of the only surviving musical score, the edition contains a print of our 1693 Florence libretto, with the title page but no prefatory material.

80

Smither, A History of the Oratorio, p. 214.

81

“not only singable, but also stageable.” Apostolo Zeno, Poesie drammatiche (Venezia: Zane, 1735), pp. 9r-9v.

82

“in the style of the Scriptures and with the sentiments of the fathers and doctors of the Church.” Zeno, p. 9v.

83

The sources for this quick summary of historical data on the Arcadian Academy are the following: Antonio Piromalli, L’Arcadia (Palermo: Palumbo, 1975; first ed. 1963), p. 13ff; Amedo Quondam, “L’istituzione Arcadia: Sociologia ed ideologia di un’accademia,” Quaderni storici 2 (1973), p. 406, 429, 432; Giuseppe Patroni, “Giovanni Mario Crescimbeni,” L’Arcadia 2, n.6 (1890), p. 350. 84

The approval (on p. 7) is signed Alfesibeo Cario, Arcadian pseudonym of Crescimbeni, and countersigned by Zetindo Elaita, pseudonym of Vittorio Giovardi, one of the 12 vice-presidents that formed the collegium of the academy.

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The Baroque Libretto 41

Plate 1: Title page, La Cleandra (Bologna, 1678)

42 The Baroque Libretto

Plate 2: Title page, Diocletiano (Venice, 1675)

The Baroque Libretto 43

Plate 3: Opening scene, Diocletiano (Venice, 1675)

44 The Baroque Libretto

Plate 4: Opening scene, continued, Diocletiano (Venice, 1675)

The Baroque Libretto 45

Plate 5: Third scene, Diocletiano (Venice, 1675)

46 The Baroque Libretto

Plate 6: Title page, Diocleziano (Ferrara, 1683)

The Baroque Libretto 47

Plate 7: End of third scene, Diocleziano (Ferrara, 1683)

48 The Baroque Libretto

Plate 8: Opening scene, Diocleziano (Ferrara, 1683)

The Baroque Libretto 49

Plate 9: Title page, Alessandro (London, 1726)

50 The Baroque Libretto

Plate 10: End of Act 2, scene 2, Alessandro (London, 1726)

The Baroque Libretto 51

Plate 11: End of Act 2, scene 2 (English), Alessandro (London, 1726)

52 The Baroque Libretto

Plate 12: Title page, Alessandro (London, 1726)

The Baroque Libretto 53

Plate 13: Title page, La Regina Sant’Orsola (Florence, 1625)

54 The Baroque Libretto

Plate 14: List of characters, La Regina Sant’Orsola (Florence, 1625)

The Baroque Libretto 55

Plate 15: Frontispiece, Innocentiæ de hypocrisi triumphus (Rome, 1696)

56 The Baroque Libretto

Plate 16: Page 7, Il pentimento di Davidde (Rome, 1722)

ITALIAN LIBRETTOS (1600-1728) IN THE THOMAS FISHER LIBRARY

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1. La Dafne LA DAFNE/ D’OTTAVIO/ RINVCCINI/ Rappresentata alla Sereniss. GRAN DVCHESSA/ DI TOSCANA/ DAL SIGNOR IACOPO CORSI./ IN FIRENZE/ APPRESSO GIORGIO MARESCOTTI./ M D C./ Con Licenza de’ Superiori. CMP Peri, Jacopo (1561-1633) LBT Rinuccini, Ottavio (1562-1621) [24] p., 22.5 cm. 1 act [Prologue and 6 scenes]. Poem. Engraving on last page. Dedicated to Christina, Grand Duchess of Tuscany (1565-1637)./ --p. [1].

Interlocutori: OVIDIO. VENERE. AMORE. APOLLO. DAFNE. NUNZIO. CHORO DI NINFE E PASTORI./ --p. [2]. [Palazzo Pitti] 1600 Allacci 235; Lowenberg 1597; Sartori 7015; Sonneck 339 The complex history of the first opera is best described in the preface to Marco Gagliano’s resetting of La Dafne (Mantua, 1608): “Dopo l’avere più e più volte discorsi intorno alla maniera usata dagli antichi in rappresentare le lor tragedie...il Sig. Ottavio Rinuccini si diede a compor la favola di Dafne, il Sig. Jacopo Corsi, d’onorata memoria...compose alcune arie sopra parte di essa, delle quali invaghitosi, risoluta di vedere che effetto facessero su la scena, conferì insieme col Sig. Ottavio il suo pensiero al Sig. Jacopo Peri, peritissimo nel contrapunto e cantore d’estrema esquisitezza: il quale, udita la loro intenzione e approvato parte dell’arie già composte, si diede a comporre l’altre, che piacquero oltre modo al Sig. Corsi, e con l’occasione d’una veglia il carnovale dell’ anno 1597 la fece rappresentare alla presenza dell’

eccellentissimo Sig. Don Giovanni e d’alcune de principali gentiluomini de la città nostra. Il piacere e lo stupore che partorì negli animi degli uditori questo nuovo spettacolo non si può sprimere, basta solo che per molte volte ch’ella s’è recitata, ha generato la stessa ammirazione e lo stesso diletto.” [“After having discussed many times the manner used by the ancients to stage their tragedies … Sig. Ottavio Rinuccini composed the tale of Dafne, and Sig. Jacopo Corsi, of honoured memory … composed certain arias for this tale, with which he fell in love, and, having resolved to see what effect they could have on stage, he and Sig. Ottavio confided this thought to Sig. Jacopo Peri, expert in counterpoint and an exquisite cantor. Having heard their intentions and having approved the parts of the arias that had already been composed, he busied himself with composing other arias, which were liked extremely well by Sig. Corsi, and, in the course of a Carnival Eve celebration of the year 1597, staged the production in the presence of his excellence Sig. Don Giovanni and a few of the great gentlemen of our city. The pleasure and sense of wonder that this new spectacle provoked in the souls of the audience cannot be described, it is enough to say that for each of the many times the production has been performed, it has generated the same admiration and the same pleasure.”] Because the date that Gagliano gives for the premiere was according to the stile fiorentino, the actual performance would have taken place during carnival 1598. According to the preface to the published score of Peri’s second opera Euridice, his involvement in La Dafne dated back to the winter of 1594/95: “(fin l’anno 1594), che io...mettessi sotto le note la favola.” [“(since 1594), that I…put the tale to music.”] It is assumed that Peri’s setting incorporated the arias that Corsi had already composed to La Dafne prior to 1595. Of the six arias that survive from the lost score of La Dafne, two are attributed to Jacopo Corsi. Although Peri was appointed composer in 1595, Corsi functioned as the mastermind behind the project, hence the indication “Dal Signor Iacopo Corsi” on the title page of this libretto. The flattering poems “AL S. IACOPO CORSI” published at the end of the libretto are addressed to Corsi, with “AL” pasted over “DAL”.--p. [20].

60 The Baroque Libretto When La Dafne was finally premiered, presumably at the Palazzo Corsi, it was a great success. According to the preface of Peri’s Euridice, La Dafne was successfully performed during three consecutive carnival seasons: “per tre anni continui che nel carnovale si rappresenta, fu udita con sommo diletto e con applauso.” These revivals would have taken place in 1599 and 1600. For one (or both) of these revivals, La Dafne was produced at the Palazzo Corsi in a revised version. Rinuccini’s preface to the published libretto of Euridice describes the favorable impression that this revised version made on its aristocratic audience, which included the Grand Duchess of Tuscany: “fu ella, non solo dalla nobilità … ma dalla Serenissima Gran Duchessa e gl’Illustrissimi Cardinali Dal Monte, e Montaldo udita, e commendata.” [“It was praised not only by the nobility but also by the Grand Duchess and Cardinals Dal Monte and Montaldo.”] Apparently, there were three performances of La Dafne during 1600: household expenses of Signora Corsi suggest that La Dafne was performed in the Palazzo Corsi in early January and in August, while court records indicate that it was performed in the “salone delle statue” at Palazzo Pitti on January 21. (See Weaver, 8788.) Of these various performances, only the libretto from the 1600 revival survives. Because no libretti survive from the performances of 1598/99 while this libretto survives in almost 40 sources, it would seem that this libretto of La Dafne was published specifically for the performance at the Pitti Palace on 21 January 1600. Previous performances, which were smallscale private performances at the Palazzo Corsi, probably did not require a published libretto. La Dafne was revived again in 1604 and 1610, the former in honour of the Duke of Parma. As previously mentioned, Rinuccini’s libretto was set again by Marco Gagliano for Mantua in 1608. In Caccini’s La Nuove musiche e nuova maniera di scriverle (1614), the composer makes mention of “la musica che io feci nella favola della Dafne del Sig. Ottavio Rinuccini rappresentata in casa de Sig. Jacopo Corsi.” [“the music that I made in the tale of Dafne by Sig. Ottavio Rinuccini staged in the house of Sig. Jacopo Corsi.”] Although this is the sole reference to Caccini’s involvement with La Dafne, Sonneck speculates that perhaps La

Dafne produced at the Palazzo Corsi in August of 1600 contained music by Caccini. itp 01925

2. L’Euridice L’EURIDICE/ D’OTTAVIO/ RINVCCINI/ RAPPRESENTATA/ NELLO SPONSALITIO/ Della Christianiss./ REGINA/ DI FRANCIA, E DI/ NAVARRA./ IN FIORENZA, 1600./ Nella Stamperia di Cosimo Giunti/ Con Licenza de’ Superiori. CMP Peri, Jacopo (1561-1633) LBT Rinuccini, Ottavio (1562-1621) [8], [32 numbered as leaves 1-16] p., 20 cm. “Di Firenze il dì __ d’Ottobre 1600.”/ --pre p. [5]. 1 act [Prologue and 6 scenes]. Dedication. Dedicated to Christina, Grad Duchess of Tuscany (1565-1637)./ --p. [1].

Interlocutori: LA TRAGEDIA. EURIDICE. ORFEO. ARCETRO. TIRSI. AMINTA. DAFNE NUNTIA. VENERE. CHORO DI NINFE E PASTORI. PLUTONE. PROSERPINA. RADAMANTO. CARONTE. CHORO DI OMBRE, E DEITA D’INFERNO./ --pre p. [7]. From Peri’s preface to the published score of the work (Florence, 1601): AMINTA. Francesco Rasi. PLUTO. Melchior Palantrotti. DAFNE. Jacopo Giusti. ARCETRO. Antonio Brandi. Peri implies that the role of Euridice was sung by Vittoria Archilei. He probably sang the role of Orfeo himself. In the preface to the printed score, Peri lists the following instrumentalists: GRAVICEMBALO. Jacopo Corsi. CHITARRONE. Don Grazia

The Baroque Libretto 61 Montalva. LIRA GRANDE. Giovanbattista (Jacomelli) del Violino. LIUTO GROSSO. Giovanni Lapi. 6 October 1600 Allacci 317; Sartori 9398; Sonneck 460 There are several errors in pagination: p. 6 numbered 5; p. 8 numbered 7; p. 9 not numbered. There is an engraving on the last page. Scenes are not numbered or headed, but changes can be inferred from text and scene change directions. On page 11 recto, there is a handwritten correction: beside the three lines beginning “Dunque dal regno oscuro,” [“From the dark land.”] “Orf .” has been crossed out and replaced by “Plut.” The dedication, signed and dated by the poet, is one of the major sources on the historical origins of opera: “È stata openione di/ molti, Christianiss. REGI-/ NA, che gl’antichi Gre-/ ci, e Romani cantassero/ su le Scene le Tragedie/ intere, ma sì nobil ma-/ niera di recitare non che rinnouata, ma ne/ pur che io sappia fin quì era stata tentata/ da alcuno, & ciò mi credeu’io per difetto/ della Musica moderna di gran lunga al-/ l’antica inferiore, ma pensiero sì fatto mi/ tolse interamente dell’animo M. Iacopo/ Peri, quando vdita l’intentione del Sig./ Iacopo Corsi, e mia mise con tanta gratia/ sotto le note la fauola di Dafne compo-/ sta da me solo per far vna semplice proua/ di quello, che potesse il canto dell’età no-/ stra, che incredibilmente piacque a que po/ chi, che l’vdirono, onde preso animo, e da-/ to miglior forma alla stessa fauola e di nuo/ uo rappresentandola in casa il Sig. Iacopo,/ fu ella non solo dalla nobiltà di tutta que-/ sta Patria fauorita; ma dalla Serenissima/ Gran Duchessa, e gl’illustrissimi Cardinali/ Dal Monte, & Montalto vdita, e commen/ data, ma molto magior fauore, e fortu-/ na ha sortito l’Euridice messa in Musica-/ dal medesimo Peri con arte mirabile, e da/ altri non piu vsata hauendo meritato dal-/ la benignità, e magnificenza del Sereniss./ Gran Duca d’essere rappresentata in nobi-/ lissima Scena alla presenza di V. M. del/ Cardinale Legato, e di tanti Principi, e Si-/ gnori d’Italia, e di Francia[...].”/ --pre p. [3-4].

[“It has been the opinion of many, most Christian Queen, that the ancient Greeks and Romans sang on stage their entire Tragedies, but such a noble manner of recitation has not been renewed, nor to my knowledge has it been attempted by anyone, and for this reason I mistakenly believed that modern Music was greatly inferior to the ancient. But this thought was completely dispelled from my soul by Sig. Jacopo Peri, who, having heard my opinion and the intention of Sig. Jacopo Corsi, with great kindness put to music the tale of Dafne, which I had composed in order to show what the music of our times could accomplish. It was much appreciated by the few people who heard it. I was much encouraged by this and gave better form to the same tale, which Sig. Jacopo once again staged in his house. As a result the tale was favoured not only by the nobility of this great nation, but also the Serene Grand Duchess. The Illustrious Cardinals Dal Monte and Montaldo also heard and praised it. But the Euridice received much greater praise and fortune when it was set to music by the same Peri with admirable skill. It was no longer used by others, having earned the right to be staged for the nobility by the goodness and magnificence of the Serene Great Duke, in the presence of His Majesty the Cardinal Legato, and many Princes and lords of Italy and France...”] According to the preface to the published score, Peri admits that Giulio Caccini originally composed the arias for the role of Euridice, some of the arias for the shepherds and nymphs, and several choruses. These interpolations were forced upon Peri by singers in the cast connected with Caccini: “E benché fin allora l’avessi fatta nel modo appunto che ora viene in luce, non dimeno Giulio Caccini (detto Romano) il cui sommo valore è noto al mondo, fece l’arie d’Euridice et alcune del Pastore e Ninfe del coro; e de’ cori 'Al canto, al ballo,’ 'Sospirate’ e 'Poi che gli eterni imperi’: e questo perchè dovevano essere cantate da persone dependenti da lui, le quali arie si leggono nella sua, composta e stampata pur dopo che questa mia fu rappresenta a S.M. Christianissima.” [“And although until now I have done it in the manner that is now made clear, nevertheless Giulio Caccini (called Romano) whose great worth is renowned in the world, made the arias of Euridice and some from the Pastore e Ninfe

62 The Baroque Libretto del coro; and of the choruses ‘Al canto, al ballo,’ ‘Sospirate’ and ‘Poi che gli eterni imperi’: and this was because they needed to be sung by people he chose, which arias are found in his own work, which was composed and printed after this my own was staged in the church of Santa Maria Christianissima.”] These interpolations by Caccini were omitted from Peri’s published score, but were included in Caccini’s re-setting of Rinuccini’s text. Much to Peri’s chagrin, Caccini’s re-setting was published in January 1601, a month before Peri’s score, in spite of the fact that Caccini’s opera was not premiered until December of 1602. itp 01926

3. Il rapimento di Cefalo IL RAPIMENTO/ DI CEFALO/ RAPPRESENTATO NELLE NOZZE/ DELLA CRISTIANISS. REGINA/ DI FRANCIA E DI NAVARRA/ MARIA MEDICI/ DI GABRIELLO CHIABRERA./ IN FIRENZE/ APPRESSO GIORGIO MARESCOTTI/ M D C./ Con Licenza de’ Superiori. CMP [Caccini, Giulio (1551-1618); Bati, Luca; Strozzi, Pietro; and Venturi del Nibbio, Stefano] LBT Chiabrera, Gabriello (1552 -1638) 20 p., 20 cm. Prologue. 5 acts. Licenza. Dedicated to Marie de' Medici (1575-1742)./ --p. 1.

Interlocutori (Prologue): POESIA./ --p. [2]. Interlocutori: AURORA. CEFALO. TITONE. OCEANO. FEBO. AMORE. NOTTE. BERECINTIA. MERCURIO. GIOVE./ --p. [2]. Interlocutori (Licenza): FAMA./ --p. [2].

Chori: CACCIATORI; TRITONI; AMORI; SEGNI CELESTI; DEI./ --p. [2]. nelle nozze della Cristianiss. Regina di Francia e di Navarra Maria Medici [1600] Sartori 19491; Sonneck 916-17 Il rapimento di Cefalo, like Peri’s Euridice, was produced as part of the celebrations surrounding the marriage by proxy of Henry IV of France and Maria Medici. Michelangelo Buonarroti’s Descrizione from 1600 provides detailed information on the musical collaboration for this opera: “Giulio Caccini ebbe il carico di tutta la musica, e funne il componitore; se non che dei cori, il primo da Stefan Venturi del Nibbio, insieme con una gran musica delli Dei simili a coro, ed il terzo e’l quarto da Messer Lucca Bati maestro della cattedrale cappella composti furono. Il secondo per maggiormente onorarsi musica e scena reale, di fare compiacquesi il Signor Pietro Strozzi, gentiluomo non solamente di tale arte, ma di ogni nobile facoltà adornissima per la cui opera altresì ricevette molto giovamento l’esercizio di tale imresa, sicome per quella del Signor Cosimo de’ Medici ancora” (Sonneck 916). [“Giulio Caccini was responsible for all the music and was the composer; except for the choruses, the first was composed by Stefan Venturi del Nibbio, along with great music for the Gods similar to a chorus, and the third and fourth by Messer Lucca Bati, the cathedral’s Maestro di Cappella. The second, in order to honour the music and the regal staging, was composed by Signor Pietro Strozzi, gentleman not only of such art, but of every noble faculty most adorned, from whose work much was gained by the enterprise, as from that of Signor Cosimo de’ Medici.”] Therefore, though Caccini was the composer, the choruses at the end of Acts I-IV were by Venturi del Nibbio, Bati, and Strozzi. itp pam 00065

The Baroque Libretto 63

4. Filarmindo

CMP [Giacobbi, Girolamo (1567-1628)] (intermedi only). LBT Campeggi, Ridolfo (1565-1624)

first success. It was first printed in 1605 (Sartori 10252). As the title indicates, this fifth printing included four intermedi set to music. These were first published in 1608 in Bologna (Sartori 3505). According to that publication, the music was written in the “stile rappresentativo, fatta per lo signor Girolamo Giacobbi maestro di capella di Santo Petronio di Bologna” (Sartori 3505). Giacobbi was a pioneer of the new style outside of Florence. Filarmindo is entirely in verse. Each act concludes with a chorus. Several sections are marked with versi virgolati. Campeggi was a member of the accademico dei Gelati in Bologna; some editions of this play are published with his pseudonym, Rugginoso Gelato.

178, [1] p., 14 cm.

itp 00228

FILARMINDO/ Fauola Pastorale/ DEL/ SIG. CO. RIDOLFO/ CAMPEGGI/ In questa quinta im-/ pressione arricchita con/ L’AVRORA/ INGANNATA/ Fauoletta per gli Inter-/ medij in Musica./ In Bologna, ad instanza [sic]/ di Simone Parlaschi./ --p. [1].

5 Acts. Prologo. 4 intermedi. Argomento. Colophon.

Persone della Fauola: FILARMINDO. CORIDONE. ARMINIO. ERBILLO. ELFICE. LAVRINDA. CLORI. VESPILLA. ALCASTO. ARENIO. CVSTODE. SERVO. CHORO DI PASTORI. CHORO DI NINFE. CHORO DI SACERDOTI. / --p. 5. “IN BOLOGNA/ Per Bartolomeo Cochi./ MDCXIII./ Con licenza de’ Superiori.” / --p. [179]. “Don Marcellus Baldassinus Clericus Regu-/ laris S. Pauli pro Illustrissimo, & Reue-/ rendissimo Archiepiscopo Bonon./ Iterum imprimatur./ Vicarius Inquisit. Bonon.” / --p. 178. Intermedio Primo: “Aurora, Venere con le tre Gratie,/ Amore.” / --p. 38. Intermedio Secondo: “Aurora, Cefalo, Choro di Cacciatori,/ Eco, & le Gratie.” / --p. 77. Intermedio Terzo: “Venere con le Gratie, Adone, il Sonno,/ Morfeo.” / --p. 97. Intermedio Quarto: Cefalo, Sonno, Morfeo, Aurora/ Titone, Procri.” / --p. 147. Allacci 348; Sartori 10255 (C-Tu not listed) Filarmindo was a popular work in the early seventeenth century and brought Campeggi his

5. Il Medoro IL MEDORO/ D’ANDREA SALVADORI/ RAPPRESENTATO IN MVSICA/ NEL PALAZZO DEL SERENISSIMO/ G. DVCA DI TOSCANA/ IN FIORENZA./ Per la Elezione all’Imperio della Sacra Cesarea Maestà dell’Imperatore/ FERDINANDO SECONDO./ Dedicato al Serenissimo/ DON FERDINANDO GONZAGA/ Duca di Mantoua, e di Monferrato./ --pre p. [1]. IN FIORENZA,/ Appresso Piero Cecconcelli. 1623. Con Licenzia de’ Superiori./ ALLE STELLE MEDICEE. -pre p. [1]. CMP Gagliano, Marco da (d.1642) LBT Salvadori, Andrea [7], 46 p., 21.5 cm. “[...] la veste della Musica, onde l’hà nuouamente arric-/ chito il Sig. Marco da Gagliano [...]”/ --pre p. 4.

64 The Baroque Libretto “Di Fiorenza il/ dì primo di Gennaio 1623.”/ --pre p. [4]. Prologue. 3 acts. Dedication. Argomento. The dedication to Ferdinando Gonzaga (15871626) is signed by Andrea Salvadori./ --p.[4].

Interlocutori: AMORE. VENERE. ANGELICA. MEDORO. SACRIPANTE. SELVAGGIO. OMBRA DI DARDINELLO./ --pre p. [6]. Coro: PASTORI. NINFE. CORTE DI VENERE./ --pre p. [6]. Interlocutori (Prologue): LA FORTUNA./ -pre p. [6]. [1623] Allacci 520; Sartori 15377; Sonneck 749 Argomento: “L’Istoria di questi Amanti è descritta in vniuersale/ dall’Ariosto; i particolari accidenti di essa, e come questi pervennero/ al fin de’ loro amori, son propri di questa Fauola, descritti però con/ quella breuità, che richiede la Musica, per la quale è stata composta.”--pre p. [5]. [“The complete story of these Lovers is told by Ariosto; the particulars of the story, and how their love came to an end, are described in this tale and are told with the brevity required by the music for which it was composed.”] Page 20 is numbered 12, but the text is in the proper sequence; page 21 headed “SCENA TERZA” should be headed “SCENA SESTA”, but again there are no textual problems. Weaver and Weaver list no performance of this work in 1623, since no mention of one is made by contemporary diarists. They suggest that the 1623 printing of the libretto may have been a commemorative publication (Weaver, 102). It was first performed on 23 or 25 September 1619 as Lo Sposalizio di Medoro ed Angelica at Palazzo Pitti, Florence, though no libretto from this performance is extant. In 1626, the work was performed as a play by the Italian theatrical company “I Comici”. The dedication is signed by the librettist Andrea Salvadori. In the dedication to Ferdinando Gonzaga Duke of Mantua, Salvadori

states that Il Medoro was originally produced to celebrate the election of Emperor Ferdinand II in September of 1619. According to a contemporary diary by one Tinghi, the original title was Lo sposalizio di Medoro ed Angelica and the music was a collaboration between Gagliano and Peri: “la musica fatta parte da Messer Marco da Galliano, maestro di cappella, e da Jacopo Peri” (Sonneck 750). The work was then revised as Il Medoro for a production in Mantua to celebrate the marriage of the Duke of Mantua’s sister Eleonore to Emperor Ferdinand II. As Salvadori states in the dedication, this production did not take place because of the hasty departure of the new Empress for Austria (probably on account of the uprisings in various parts of the Empire during the early days of the Thirty Years War). To avoid the work being misrepresented (i.e. in revivals out of his control), the Florentine poet decided to have the libretto published in Florence and dedicated to the Empress Eleonore’s brother the Duke of Mantua: “Il Medoro (Serenissimo Signore) re-/ cordeuole dell’ onore al quale l’aue-/ ua destinato V. A. all’ora che nel fe-/ licissimo Maritaggio della Sacra/ Cesarea Maestà dell/ Imperatrice sua/ Sorella, ella lo volse far degno d’es-/ ser rappresentato in Mantoua; poi-/ che per la subita partita di quella Maestà in Germania,/ egli non potè conseguire così segnalata grazia, si con-/ tentaua più tosto di starsi celato appresso il suo Autore,/ che comparire in luce con minor ventura. Ora sen-/ tendo io, che essendo stata trascritta vna parte di esso, e/ diuulgata in varij luoghi, correua non solamente risico/ di esser rappresentato, ma dato ancora alle stampe mol-/ to diuerso da quello, che era appresso di mè, hò giudi-/ cato ben fatto, che egli con publica comparsa, qualun-/ que egli si sia, venga à rassegnarsi à V. A. per suo.”--pre p. [3]-[4]. [“I remember the honour to which your highness had destined Il Medoro when, on the happy occasion of the marriage of her Sacred Imperial Majesty the Empress your sister, you deemed it worthy of being staged in Mantua. Unfortunately Il Medoro could not benefit from such grace on account of the sudden departure of Her Majesty to Germany, and so it was content to stay hidden in the company of its author rather than come to light in the context of a lesser event. But having now heard that a part of it was transcribed and made known in various places, and that there is

The Baroque Libretto 65 the risk that it be not only staged but also sent to press in a very different form from the one it had in my company, I judged it well that it should make a public appearance, however that may be, and present itself as belonging to Your Highness.”] Salvadori also mentions that this production of Il Medoro differs considerably from the first one in that Marco da Gagliano has enriched it with new music: “Ella/ lo vedrà molto vario da quello, che la prima volta fu/ veduto in Scena, e se potrà parer pouero ne miei ver-/ si, la veste della Musica, onde l’hà nuouamente arric-/ chito il Sig. Marco da Gagliano, lo renderà ap-/ presso di lei, e riguardeuole, e grato;[...]”--pre p. [3]-[4]. [“You will see it very different from that which was seen on Stage the first time, and if it seems poor in my verses, the Musical dressing, with which it has been newly enriched by Sig. Marco da Gagliano, will render it worthy and gratifying.”] Since the score for both works has been lost, it is not known if Gagliano’s revisions involved the replacement of those parts originally composed by Peri. itp 00429

6. La regina Sant’Orsola LA REGINA/ SANT’ORSOLA/ D’ANDREA SALVADORI,/ Recitata in Musica nel Teatro del/ Sereniss.̊ Gran Duca di Toscana/ DEDICATA/ AL SERENISSIMO PRINCIPE/ LADISLAO SIGISMONDO/ Principe di Polonia, e di/ Suezia/ --pre p. [1]. In Fiorenza p[er] Pietro Cecconcelli Con licenza/ de’ Superiori 1625 alle Stelle Medicèe/ --pre p. [1]. CMP Gagliano, Marco da (1582-1643) LBT Salvadori, Andrea (1591 -1635) [12], 104 p., 22.5 cm.

“Di Fiorenza il dì 29. di Gennaio. 1625.”--pre p. [4]. “Le Musiche, furono del Sig. Marco da Gagliano.”/ --pre p. [12]. Prologue. 5 acts. Dedication. 3 poems. Argomento. List of scenes. [1 ballet]. The dedication to Władisław IV Vasa (15951648) is signed by Andrea Salvadori./--pre p. [4].

Persone, che recitano (Prologo): ARNO. URANIA. CORO DELLE MUSE./ --pre p. [11]. Persone, che recitano: ASMODEO. LUCIFERO. FURIA INFERNALE. GENERALE DE’ ROMANI. TRIBUNO DELL’ESERCITO. CENTURIONE DELL’ESERCITO. GAUNO. ISMANO. ARIMALTO. IREO. OREBO. ORONTEO. FERASPE. S. ORSOLA. CORDULA. SAN MICHELE ARCANGELO./ --pre p. [11]. Coro di: DEMONIJ. SOLDATI ROMANI. SOLDATI UNNI. CRISTIANI INGLESI. SACERDOTI DI MARTE. SANTE VERGINI. ANGELI. NOBILI DI COLONIA. S. MARTIRI IN CIELO./ --pre p. [11]. “La Scena, e le Macchine del Sig. Giulio Parigi.”/ --pre p. [12]. “L’abbattimento e’l Ballo del Sig. Agnolo Ricci.”/ --pre p. [12]. Nel Teatro del Gran Duca di Toscana [1625] “L’abbattimento e’l Ballo del Sig. Agnolo Ricci.”/ --pre p. [12]. Before the ending of act 5, the stage directions indicate a ballet danced by courtiers: “Quì per applauso della vittoria fù ballato da nobilis-/ simi Caualieri della Corte di Toscana, rappresen-/ tando parte di loro, Soldati Romani, e parte, Nobili/ di Colonia.”/ --p. 102. Sartori 19704

66 The Baroque Libretto The page numbers are not in sequence (pp. 4049), although the page order is correct. Three poems addressed to Salvadori precede the argomento, two by Agnolo Capponi and one by Gabriello Chiabrera. The title page of this libretto (see Plate 13) corresponds very closely, although not precisely, to the first of three 1625 printings described by Weaver (106-108). The more ample title page of the third printing incorporates material from the argomento almost verbatim. (For the list of characters, see Plate 14.) Although it is sometimes called a “festa” in contemporary sources, La Regina is classified as a “sacred drama” by Barbara R. Hanning (NG, “Gagliano”). It was rehearsed as early as October 1620 in preparation for a performance at the wedding festivities of the Prince of Urbino and Claudia de’ Medici. The performance did not take place because of the death of Cosimo II in February 1621 (Weaver, 103). Weaver and Weaver also mention a printing in 1623, with dedication dated 20 December, although there is no record of a performance that year (105). The argomento provides important information about the two gala productions of 1624 and 1625. This Heroic Action was represented twice with great pomp, in a manner worthy of the grandeur of ancient Rome: the first for Archduke Charles of Austria and the second for Władisław Sigismund, prince of Poland and Sweden, who also made possible its printing (pre p. [9]-[10]). The first recorded performance was for Archduke Charles of Austria on 6 October 1624 (Weaver, 106). The argomento was published separately, and is listed in Sartori without a number (vol. 5, p. 27). The current libretto relates to a performance on 28 January 1625 (Weaver, 108) for Ladislao Sigismondo, Crown Prince of Poland and Sweden. The argomento also refers to the fact that it was in this very theatre, the theatre of the Grand Duke of Tuscany, that the first music dramas were produced: “Ne forse è poca gloria del no-/ me Toscano, che si come sotto gl’uspici de’Sereniss./ Gran Duchi prima in quest Teatro fù rinouato l’vso de’/ gl’antichi Drammi di Grecia in musica, così oggi in/ questo medesimo, sia stato aperto un nuouo campo, di/ trattare con più vtile, e diletto, lasciate le vane fauole de/ Gentili, le vere, e sacre azzioni Cristiane” – pre p. [9][10]. [“Nor is it a small glory for the Tuscan name, that under the auspices of the Serene

Grand Dukes the practice of the ancient Dramas of Greece in music was renewed in this Theatre. Today, in this same theatre, a new field has been opened, that is the possibility of staging, to our greater benefit and delight, true and sacred Christian actions, leaving behind the empty fables of the pagans.”] There is a note before the prologue explaining that La Regina Sant’Orsola can be performed without music and for this reason the printed edition is longer than the one that was staged (that is, the passages that were cut when the work was set to music were re-instated in the printed libretto (pre p. [12]). The music is lost. The dedication is signed by the librettist Andrea Salvadori. Another edition of the work cited in Sartori (19705) is augmented by the addition of Salvadori’s Fiori del Calvario. itp 00430

7. Le virtù tributarie LE VIRTV/ TRIBVTARIE/ All’Eminentiss. e Reuerendiss./ SIG. PRINCIPE/ CARD. COLONNA/ ARCIVESCOVO DI BOLOGNA/ DI GIACOMO DARDI/ detto lo Scioperato./ Espresse in musica da gli Academici/ FILASCHISI. [no imprint] CMP Accademia dei Filaschisi, Bologna LBT Dardi, Giacomo; Bovi, Tomaso 22, [1] p., 18 cm. “Dalla nostra Academia li 12. Febraro 1637.”--p. 4. “Quì si fè il discorso, e sì recitorono i seguenti/ versi da Tomaso Boui Alunno della/ Scuola di S. Pietro.”--p. 13. 1 part. Dedication. Coat of arms on title page. Imprimatur. Colophon. 2 ballets.

The Baroque Libretto 67 The dedication to Girolamo Colonna (16041666) is signed by “Gli Academici Filaschisi.”/ -p. 4.

IL RENO. LA MAGNANIMITA’. LIBERALITA. L’AFFABILITA. LA SAPIENZA. LA VIGILANZA. LA GIUSTITIA. LA TEMPERANZA. LA PRUDENZA. LA FORTEZZA. LA FELICITA’. CHORO DI NINFE. CHORO./--from text. 1637 “Choro di Ninfe formano un balletto al suono,/ e canto delle seguenti parole.”--p. 6. After first speech of libretto, by Il Reno. “Quì si fè un ballo dalle Ninfe.”--p. 22. At end of libretto.

Imprimatur: “Vidit D. Octauianus Finatius Clericus Regula-/ ris S. Pauli, & in Metropolitana Bonon./ Poenit. pro Eminentiss. ac Reverendiss. D./ Card. Archiepisc./ Imprimatur/ Fr. Hieronymus Onuphrius Sacr. Theol. Doct./ Collegiatus, & Sanctiss. Inquisitionis Con-/ sultor, pro Reuerendiss. P. Inquis. Bonon.”-- post p. [1]. Colophon: “In Bologna per Giacomo Monti. 1637./ Con licenza de’ Superiori.”-post p. [1].

two lengthy poems spoken (or sung?) by Orfeo on the death of Euridice. The verses are the work of Tomaso Bovi, a pupil at the Scuola di S. Pietro. The poems themselves are separated by a sinfonia (see p. 13-16). There is no cast list; the one listed here has been constructed from the text. itp 00003

8. Alfea reverente ALFEA/ REVERENTE/ Rappresentata nella seconda venuta/ DELLA SERENISSIMA/ VITTORIA/ DELLA ROVERE/ GRAN DVCHESSA DI TOSCANA/ in essa Città l’Anno 1639.--p. [1]. “In Pisa, Appresso Francesco delle Dote. 1639./ Con licenza de’ Superiori.”--p. 20. CMP Pisani, Antonio LBT Cascina, Pietro 21 p., 23 cm. “Il Sig: Cau: Pietro Cascina. Del quale sono l’inuentioni,/ e le compositioni.”/--p. 20. “Le Musiche furono del Sig: Antonio Pisano Organista del-/ la Chiesa de Caualieri di S. Stefano in Pisa.”/--p. 20.

Sartori 25017 The work is symmetrically structured like a prologue (Il Reno) and three parts. The ballet comes after Il Reno’s speech. Next are laudatory verses by La Magnanimità, Liberalità, L’Affabilità, La Sapienza, La Vigilanza, each with its own chorus. In the second section, Bovi’s poetry about Euridice is interrupted by a sinfonia. The final part contains the remaining laudatory verses by La Giustitia, La Temperanza, La Prudenza, La Fortezza, and La Felicità, again each with its own chorus. The whole ends with a final ballet. A laudatory piece is addressed to Colonna, with the “characters” singing in turn, each followed by a brief chorus. The text is divided by

1 part. Narrative description. Errori/Correzzioni. Imprimatur. Dedicated to Vittoria Della Rovere (1622-1694)./ --p. [1].

[In the triumph] Li Noue Gentil’huomini à Cavallo furono: Il Sig. Cau: Francesco Maria Ciampoli. Il Sig: Cau: Albizo Lanfranchi. Il Sig: Cau: Francesco della Seta. Il Si: Cau: Conte Francesco Galletti. Il Sig: Francesco Poschi. Il Sig: Adriano Gaetani. Il Sig: Gio: Francesco Mastiani. Il Sig: Giulio Vniti. Il Sig. Cau: Pietro

68 The Baroque Libretto

Cascina. Del quale sono l'inuentioni, e le compositioni./- -p. 20.

chorus of nymphs was directed by Lorenzo Brunelli, maestro di cappella of Santo Stefano.-p. 20.

Musici: ALFEA. Il Sig. Luca Angeletti Musico di S.A.S. PRIMA NINFA DEL CORO E FAMA. Il Sig. Christiano Bastini Musico dell’Eccellentiss. Republica di Lucca, condotto per questa funzione dalli suddetti noue Gentil’huomini, li quali fecero anche il rimanente di tutta la spesa. NINFE DELL’ARNO. Musici delle due Cappelle della Chiesa Primatiale, e di S. Stefano, con l’assistenza del Sig. Lorenzo Brunelli Maestro di Cappella della medesima Chiesa di S. Stefano, in assenza del medesimo Sig. Pisani./--p. 20.

itp pam 00756

“Il Carro fù disegno del Sig: Alfiere Giouanni Nauarretti,/ la direzione del quale operò molto in questa funzione”./--p. 20. [“The Chariot was designed by Sig. Alfiere Giovanni Navaretti, whose direction of it was very significant.”] 1639 Untitled detailed description of the event, which consists of an elaborate allegorical triumph followed by the musical numbers of the text--pp. 3-20. “Imprimatur si videb: P. Inquisitori/ Pet: Io: Lantes Vicar: Gen: Pis:/ Imprimatur./ F.B.Manzonius Inq: Gen: Pis:/ G.A. Saracenus.”-p. 21. Not in Sartori This complex musical event is structured as a triumphal procession which comes to an end by the Arno river, where the intermedio is performed. The text itself calls the event a “funzione.” Occasioned by the second entry of the Grand Duchess of Tuscany, Vittoria della Rovere, in 1639, the triumph represents an allegory of history and is an expression of Medici ideology. The cost of the production was covered by the nine prominent citizens who headed the triumph on horseback. The composer, Antonio Pisani, was unable to help with the production, and, in his absence, the

9. La sincerità trionfante LA SINCERITA’/ TRIONFANTE/ OVERO/ L’ERCULEO ARDIRE/ Fauola Boscareccia/ DEDICATA ALL’EMIN.mo ET REV.mo SIG./ CARD. DE RISCIGLIV’/ E Rappresentata nel Palazzo/ DELL’ILLVST.mo Et ECCELL.mo SIG./ MARCHESE DI COVRE’/ MARESCIAL DI FRANCIA &c./ Ambasciadore Straord. di Sua M.tà Christianissima/ ALLA SANTITA’ DI N. SIGNORE/ PAPA VRBANO VIII./ Nelle publiche allegrezze celebrate in/ Roma per la nascita del Delfino/ COMPOSTA DAL SIG. OTTAVIANO CASTELLI,/ Da Spoleti, Dottor di legge, e di Medicina./ Et posta in Musica dal Sig. Angelo Cecchini Musico/ Del Sig. Duca di Bracciano./--pre p. [1]. IN ROMA, Appresso Vitale Mascardi, MDCXL./ CON LICENZA DE’ SVPERIORI.--pre p. [1]. CMP Cecchini, Angelo (fl.c.1635-9) LBT Castelli, Ottaviano (d.1642) [26], 56, 194 p., 24 cm. “Di Roma il I. di Ottobre 1640.”/ --pre p. [4]. Antiprologue. Prologue. 5 acts. Dedication. Imprimatur. Protesta. Dramatis Intermedia. Dialogo. Argomento. Chiave de’ Personaggi. The dedication to Cardinal-Duc de Richelieu (1585-1642) is signed by Ottaviano Castelli./ pre p. [4].

The Baroque Libretto 69

Personaggi (antiprologue): LA FAMA./ --p. 56. Personaggi (prologue): IL RODANO. 6 NINFE DEL FIUME RODANO./ --p. 56. Personaggi: LA SIMULATIONE. LIDIA. CLORI. ARDIRE. ERCOLE. SINCERITA’. TRASCURATO. RABACCHIO. OLINDO. TIRSI. ARNELINDA. SATIRO. FILENO. POLIFEMO. MONELLO. ORACOLO DI MINERVA. DORI. NEREA. HONORE. INTERESSE. FURORE. PLUTONE. MINERVA./ --p. 56. Choro: DEMONIJ. NINFE. PASTORI./ --p. 56. nel Palazzo del Marchese di Covrè [1640] Allacci 724; Franchi (I) 240; Sartori 22046 In the argomento, the literary source is identified as the Greek historian Diodorus./ --p. 54. “Imprimatur, Si videbitur Reuerendissimo Patri Magistro Sacri Pa- / latij Apostolici./ Io. B. Alt. Ep. Cam. Vicesg./ IL Reuerendissimo Padre Maestro del Sacro Palazzo m’impose,/ che douessi dar giuditio della Sincerità Trionfante con la sua in-/ terpretatione, e co’l Dialogo, opera del Sig. Ottauiano Castelli, / la quale fatta anch’essa con sincerità di mente non offende le/ Leggi, e rappresentata nella Nascita del Primogenito del Rè Chri- / stianissimo ha seco il titolo della Religione. E per l’ingegno del/ componimento, e per la varietà delle machine, come è degna de / gli honori delle Stampe, così è meriteuole de gli applausi della/ Fama. Di Casa I. Giugno 1639./ Io Ottauio Transarelli mano propria./ Imprimatur./ Fr. R. Lucarinus Socius Reuerendissimi P. Mag. Sacri Pal. Apost.”--pre p. [5]. [“The Most Reverend Father Master of the Sacred Palace charged me to give judgment of the Sincerità Trionfante, along with its interpretation and Dialogue, the work of Sig. Ottaviano Castelli, which, having been executed with sincerity of mind, does not offend the Law, and, being represented in the celebration of the birth of the Firstborn of our most Christian King, has the dignity of a religious work. For the skill of the composition, and for the variety of the

machines, it is worthy of the honours of the Press, as it is worthy of the applause of Fame. From home, 1 June 1639, I, Ottavio Transarelli, in my own hand.”] “PROTESTA./ Essendo la Favola fondata nel rito antico de/ Gentili quindi è, che tutte le voci di Fato, For-/ tuna, Sorte, Destino, Inferno, Adorare, Nume,/ Deità; e somiglianti, si sono poste conforme al co-/ stume de’ Personaggi, et al rito loro, dichiarando/ però l’Autore, di non mai con queste voci pregiudi-/ care alla vera, e Cattolica Religione.”/ --pre p. [6]. [“DECLARATION. Since this tale is founded on the religious practices of the ancient pagans, all the voices of Fate, Fortune, Outcome, Destiny, Hell, Adoration, God, Divinity, and the like have been conceived to conform to the customs of the characters and to their rite. However, the Author declares that he does not intend in this manner to offend the true and Catholic religion.”] There are three separate sections in the libretto. The first unpaginated section features page numbers in square brackets. The third, which includes the antiprologo, prologo and the five acts of the text, has a separate pagination from p. 1 to p. 194. In the last section there are four two-leaf inserts, which are copper plate engravings depicting the sets for the antiprologo, prologo and two scenes from the opera. The “DRAMATIS INTERMEDIA” consist of a series of epigrams and poems in honour of the birth of the French Dauphin. These are by various authors and in different languages, including Greek, Latin, Arabian, Hebrew and other languages, including European dialects-pre p. [7]- [26]. The poems are followed by an extended dialogue by Castelli on the theory of drama and on his Favola per musica: “DIALOGO/ del Signor/ OTTAVIANO CASTELLI/ Sopra la Poesia Dramatica doue in vn/ congresso di Letterati si discorre soura/ il Drama della Sincerità Trionfante:/ ventilandosi in esso l’opinioni non solo/ degli Antichi Greci, ma ancora de’ La-/ tini, e de gl’Italiani./ PERSONE, CHE PARLANO NEL DIALOGO./ Eurito introdotto per l’Eruditione./ Fiseteo come Filosofo./ Critemio per le obiettioni, cioè per la parte critica”--pre p. 1-52. [“DIALOGUE by Sig. OTTAVIANO CASTELLI upon Dramatic Poetry, in which, in a gathering of men of letters, is

70 The Baroque Libretto discussed the Drama of Triumphant Sincerity, describing not only the opinions of the Ancient Greeks but also those of the Latins and the Italians. PERSONS WHO SPEAK IN THE DIALOGUE. Eurito introduced as Erudition. Fiseteo as Philosopher. Critemio for the objections, that is the critical part.”] After the Dialogue comes the argomento which provides the background plot.--pre p. 54. An argomento appears at the beginning of both the Antiprologo and Prologo and serves as synopsis (on the other hand, the argomenti that appear at the beginnings of scenes within the opera are actually the stage directions). There is also the “Chiaue de’ personaggi” to explain the allegorical meaning of the various characters (for example, Hercules representing the king of France, Courage representing Cardinal Richelieu, etc.): “Chiaue de’ Personaggi; che formano il Drama in-/ titolato la Sincerità Trionfante, ò vero/ l’Erculeo Ardire./ ERCOLE significa la Maestà Christianis-/ sima./ L’Ardire, l’Eminentissimo Cardinal di/ Riscegliù. La Sincerità, la Francia./ Orchista altrimente la Simulatione significa l’Eresia./ Polifemo, il cieco mostro del Demonio contrario alla/ chiarezza della Fede./ Monello, e Rabacchio, la vita libera, e ‘l costume dis-/ soluto./ Il Furore, la solleuatione de gli Eretici./ Il Trascurato, la vanità humana./ L’Interesse, ministro d’Orchista./ L’Honore, ministro, e seguace d’Ercole, e dell’Ardire./ Gli altri Personaggi sono introdotti per ornamento del/ Drama, cioè Ninfe, e Pastori.”--p. 55. [“List of Persons who make up the Dialogue entitled Triumphant Sincerity, or the Herculean Desire. HERCULES stands for his Christian Majesty. Desire for the Eminent Cardinal of Richelieu. Sincerity, for France. Orchista or Simulation stands for Heresy. Poliphemus, the blind monster, for the Demon contrary to the clarity of Faith. Monello and Rabacchio, for free life and dissolute customs. Furor, for the raising of the Heretics. The Overlooked, for human vanity. Interest, is minister of Orchista. Honor, is a minister and follower of Hercules and Desire. The other Personages, that is Nymphs and Shepherds, are introduced as ornaments for the action.”] An earlier edition was published in January 1639 by Francesco Mercurij. The Mecurrij edition is presumably the libretto from the original production which would have been produced some time after the Dauphin’s birth in

September 1638. Although much less elaborate than this deluxe edition (with only 18 preliminary pages and 3 tables), it does list the ballets that were performed: “Ballo di quattro franzesi; Ballo di sei tedeschi; Balletto spagnolo” (Sartori 220451). [“Dance of four Frenchmen; Dance of six Germans; Spanish Dance.”] In the dedication of this second revised edition, the author states that the opera was particularly successful and the Roman court wanted the libretto published; however the French Ambassador, Marshall Couré, decided to send it for approval to Cardinal Richelieu: “Questro Drama è stato si fortunato nel Tea-/ tro, credo per la nobiltà della materia, che/ in esso si rappresenta, che tutta la Corte di/ Roma lo voleua alle stampe, il che non hà/ voluto permettere l’Eccellentissimo Signor/ Marescialle di Couré, senza prima mandar-/ lo à Sua Eminenza sotto il cui prudentis-/ simo giuditio havendo riceuuto quelle per-/ fettioni, che lo rendono capace d’vscire alla/ luce”--p. [4]. [“This Drama was so fortunate in the Theatre, I believe because of of the material that is represented, that the entire Court of Rome wanted it in print, which his Excellency Sig. Marescialle de Couré did not want to permit without first sending it to Your Eminence under whose most prudent judgment it received those perfections that rendered it worthy of coming into the light.”] This trip to France in search of Richelieu’s approval, would account for the time lag between the date of the second imprimatur (June 1639) and the publishing date of the second edition (October 1640). itp 00208

10. Il giuditio della ragione tra la beltà e l’affetto IL/ GIVDITIO/ DELLA/ RAGIONE/ TRA/ LA BELTA’/ E L’AFFETTO./ DRAMMA/ IN MVSICA/ 1643./ In Roma, appresso Francesco Caualli./ Con licenza de’ Superiori.

The Baroque Libretto 71 CMP Marazzoli, Marco (c. 1619-1662) LBT [Buti, Francesco (d. 1682)]

Mazarin that served as a catalyst for the development of French opera.

[8] p., 19.5 cm.

itp pam 00426

[Scenario only] 3 Acts. Prologue. Argomento. 2 Intermedi.

Interlocutori: LA BELLEZZA. IL VERO AMORE. LA RAGIONE. LA GELOSIA. IL CAPRICCIO. IL TEMPO.--p. [4]. Parti mute: L’INGANNO. IL MARTELLO.-p. [4]. Choro: DAMIGELLE DELLA BELLEZZA. DELLA RAGIONE. DELL’INGANNO. DEL MARTELLO.--p. [4]. 1643 “INTERMEDIO./ L’Inganno col suo Choro cantando, e danzando festeggia di/ hauerci colta la Bellezza.”--p. [6]. [“INTERMEZZO. Deceit with its Chorus singing and dancing celebrates having tricked Beauty.”] “INTERMEDIO./ IL Martello col suo Choro cantando, e danzando applaude/ alla potenza della Gelosia.”--p. [7]. [“INTERMEZZO. The Hammer with its Chorus, singing and dancing, applauds the strength of Jealousy.”]

11. L’Alceste L'ALCESTE IN ANCONA,/ Appresso Marco Saluioni. 1647.-p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659) [2], 33 p., 22.5 cm. 5 acts. Argomento.

Interlocvtori: LIDIA. ARCONTE. IROLDO. ALCESTE. MESSO PRIMO. MESSO SECONDO. ARMILLA. NVTRICE. BERILLO./--p. 44. Coro di: PASTORI. SOLDATI DI ALCESTE. FURIE INFERNALI. ANIME DANNATE./--p. 44.

Sartori 12099; Franchi (I) 252 Allacci 24; Sartori 15415 Neither the composer nor the librettist is mentioned. Franchi attributes the libretto to Abate Francesco Buti. Franchi mentions that a manuscript copy of the complete libretto survives with the title Il Capriccio, ovvero il giuditio della ragione tra la beltà e l’affetto. The opera goes by this title in the entry on Marazzoli in NG. According to NG this opera was first performed at the French Embassy in Rome in 1643. At the end of the year, Marazzoli was invited to France by Cardinal Mazarin in order to produce one of his theatrical works. Although no libretto survives, it was probably this opera that was performed in Paris for Queen Anne in February 1645, augmented with ballets to suit French taste. If so, Il Capriccio, ovvero il giuditio is the first in a series of Italian operas produced in Paris during the mid-17th century for Cardinal

In the argomento, the literary source is identified as Ariosto.--p. 43. In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. 41-73. itp 00126

12. L’allegrezza del mondo L’ALLEGREZZA/ DEL MONDO/ INVENZIONE/ PER VN BALLETTO REGALE/ NELL’ AVGVSTISSIME

72 The Baroque Libretto

NOZZE/ DE’ SERENISSIMI/ FERDINANDO/ RE’ DVNGARIA, E/ DI/ MARIA INFANTA/ DI SPAGNA. IN ANCONA,/ Appresso Marco Saluioni. 1647.-p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659) [2], 16 p., 22.5 cm. 1 part. Argomento. 1 ballet.

Personaggi: GIOVE. VENERE. SOLE. MERCVRIO. MARTE. MINERVA. AMORE. IMENEO. LA FAMA. PLVTONE. L’EVROPA./--p. 80. Choro di. DEI CELESTI. DEI MARINI. DEI INFERNALI. 4 PARTI DEL MONDO. REGNI E PROUINCIE COL BALLETTO DE’ MEDESIMI./--p. 80. Allacci 32; Sartori 15415 Argomento: synopsis.--p. 79. In the argument: “Ma le quattro parti del Mon-/ do, chiamando a parte della loro allegrezza/ tutti ì Regni, e le Prouincie, che soggette alla/ Casa d’Austria, elle in se contengono, compa-/ riscono in varie guise e quelli, e queste, e fanno/ trà loro il Balletto Regale.”--p. 79. [“But the four parts of the World, inviting the Kingdoms and Provinces of Austria to rejoice with them, appear in various guises and dance a Royal Ballet with them.”] The stage directions indicate where the ballet is taking place: “TVTTE le/ quattro parti del/ Mondo insieme, mentre per lo Ma-/ re vedransi com-/ parire sù Gallere,/ e Naui quelli, che/ douranno far il/ Balletto, in abito/ di Rè, e di Regi-/ ne,…”-p. 94. [“ALL the four parts of the World together, while on the Sea there will appear on Galleys and Ships those who will have to perform the Dance in costumes of Kings and Queens…”] At the end of the libretto the stage directions indicate that the ballet starts again: “torneranno i Ballarini su’l Palco, e qui-/ ui dopo hauer fatto varij trapassi, e intreccia-/ menti, con vna profondissima riuerenza fini-/ ranno il Balletto, e

la Festa, calandosi in vn/ attimo le Cortine, che ogni cosa ricopriran-/ no.”--p. 96. [“the Dancers return to the Stage, and here after several passes, and crossings, with profound reverence, will finish the Dance and the Celebration, the Curtains descending immediately to cover everything.”] In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. [77]-96. Composed for the wedding of the future Ferdinand III to Maria Anna of Spain, 20 February 1631. itp 00126

13. L’antro dell’eternità L’ANTRO/ DELL’ETERNITA’/ INVENZIONE/ D’VN/ TORNEO A PIEDI/ PER LA FESTA DEL/ GIORNO NATALIZIO DI/ FERDINANDO/ SECONDO IMPERATORE/ IL QVAL GIORNO VIENE LI NOVE/ DI LVGLIO.-p. [97]. IN ANCONA, Appresso Marco Saluioni. 1647.--p. 247. CMP [Bartolaia, Ludovico] LBT Bonarelli della Rovere, Prospero conte (1582-1659) 29 p., 22.5 cm. 1 part. Soggetto del torneo. 1 ballet.

Personaggi: FEBO. IL FATO. IL SECOL D’ORO. IL SECOL DI FERRO. L’ANNO. LA PRIMAVERA. L’ESTATE. L’AVTVNNO. L’INVERNO. MARTE. FLORA. CERERE. BACCO. SATVRNO. L’ETERNITA./--p. 101. Coro: DELL’ANTRO. DELLE STAGIONI.--p. 101.

The Baroque Libretto 73 li nove di lvglio

“In Bologna, per gli HH. di Euangel. Dozza 1647./ Con Licenza de’ Superiori.”/ --p. [76].

Allacci 96; Sartori 15415 At the end of the argument a ballet is indicated.-p. 100. The stage directions also indicate a ballet taking place at the end.--p. 125. There is also mention of satyrs and bacchantes jumping and dancing according to the music: “porteranno i primi in mano le tor-/ cie accese, e l’altre verranno sonando Tam-/ borini, Cembali, & altri si fatti Strumenti con/ aria bizzarra, al cui tempo andranno anche/ continuamente Saltando, e Ballando”./--p. 115. [“the first will carry lit torches, and the others will come playing Tambours, Cymbals, and other similar instruments of strange appearance, to whose tempo they will also proceed Jumping and Dancing continuously.”] In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. [97]-125. The libretto of this festa contains lengthy and very detailed stage directions which include references to the instruments used during the performance. According to Marco Salvarani in NG, L’antro dell’ Eternità was written for Vienna in 1636, and the music was composed by Ludovico Bartolaia. On the sources of the allegory, see Jennifer Williams Brown (2007), xxviii-xxxii. itp 00126

14. La Dafne LA/ DAFNE DRAMA/ MVSICALE/ RAPPRESENTATA IN BOLOGNA/ All’Illustrissima Signora/ LA SIGNORA MARCHESA/ LVCRETIA GHISILIERI/ TANARI./ CMP LBT 76 p., 14.5 cm.

Prologue. 3 acts. Dedication. Protesta. Imprimatur. The dedication to the Marchesa Lucretia Ghisilieri Tanari is signed by Lavinia Contini./ -p.5.

Interlocutori (Prologue): LA FAMA./ --p. 7. Interlocutori: AURORA. TITONE. FILENA. CEFALO. PROCRI. ALFESIBEO. DAFNE. APOLLO. PANE. PENEO. GIOVE. VENERE. AMORE. CIRILLA./ --p. 7. Chorus: NINFE. PASTORI. MUSE./ --p.7. 1647 Sartori 7020 “PROTESTA./ CHI scrisse, e chi cantò prima si/ arogò il nome di Christiano, che/ di Poeta Cantore, ne stima egli offesa la/ cattolica fede con gli adornamenti del-/ la Poesia, che tali son le voci Fato For-/ tuna Paradiso, Deità, e simili. Leggi/ curioso, ascolta benigno, e compatisci/ sincero.--p. 6. [“DECLARATION. Those who wrote and those who sang this work took first the name of Christians and then that of Poet and Singer, nor do they believe that the adornments of Poetry offend the Catholic Church, though the names of Fate, Fortune, Paradise, Divinity, and similar are present. Read with curiosity, listen benignly, and forgive sincerely.”] Imprimatur: “Vidit Gaspar Bombacius de Ord. Emi-/ nentiss. Card. Archiep./ Penitentiarius Rector pro Eminentissi-/ mo Card. Archiep./ Vidit Fr. Mag. Dominicus Manfredus/ pro Reuerendiss. P. Inquisitore Bo-/noniæ.”--p. [76]. The dedication is signed by Lavinia Contini.--p. 5. The libretto bears no relation to Rinuccini’s Dafne (#1), although it is based on the same story from Ovid. There is a danced chorus in the third scene of the first act (p. 22). itp pam 00188

74 The Baroque Libretto

15. L’esilio d’amore L’ESILIO D’/ AMORE/ NELLA VENVTA IN/ ANCONA/ DEL SERENISSIMO/ PRINC.PE D’VRBINO/ SPOSO DELLA SERENISSIMA./ PRINCIPESSA CLAVDIA/ DE MEDICI./ --pre p. [1]. IN ANCONA,/ Appresso Marco Saluioni. 1647./ --p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659)

In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. 1-23. In the pre-paginated section the title page argument and cast list of L’Esilio d’Amore are followed by the dedication and list of contents for the entire volume. The editor, Bonarelli’s son Lorenzo, dedicates the collection to Vittoria de’ Medici, Grand Duchess of Tuscany, and includes the date 23 March 1647. In NG Marco Salvarani speculates that Bonarelli may have written the music for this work, which he traces to Ancona, 1623. itp 00126

[8], 23 p., 22.5 cm. 4 acts. Argomento. 2 ballets. Dedicated to Vittoria Della Rovere (1622-1694)./ pre p. [1].

Personaggi: GIOVE. GIVNONE. MARTE. APOLLO. LUNA. MERCVRIO. AMORE. VENERE. LE TRE GRAZIE. VENDETTA. IRIDE. LITIGIO. NETTVNO. SIRENA. EVROPA./ --pre p. [4]. Coro di: DEI CELESTI. DEI MARINI. DEI TERRESTRI. DEI INFERNALI. CACCIATRICI. AMORETTI. MALI./ --pre p. [4]. Allacci 308; Sartori 15415 “Con vn balletto d’Amoretti, e con ballo grande/ di Pastori, e Ninfe.”--pre p. [4]. [“With a dance of Cherubs, and a great dance of Shepherds and Nymphs.”] The stage directions indicate that the first ballet is taking place at the beginning of Part 3, scene 1: “VENERE, CHORO D’AMORETTI,/ col balletto di questi.”/--p. 14. The stage directions indicate that the second ballet is taking place at the beginning of Part 4, scene 1: “AMORE, VENERE, COL BALLO GRANDE DI/ PASTORI, E DI NINFE.”/--p. 20.

16. Il Faneto IL/ FANETO/ Cioè il Sole Innamorato della Notte.--p. [163]. IN ANCONA,/ Appresso Marco Saluioni. 1647.--p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659) [2], 15 p., 22.5 cm. 3 acts. Argomento. 1 or 2 ballets.

Personaggi: FANETO. LA NOTTE. L’ERABO. AMORE. VENERE. MERCVRIO. GIOVE. CORO DI DEI. CREPUSCOLI.--p. 166. Allacci 325; Sartori 15415 The detailed stage directions at the end of act 2, scene 2 indicate how to arrange a ballet in case it is decided that a ballet should take place here./--p. 174. A ballet is indicated in the stage directions at the end of act 2, scene 3.--p. 175.

The Baroque Libretto 75 In the argomento, the literary source is identified as Giovanni Boccaccio’s Genealogia deorum gentilium I.--p. 166. In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. [163]-179. itp 00126

17. La gioia del cielo LA GIOIA/ DEL CIELO/ PER LE NOZZE/ DEL SERENISSIMO/ FERDINANDO ii/ IL PIO GRAN/ DVCA DI TOSCANA/ CON LA SERENISSIMA/ D. VITTORIA/ DELLA ROVERE/ PRINCIPESSA D’VRBINO. IN ANCONA,/ Appresso Marco Saluioni. 1647.--p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659) [2], 16 p., 22.5 cm. 3 acts. Argomento. 2 ballets.

Personaggi: L’APENNINO. L’ARNO. LA FAMA. IL TEMPO. AMORE. GIOVE. IL FATO. SATVRNO. MARTE. VENERE. MERCVRIO. LVNA./--p. 26. Choro di: FIVMI. DEI.--p. 26. 1634 Allacci 405; Sartori 15415 The stage directions indicate a ballet at the beginning of act 1, scene 3: “LA FAMA, ARNO, APENNINO, CHORO DI/ FIVMI COL BALLETTO DELL’AMADRIADI”/--p. 29. [“FAME, ARNO, APPENINES, CHORUS OF RIVERS WITH A DANCE OF DRYADS.”] At the end of the same scene: “Ciò finito di dir l’Apennino,

vsciranno/ da varie parti di quei boschi molti Satiri,/ Siluani, e Fauni, sonando Flauti, Zampo-/ gne, & altri simili Strumenti, e nel pun-/ to medesimo vsciranno da quei tronchi l’A-/ madriadi, e trà loro faranno il balleto, nel/ qual tempo, prima l’Apennino, e i Fiumi/ torneranno nel Monte, e’l Monte à poco à/ poco sotto terra. L’Arno si tornerà onde/ venne, e finito il baletto, e dileguatisi dal-/ la vista altrui le Ninfe, i Satiri, e gl’altri,/ finirà l’Azzione.”--p. 30. [“As the Appenine finishes speaking, many Satyrs, Sylvans, and Fauns will emerge from the forest, playing Flutes, Bagpipes, and other similar Instruments. In the middle of the boughs will emerge the Hamadryads, who will perform a dance, during which first the Appenine and the Rivers return to the Mountain, and then the Mountain will slowly return underground. The Arno will return whence it came, and when the dance is finished and the Nymphs, Satyrs, and others have gone from sight, the Action will end.”] At the beginning of act 3, scene 3, the stage direction indicate another ballet: “AMORE, FATO, SATVRNO, GIOVE, MARTE,/ VENERE, MERCVRIO, LVNA, COL/ BALLETTO DELLE STELLE.”/--p. 38. [“LOVE, FATE, SATURN, JOVE, MARS, VENUS, MERCURY, MOON, WITH A DANCE OF THE STARS.”] At the end of the same scene and, therefore, of the performance: “A questi detti del Fato si vedranno calar/ dal Cielo sei Nuvole, tre da vna parte, e tre/ dall’altra de i Pianeti, nelle due prime, che/ saranno anche maggior dell’altre, e che scen-/ deranno fino in terra, ci saranno le Stelle,/ che doueranno ballare, e nell’altre quattro,/ quelle, che soneranno il balletto. L’vne tosto/ arriuate in terra, e scese dalle Nuuole, co-/ mincieranno il ballo, l’altre fermatesi in Aria,/ seguiteran sonando insieme con i Pianeti, e/ finito il ballo si abbasseran le Cortine, e co-/ prendosi ogni cosa, finirà la festa.”--p. 40. [“At these pronunciations of Fate, you will see descending from the Sky six Clouds, three on one side of the Planets and three on the other. On the first two clouds, which are even larger than the others and come down to the ground level, there will be the Stars, which will perform a dance, while the other four clouds carry those who will play the music for the dance. The ones who arrive on the ground and descend from the Clouds will begin the dance; the others will stop in the Air, and will play among the Planets; and

76 The Baroque Libretto at the end of the dance the Curtain will fall, covering everything, and the performance will end.”] In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. [24]-40. The author of the argomento celebrates the 1634 wedding of Vittoria della Rovere to Ferdinando II of Tuscany, explaining the allegorical connections to the opera. itp 00126

il ballo, tutti nell’/ Inferno si r’entrano.”--p. 142. [“DANCE OF MOCKERY, In which there will be nine dancers, who will emerge with various mocking gestures from under the ground in the form of letters representing these words, THE DESERVING MOCKED, and at the end of the dance, all will return to Hell.”] The ballet takes place at the end of act 2, scene 5. In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. [126]-159. itp 00126

18. Il merito schernito IL MERITO/ SCHERNITO. IN ANCONA, Appresso Marco Saluioni. 1647.--p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659)

19. La pazzia d’Orlando LA PAZZIA/ D’/ ORLANDO.--p. [205]. IN ANCONA,/ Appresso Marco Saluioni. 1647.--p. 247.

[2], 33 p., 22.5 cm.

CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659)

5 acts. Favola.1 ballet.

43 p., 22.5 cm.

Personaggi: IL MERITO. LA VIRTV. GIOVE. LA BELLEZZA. L’OBLIGO. LA FAMA. PLVTONE. LA CRVDELTA. LA FEDE. L’INGRATITVDINE. IL DISPEGIO DE LA VIRTV. NETTVNO. SIRENE. LA FORTVNA. IL DOLORE. LO SDEGNO. IL TEMPO. LA VENDETTA. AMORE. IL PENTIMENTO. PROTEO. IL PIACERE. ECHO./--p. 129. Coro di: DEI CELESTI. DEI INFERNALI. DEI MARINI.--p. 129.

4 acts. Argomento. 1 ballet.

Allacci 525; Sartori 15415 “BALLETTO DEGLI SCHERNI,/ Nel quale saranno da noue ballarini, ch’v-/ scir deuono di sotterra, formate con vari bur-/ leuoli attegiamenti figura di Caratteri, ch’es-/ primano queste parole, IL MERITO/ SCHERNITO, e finito

Personaggi: ANGELICA. MEDORO. AMORE. OMBTA D’AGRICANE. VENDETTA. ORLANDO. CLEANTE. LVCRINA. ECHO. ISABELLA. FIORDALIGI. ZERBINO. BIFFOLCO. ASTOLFO. LVNA./--p. [208]. Coro di: PASTORI. PALLADINI.--p. [208]. [1635] Allacci 612 Ballet of shepherds at the end of act 1, scene 2 as in stage directions.--p. 212. The argomento identifies Ariosto as the source of the story--p. 207.

The Baroque Libretto 77 In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona: Salvioni, 1647), pp. [205]-207. Allacci refers to a 1634 Venetian print by Angiolo Salvadori. Sartori lists this print as 18242a, with 1635 as the date. itp 00126

20. La vendetta d’amore LA/ VENDETTA/ D’AMORE.--p. [181]. IN ANCONA,/ Appresso Marco Saluioni. 1647.--p. 247. CMP LBT Bonarelli della Rovere, Prospero conte (1582-1659)

21. Le vicende del tempo LE VICENDE/ DEL TEMPO/ DRAMA/ FANTASTICO MVSICALE/ DIVISO IN TRE AZZIONI,/ CON L’INTRODVZIONE DI TRE BALLETTI,/ Rappresentato/ NEL GRAN TEATRO DI PARMA/ Nel Passaggio de i Serenissimi ARCHIDVCHI/ FERDINANDO CARLO,/ SIGISMONDO FRANCESCO/ D’AVSTRIA,/ Et ARCHIDVCHESSA/ ANNA DI TOSCANA./ OPERA DI BERNARDO MORANDO/ NOBILE GENOVESE,/ E CONTE DI MONTECHIARO./--pre p. [3]. In PARMA, Appresso Erasmo Viotti. MDCLII./ Con licenza de’ Superiori.--pre p. [3].

23 p., 22.5 cm.

CMP Manelli, Francesco LBT Morando, Bernardo

3 acts. Argomento. 1 ballet.

[16], 103, [1] p., 19.5 cm.

Personaggi: DEVCALIONE. PIRA. GIOVE. GIVNONE. SOLE. AMORE. ORACOLO. APOLLO. VENERE. DAFNE. PENEO. MERCVRIO./--p. 185. Coro di: DEI. NINFE. QUATTRO FIUMI. MVSE.--p. 185.

“mu-/ sica del Signor Francesco Manelli Mastro/ di Capella Ducale”/--pre p. [5].

Allacci 806 In act 1, scene 2 the stage direction indicate a ballet “col Balletto de’ Sassi trasformati in huomini.”--p. 188. [“with a Ballet of Rocks transformed into men.”] This ballet takes place at the end of the scene.--p. 190. In Prospero Bonarelli della Rovere Melodrami; cioè, opere da rappresentarsi in musica (Ancona, Salvioni, 1647), pp. [181]-203. itp 00126

Half title page. L’Autore a chi legge. Poem. Argomento. 3 ballets. Colophon.

Personaggi dell’opera: IL GIORNO. L’AURORA. CEFALO. MINISTRE DEL GIORNO: LA VIGILANZA; FATICA; INDUSTRIA; DILIGENZA. CICLOPI: BRONTE; STEROPE; PIRACMONE. PAN. GIASONE. HORE DEL GIORNO: L’OTTAVA; NONA; DECIMA; UNDECIMA; DUODECIMA. LA NOTTE. LA FAMA. IL SONNO. LA LUNA. ENDIMIONE. CONDOTTIERI DE’ SOGNI: MORFEO; FORBETORE; FANTASO. IL CREPUSCOLO DELLA MATTINA. IL CREPUSCOLO DELLA SERA. STELLE: ESPERO; LUCIFERO. IL TEMPO./--pre p. [14].

78 The Baroque Libretto

Coro di: CACCIATORI CON CEFALO. DI PASTORI, DI AGRICOLTORI CON PANE. DI ARGONAUTI CON GIASONE. DI SOGNI CON MORFEO.--pre p. [14]. Sartori 24843. C-Tu not listed. Nel Gran Teatro 1652 “AZZIONE PRIMA,/ CHE CONTIENE/ IL GIORNO VINCITOR DELLA NOTTE,/ COL BALLETTO DI DODICI RAGGI/ DEL SOLE.”/--p. 1. [“FIRST ACT, THAT CONTAINS THE DAY DEFEATING THE NIGHT, WITH A BALLET OF TWELVE RAYS OF THE SUN.”] Personaggi.-pre p. [15]. Personaggi che formano il balletto de i Dodici Raggi del Sole: Serenissimo Signor Dvca. Sereniss. Principe Alessandro. Sereniss. Principe Orazio. Sig. Marchese Bartolomeo Manzoli. Sig. Co. Ferdinando Anguissola. Sig. Co. Ottauio Tarasconi. Sig. Co. Marchio Manzoli. Sig. Co. Georgio Machirelli. Sig. Fortunato Paueri Fontana. Sig. Marchese Odoardo Scotti da Vigolino. Sig. Co. Francesco Maria Scotti.--pre p. “AZZIONE SECONDA,/ CHE CONTIENE/ LA NOTTE VINCITRICE DEL GIORNO,/ COL BALLETTO DI DODICI STELLE.”/--p. 33. [“SECOND ACT, THAT CONTAINS THE NIGHT DEFEATING THE DAY, WITH A BALLET OF TWELVE STARS.”] Personaggi.--pre p. [16]. Personaggi, che formano il Balletto delle Dodici Stelle: Sereniss. Principessa Maria Maddalena. Sereniss. Principessa Caterina. Signora Leonora Pallauicina. Signora Isabetta Malaspina. Signora Anna Paniragola. Signora Vittoria Scotta. Signora Lauinia Manzola. Signora Giouanna Scotta. Signora Barbara Barattiera. Signora Contessa Caterina Scotta Marazzani. Signora Contessa Beatrice Malaspina Garimberti. Signora Marchesa Vittoria Malaspina Cusani.--pre p. [16]. “AZZIONE TERZA,/ CHE CONTIENE/ IL GIORNO, E LA NOTTE PACIFICATI./ COL BALLETTO DI VENTIQVATTRO/ FRA STELLE, E RAGGI.”/--p. 62. [“THIRD ACT, THAT CONTAINS THE DAY AND THE NIGHT AT PEACE, WITH A BALLET OF TWENTYFOUR, BETWEEN THE STARS AND THE RAYS.”]

In the argomento, the literary source is identified as Giovanni Boccaccio’s Genealogia deorum gentilium.--pre pp. [11-13]. Pages 17-32 missing; at their place there is a set of pages 65-80. In the preface the author says that he made changes while the text was being printed. Half title page: “LE VICENDE/ DEL TEMPO/ DRA/ FANTASTICO MVSICALE/ DEL CONTE BERNARDO/ MORANDO.”--pre p. [1]. The preface explains that this work was written as an introduction to 3 ballets, but it could also be also used as a whole opera, and in fact His Royal Highness (probably he is referring to the Duke of Parma) wanted it represented this way in Parma’s Gran Teatro. This is the second time that Vicende del tempo was staged in this theatre even though there is no comparison with the first sumptuous staging of the opera. The librettist also mentions another of his works previously represented: the Ratto d’Elena. He discusses the adjustment of the verses to the needs of the music, of the scenes, and of the machines. Paradoxically he adds that the opera was first sung and then written, first printed then completed. He also mentions transgressions with respect to the principles of Aristotle and other ancient theorists saying that he preferred to follow the moderns and in particular Alessandro Donato, who, at the end of his second book on poetics discusses imaginary characters. There follows a Protesta (pre. pp. [59]). Poem dedicated to the Count Bernardo Morando by Ottavio Morando (pre. p. [10]). itp 00766

22. Gli amori d’Alessandro con Rossane GLI AMORI/ D’ALESSANDRO/ CON ROSSANE/ DRAMA MUSICALE./ IN MODANA,/ Per Andrea Cassiani Stampator Ducale 1654./ CON LICENZA DE’ SUPERIORI./ --p.[1].

The Baroque Libretto 79 CMP LBT [Cicognini, Giacinto Andrea (1606-c. 1650) and unknown who completed text after Cicognini’s death] 22 p., 19 cm. 3 Acts. Prologue. 2 Intermezzos.

Interlocutori: ALESSANDRO. Sig. Paini. CRATERO. Padre Frà Rocco. ARSACE. Il Sig. Caccialupi. ARSALDO. Il Sig. Castelli. SATRAPE. Il Sig. Fogliani. ROSSANE. Signora Antonia Scala. ORISTILLA IN ABITO DI FLAMIRO. Sig. Martio. LINCA. Padre Frà Grisogono. NERINO. Sig. Angiolino. GANO. Padre Frà Agostino. FLORA. Sig. Francesco. ALCONE. Sig. Arciprete di Scandiano. CORO DI MACEDONI, CORO DI SATRAPENI. Varij Giovani./ --p. 3. Prologo: AMOR. GUERRIERO./ --p. 4. Primo Intermedio: GIUNONE. CERERE. NETTUNO. VENERE./ --p. 4. Secondo Intermedio: VENERE. MARTE. GANO./ --p. 4. “Nel secondo Intermedio./ Venere, Marte, e Gano buffone, quale introduce un ballo di Gobbi.”/ --p. 4. [“In the second Intermezzo. Venus, Mars, and Gano the fool, who introduces a dance of Hunchbacks.”] 1654 Sartori 1785 (C-Tu not listed) There is no text for the opera or intermezzi or prologue, only a series of “ARGOMENTI” (p. 5) describing the scene for each act and intermezzo. Printed notes in the margins describe the location for each scene. Two intermezzi separate the three acts; a prologue and a final comedic scene bookend the

opera.The second intermezzo concludes with a ballet, “in scena Boschereccia.” (p. 17). This opera was first set in 1651 by Francesco Lucio. The production in Venice at the Teatro SS Apostoli featured elaborate machinery designed by scenographer and impresario Giovanni Burnacini. It was also the source of strife between Burnacini and the composer, Lucio, who complained he had not been paid in response to Burnacini’s claim he had not provided all the music for performance, resulting in poor attendance. The two would never work together again (see Beth L. Glixon, “Music for the gods?”, Early Music, 26/3 [1998]: 445-454). This production was only the second opera to be performed in Modena, after Giovanni Faustini’s Ersilla in 1653. Alessandro Roccatagliati suggests both were likely private performances for the court of Francesco I d’Este (NG), with Gli amori adapted by the duke’s Maestro di Cappella, Benedetto Ferrari (1603/41681), a pioneer of commercial opera in Venice in the two decades prior to his move to Modena. The original Venetian libretto labeled the work a “Drama posthumo”, clearly indicating that the librettist, Cicognini, was dead by its printing, and not alive until 1660, as is sometimes erroneously stated (Dizionario Biografico degli Italiani, 25, p. 428). itp 00251

23. La Didone LA/ DIDONE/ DI GIO: FRANCESCO/ BVSENELLO./ OPERA/ RAPPRESENTATA/ In Musica nel Teatro di San/ Casciano nell’Anno/ 1641./ IN VENETIA, MDCLVI./ Appresso Andrea Giuliani./ Con Licenza de’ Superiori, & Priuilegio./ Si vende da Giacomo Batti Libraro in Frezzaria. CMP Cavalli, Francesco (1602-1676) LBT Busenello, Giovanni Francesco (15981659)

80 The Baroque Libretto 80 p., 15 cm. Prologue. 3 acts. Argomento.

Interlocutori: IRIDE (Prologue). DIDONE. ENEA. ANCHISE. ASCANIO. CREUSA. IARBA. ANNA. CASSANDRA. SICHEO. PIRRO. COREBO. SINON. ILIONEO. ACATE. ECUBA. GIOVE. GIUNONE. MERCURIO. VENERE. AMORE. NETTUNO. EOLO. FORTUNA. LE GRATIE. CHORO DI DAMIGELLE CARTAGINESI. CHORO DI CACCIATORI. CHORO DE TROIANI. CHORO DI NINFE MARINE.--p. 5.

LEC,/ E Signore delle Terre/ di Bellaggio./ -pre p. [3]. IN VENETIA, MDCLVIII./ Appresso Andrea Giuliani./ Con Licenza de’ Superiori,/ Et Priuileggio./ --pre p. [3]. CMP Cavalli, Francesco (1602-1676) LBT Minato, Niccolò (c.1627-1698) [12], 72 p., 12.5 cm. “Venetia li 21. Genaro 1658.”--pre p. [6]. [“Venice the 21st of January 1658.”] Prologue. 3 acts. Frontispiece. Dedication. Lettore. Argomento. List of scenes. 3 ballets.

Teatro di San Casciano nell’Anno 1641 “Doppo un Ballo de Mori Affricani, finisce il/ Secondo Atto.”--p. 54. [“After a Dance of African Moors, the Second Act finishes.”] At the end of Act I, the Trojan armada passed by with swelled sails, but there was no mention of a ballet. Allacci 250; Alm 14; Sartori 7724 (C-Tu not listed); Sonneck 379 Although the title page refers to the 1641 production at San Cassiano, this libretto was part of a literary edition of Busenello’s works printed in 1656, and contains no details about any other specific production. It is elaborately printed, with borders on every page. The writer of the argomento comments on the librettist’s alteration of Virgil, for the sake of a happy ending.

The dedication to Marcellino Airoldi is signed by Niccolò Minato./ --pre p. [6].

Intervenienti (Nel Prologo): APPOLLO. VENERE. MARTE. LA PACE. L’OTIO. L’ODIO. LA FATICA. LA VIRTU’. 6 AMORINI./ --pre p. [11]. Intervenienti: ANTIOCO. LAODICEA. BERENICE. ANASSANDRA. LINCASTE. STESICRATE. TOLOMEO FILADELFIO. NAINANA. LIRO. LISETTO. AMBASCIATOR DI CIPRO./ --pre p. [11]. Cho.: SOLDALI [sic] DI TOLOMEO. SOLDATI D’ANTIOCO. MORI DI ANASSANDRA. PAGGI DI LAODICEA. PAGGI DI STESICRATE. LOTTATORI NEL PRIMO BALLO. SALTATORI NEL SECONDO BALLO./ --pre p. [11].

itp 00198 Nel Teatro a San Cassano [San Cassiano] Per l’Anno 1658

24. Antioco ANTIOCO/ DRAMA PER MVSICA/ NEL TEATRO/ A SAN CASSANO/ Per l’Anno 1658./ ALL’ILLVSTRISSIMO SIG./ MARCELLINO/ AIROLDI/ CONTE DI

There are 2 ballets integrated into the libretto. The first one takes place at the end of act 1, as explained in the note at the bottom of the page: “Quì si fa una Lotta in forma di Ballo.”--p. 27. [“Here there is a Battle in the form of a Dance.”] The second ballet takes places at the end of act 2: “Quelli, ch’hanno portato il Tributo fanno alcune forze, e salti in forma di Ballo.”--p. 50. [“Those who brought in the Tribute make a few

The Baroque Libretto 81 actions and jumps in the form of a Dance.”] There is also a dance in act 1, scene V, as understood from the stage directions.--p. 35. Allacci 95; Alm 99; Sartori 2199; Sonneck 125 The writer of the argomento states that Aristotle’s principles have been followed: in accordance with the neo-classical Aristotelianism of the Renaissance, he refers to those principles as rules (Leggi, p. 8) and stresses the fact that the libretto’s plot is based on a poetics of verisimilitude. The libretto is bound with Elena (1659), the treatise Il Tullio moderno by Francesco Fabro de’ Bremondani and a collection of sonnets by Bernardino Berti. The stage directions are very interesting: they concern the lighting design, the use of machines, and the action itself. The dedication is dated Venice, 21 January 1658, and signed “N. M.”. In both the dedication and the preface Minato states that the libretto was composed in a few days’ time in October of the previous year. In the preface he mentions that Xerse and Artemisia, Minato and Cavalli’s first collaborations, were produced at the Teatro a S. S. Gio. e Paolo, but that this new work was written specifically for Teatro San Cassiano (p. [5]). The opera appears to have been revived in Reggio Emilia in 1668, in Florence in 1670, and Bologna in 1673. BDW Elena. Francesco Cavalli / Niccolò Minato. Venice 1659. itp 01965

25. Il Medoro IL/ MEDORO/ Drama per Musica/ Di/ AVRELIO AVRELI/ Nel Teatro/ A SS. GIO: E PAOLO./ Fauola Quarta/ Dedicata alle Serenissime Altezze/ Di/ GIORGIO GVGLIELMO,/ ET ERNESTO AVGVSTO,/ Duchi di Bransuich, e Luneburgh./

In Venetia, Per Francesco Nicolini. 1658./ Con Licenza de’ Superiori./ Si vende in Spadaria all’insegna della Fenice. CMP Luccio, Francesco (c. 1628-1658) LBT Aureli, Aurelio (fl.1652-1731) 80 p., 15 cm. “Venetia 11. Genaro 1658.”--p. 4. “la virtuosa Musi-/ ca del Signor Francesco Luccio”--p. 5. Prologue. 3 acts. Dedication. Lettore. Argomento. List of scenes. 2 ballets. The dedication to Ernest Augustus, Elector of Hanover (1629-1698) and Johann Friedrich, Duke of Brunswick-Lüneburg (1625-1679) is signed by Francesco Piua./ --p. 4.

Personaggi (prologue): IL SOLE. ATLANTE. HECATE. IL TRADIMENTO. LA GELOSIA. CHORO DI ARPIE NELL’ARIA./ --p. 11. Personaggi: MEDORO. ANGELICA. BRIMARTE. MIRALBA. AURISTELLA. BRILLO. EURISTO. LEOMEDE. LENO. SACRIPANTE. ORONTE. ATLANTE./ -p. 12. Chori: MORI INDIANI. DAMIGELLE CON ANGELICA. DAMIGELLE CON AURISTELLA. EUNUCHI. SOLDATI ASSIRI. SOLDATI CON LEOMEDE. GUERRIERI CIRCASSI. SPIRITI (che ballano). SOLDATI CIRCASSI (che ballano)./ --p. 13. “La diligenza vsata dal Signor/ Francesco Piua nella spesa delle cose ap-/ partinenti al Drama”-p. 4. [“The diligence employed by Sig. Francesco Piva in the cost of the things belonging to the Drama.”] il teatro a SS. Giovanni e Paolo [teatro Grimani] 1658

82 The Baroque Libretto Ballets not mentioned in list of scenes, but cast list has under chori: Spiriti in forma di/ Brillo./ Soldati Circassi./ che ballano.”/ --p. 13. Later references in body of libretto, at end of Acts I and II: “Quì segue il ballo de’simili./ Il Fine del Primo Atto.”/ --p. 35. “Quì segue il ballo del finto ab-/ battimento./ Il fine del Secondo Atto.”/ --p. 59. Allacci 520; Alm 96; Sartori 15377; Sonneck 749 In the argomento, the author mentions that his model was Ariosto’s Orlando furioso. The actual plot of the libretto, which the author calls the dramatic texture (tessitura) of the action, includes episodes on which Ariosto was silent. The author felt that he had been given the freedom (lasciato in libertà, p. 7) to invent such episodes as long as he remained within the framework of Ariosto’s narrative. In the preface, “Lettore,” the author mentions that he is familiar with the Aristotelean principles of play-writing, though he prefers to be guided by the taste of the audience and the practical exigencies of the stage./ --p. 5. This work is available in a facsimile edition, edited and introduced by Thomas Walker and Giovanni Morelli and issued as volume 4 in the series Drammaturiga musicale veneta. itp pam 00421

26. Il pazzo per forza IL/ PAZZO/ PER FORZA/ DRAMMA CIVILE RVSTICALE,/ Fatto rappresentare in Musica/ DA GL’ILLVSTRISS. SIG./ ACCADEMICI IMMOBILI/ Nel loro Teatro,/ Sotto la Protezione del Sereniss. e Reuerendiss./ PRINCIPE CARDINALE/ GIO: CARLO/ DI TOSCANA./ Essendo nel presente semestre Principe dell’/ Accademia l’Illustrissimo Signore/ LIONARDO MARTELLINI./ A’ QVATTRO SIG. ACCADEMICI/ Deputati per soprintendere

alle Musiche,/ Il Sig. March. FILIPPO NICCOLINI./ Il Sig. March. GIO: BATT. DAL MONTE./ Il Sig. PIERO del Sig. PIERO STROZZI./ Il Sig. FILIPPO FRANCESCHI. In Firenze, per il Bonardi. Con lic. de’ Super. CMP Melani, Jacopo (1623 -1676) LBT [Moniglia, Giovanni Andrea (1624-1700)] 124 p., 16 cm. “Fir. 20.Febb. 1658.”--p. 4. “Compositore della Musica il Sig. IACOPO MELANI.”--p. [124]. Prologue. 3 acts. Dedication. A chi legge. Argomento. 1 ballet.

Personaggi: ANSELMO. FLAVIO. LEONORA. FILANDRO. SGARUGLIA. BELLICHINO. BELTRAMINA. ISABELLA. TROTTOLO. LEANDRO. LIGURINO. MORETTA. MILLONE. ASTROLOGO. MATTEMATICO. SOLDATO. EBREO. DONNA VEDOVA. DONNA MARITATA.--p. 8. Coro di: ZINGARI. PAZZI.--p. 8. Nel prologo: LA PAZZIA.--p. 8. Nomi de’ss. Musici, che hanno recitato nel presente Dramma: ANSELMO. Il sig. Michele Grasseschi. LEONORA. La sig. Lisabetta Falbetti Nacci. FLAVIO. Il sig. Carlo Righensi. FILANDRO. Il sig. Vincenzo Piccini. BELTRAMINA. Il sig. Simone Martelli. ISABELLA. La sig. Leonora Falbetti Ballerini. LEANDRO. Il sig. Domenico Bellucci. LIGURINO. Il sig. Antonio Rivani. TROTTOLO. Il medisimo sig. Simone Martelli. MORETTA. Il Moro di S. A. Reverendiss. SGARUGLIA. Il sig. Giovanni Michele de Bar. BELLICHINO. Il sig. Niccola Coresi. MILLONE. Il

The Baroque Libretto 83

medesimo sig. Michele Grasseschi.--p. [124]. Nel Coro de gli Zingari: Il sig. Michele Mosi; il sig. Francesco Lionardi; il sig. Antonio Ruggieri; il medesimo sig. Niccola Coresi; il medesimo sig. Giovanni Michele de Bar.--p. [124]. Nel Coro de’ Pazzi: FILOSOFO. Il medesimo sig. de Bar. SOLDATO. Il medesimo sig. Coresi. EBREO. Il medesimo sig. Mosi. MARITATA. Il medesimo sig. Lionardi. VEDOVA. Il medesimo sig. Ruggieri. MATTEMATICO. Il sig. Paolo Rivani.--p. [124]. Nel Prologo: LA PAZZIA. Il medesimo sig. Paolo Rivani.--p. [124].

27. Amor tiranno

Nel Teatro degli Accademici Immobili [1658]

“Bologna li 6.Febraro 1649”/ --p. 4.

“Ballo di Pazzi” [“Dance of the Madmen”] concludes the drama.--p. [123]. Allacci 615; Sartori 18287 Argomento The preface includes a “Protesta.” The reader is reminded that the style of this kind of dramatic work is simple in order to accommodate the music.--p. 5. Although the librettist is not identified, a shortened version of the libretto was published in 1698 in Vol. III of Moniglia’s Poesie (Weaver, 125). The initials “Il D. M.” at the end of the dedication undoubtedly refer to Il dottore Moniglia. This is the second in a series of collaborations by Melani and Moniglia, which include some of the earliest known examples of comic opera. Il pazzo per forza was revived again in Florence in 1687 (a century later the same title was used by Caterino Mazzola for a dramma giocoso). itp 00747

AMOR TIRANNO/ ACCADEMIA/ Fatta in casa dell’Illustrissimo Sig./ Senator Fantuzzi/ COMPOSTA IN MUSICA/ DA/ DOMENICO PELLEGRINI/ ACCAD. FILOMUSO/ All’Illustrissima Signora/ SVLPIZIA ORSI/ GRIMALDI./ IN BOLOGNA,/ Per gli HH. del Dozza 1649. Con licenza de’ Sup. CMP Pellegrini, Domenico (fl. 1650) LBT 36 p., 19.5 cm.

1 part. Dedication. Imprimatur. Discorso. Dedicated to Sulpizia Orsi Grimaldi./ --p. 4.

VOCE PRIMA. VOCE SECONDA. VOCE TERZA. VOCE QUARTA. EURILLO. EURISTEA. IDALBA. ARTESIA. MILAURO. SILENO. AMORE. [Coro]: DONZELLE. Palazzo Fantuzzi [1649] Sartori 1482; Sonneck 92 Imprimatur: “Franciscus Ferrarius pro Eminentiss. & Reuerendissimo/ D. Card. Archiep. Bonon. & Principe./ V. D. Inuentius Tortus Poenit. pro eodem Eminentiss. &/ Reuerendiss. D. Card. Archiepis.”--p. 36. Amor tiranno was performed as an academy at the home of Senator Fantuzzi, to whom the work is dedicated. The dedication is signed and dated (p. 4) by the composer Domenico Pellegrini, a member of the Accademia dei Filomusi, which presumably produced the serenata. Sonneck attributes the libretto to Domenico Gisberti, apparently on the grounds that Gisberti is the author of an Amor tiranno that was set to music

84 The Baroque Libretto by Johann Kaspar Kerll for Munich in 1672. Although this would seem to be a reasonable assumption, the fact that Gisberti’s Munich libretto is 106 pages long, whereas its supposed Bolognese original is only 36 pages of rather spacious typeset, makes Sonneck’s attribution somewhat unlikely. Amor Tiranno is not a particularly unusual title; in 1712 Domenico Lalli produced a new opera in Florence with the title L’Amor Tirannico. Near the end, the libretto is interrupted (pp. 26-33) by an extended discourse on “l’armonia della musica.” This was evidently delivered during the performance by its author, the mathematician Pietro Mengoli. itp pam 01546

28. Elena ELENA/ DRAMA/ PER MVSICA/ Nel Teatro à S. Cassano,/ Per l’Anno 1659/ All’Illustriss. & Eccellentiss. Sig./ ANGELO MOROSINI/ Procurator di San Marco./ --pre p. [3]. IN VENETIA, M DC LIX/ Appresso Andrea Giuliani/ Con Licenza de’Sup. e Priu./ Si vende da Giacomo Batti in Frez./ -pre p. [3]. CMP [Cavalli, Francesco (1602-1676)] LBT Minato, Niccolò (c. 1627-1698) [18], 64 p., 13 cm. “Di Venetia lì 26./ Decemb. 1659.”--pre p. [6]. “Il Soggeto di questo Drama/ vscì dal Felicissimo inge-/ gno del già Sign. Giouan-/ ni Faustini di famosa me-/ moria [...]” [“.The Subject of this Drama came from the Felicitous skill of the late Sig. Giovanni Faustini of distinguished memory ... “] --pre p. [7], preface. Prologue. 3 acts. Frontispiece. Dedication. Lettore. Argomento. List of scenes. Additional aria text. 2 ballets.

The dedication to Angelo Morosini is signed by Niccolò Minato./ --pre p. [6].

Intervenienti (Prologue): LA DISCORDIA. VENERE. LA PACE. LA RICHEZZA. GIUNONE. LA VERITA’. AMORE. PALLADE. L’ABBONDANZA. DUE FURIE./ --pre p. [13]. Intervenienti: TINDARO. ELENA. MENELAO. TEFEO. PERITOO. IPPOLITA. EURITE. ERGINDA. DIOMEDE. EURIPILO. IRO. CREONTE. MENESTEO. ANTILOCO. CASTORE. POLLUCE. NETTUNO./ --pre p. [13]. Chorus: DEITA’ CERULEE. ARGONAUTI. CACCIATORI. SCHIAVI./ --pre p. [13]. Nel Teatro San Cassano 1659 Two ballets integrated into the drama. At the end of act 1: “Li Cacciatori prendono gl’Orsi, e ballano.”--p. 23. [“Here the Hunters take the Bears and they dance.”] At the end of act 2: “Li Schiaui liberati, per allegrezza/ fanno un ballo.”--p. 46. [“The freed Slaves dance for joy.”] Frontispiece: engraving with the inscription “ELENA”--pre p. [1]. Additional printed aria text: canzone for Act III, at the beginning of scene vii.--p. [64]. Allacci 281; Alm 102; Sartori 871; Sonneck 428 In the preface Minato, after explaining that the action is modelled on an earlier version by Giovanni Faustini, observes that after his death no other poet dared to “vestirlo/ col manto della Poesia.” [“dress him with the mantle of Poetry.”] The music is attributed to Cavalli by Allacci. Minato, apparently desirous of associating his poetry with the music of Cavalli, makes mention of his previous collaborations with the Venetian master in the preface (Xerse, Artemisia, and Antioco)--something he was also careful to point out in the preface to Antioco.

The Baroque Libretto 85 Alm lists a supplement published later in 1659, containing a new prologue and 12 new aria texts (Alm 104). Minato’s libretto was re-set for Palermo in 1661 by Marc’ Antonio Sportonio. (See Anna Tedesco, “Francesco Cavalli e l’opera veneziana a Palermo.”) BDW Antioco. Francesco Cavalli / Niccolò Minato. 1658. itp 01965

29. La Filo LA FILO,/ OVERO/ GIVNONE/ REPACIFICATA/ CON ERCOLE/ PER LE NOZZE DE’ SERENISSIMI/ RANVCCIO II./ DVCA DI PARMA,/ E MARGARITA/ PRINCIPESSA DI SAVOIA:/ Da cantarsi nel Teatro maggiore di S. A. col motiuo/ ad un Torneo, che doura seguire un’altra sera./ DRAMA/ Del Conte Francesco Berni./--pre p. [1]. In Parma, Appresso Erasmo Viotti Stampator Ducale.--pre p. [1]. CMP Manelli, Francesco (1595-c.1667) LBT Berni, Francesco (1610 -1673)

FIORILLA. ARGEA. LAMPA. CLORIDA. GUARDIA’ONFALE. SCUDIERO DI DORASPE. QUATTRO GIGANTI. OMBRA DI TMOLO. DUE STATUE. GIOVE. GIUNONE. SATURNO. APOLLO. MERCURIO. AMORE. NETUNNO. FAMA. VENERE. FLORA. AURORA. PALLADE. LUNA. MARTE. VERGINE. FAUNO. GLORIA.--pre pp. [5]-[7]. Coro: CORTIGIANI D’ONFALE. DAMIGELLE D’ONFALE. PAGGI D’ONFALE. CORTIGIANI D’ERCOLE. CORTIGIANI DI TELAMONE. DANZATORI. CORO CELESTE. HORE. NINFE DEL PATTOLO. DEI. EROINE.-pre pp. [6]-[7]. “Architettura del Sig.Carlo/ Pasetti”--pre p. [3]. nel Teatro maggiore di S. A. [Teatro Farnese] [1660] “PRIMO INTRAMEZZO.”--pp. 4-10. “SECONDO INTRAMEZZO.”--pp. 51-57. “TERZO INTRAMEZZO.”--pp. 100-107. The stage directions indicate a ballet, integrated into the opera, which takes place shortly before the end of act 2: “Quì si fa vn ballo, e Fiorilla, et Erinda/ lo accompagnano col canto.”--p. 96. [“Here there is a dance, and Fiorilla and Erinda accompany it with a song.”] Allacci 353; Sartori 10313; Sonneck 506

[7], 160 p., 15 cm. “Musica del Sig./ Francesco Manelli.”--pre p. [3], preface. “IN PARMA,/ Appresso Erasmo Viotti Stampator Ducale. 1660./ Con licenza de’Superiori.”--p. [160]. 3 acts. Epilogue. Introduzione. Lettore. 3 Intramezzi. 1 ballet.

Personaggi recitanti, e muti dell’opera, ed intramezzi: ONFALE. ERCOLE. TELAMONE. FILO. DORASPE. ELMA. IARDO. LINDO. FALCONE. ERINDA.

The preface includes a short “Protesta”.--pre pp. [5]-[6]. The ink was still wet when the first signature was folded, and this caused mirror imaging of the print on the opposite page (the mirror image on the title page is from the last page of the signature, p. 16). In the preface the author claims that La filo was intended purely for the stage and that without the Duke’s theatre, Pasetti’s staging and Manelli’s music, the work is greatly compromised: “Souuengati, che questo com-/ ponimento fù destinato alla/ Scena, non al Torcolo. Deue/ comparire frà le magnificenze/

86 The Baroque Libretto d’vno de’primi Teatri dell’Eu-/ ropa, sostenuto, ed animato/ dall’ Architettura del Sig. Carlo/ Pasetti, dalla Musica del Sig./ Francesco Manelli. Il separarlo/ da quelle, non è che un render- / lo zoppicante, per non dir ca-/ dauero, al suo fine, che’è il dilet-/ to;”--pre p. [3]. [“Be aware that this composition was destined for the Stage, and not the Press. It must appear in the magnificence of one of the first Theatres of Europe, sustained and animated by the Architecture of Sig. Carlo Pasetti, the Music of Sig. Francesco Manelli. To separate it from those things is to render it lame, not to say kill it, as it pursues its intent, which is to cause pleasure.”] In spite of his protest that the drama was not intended for publication, Count Berni had La filo republished in octavo “con altre nove” [“with nine others”] in his hometown of Ferarra in 1666 (Allacci). As the title page indicates, Il Filo was intended to be produced in conjunction with a torneo which would follow on another evening. The torneo was a musical introduction to a tournament or the music for the tournament itself, which was essentially an equestrian ballet. The equestrian ballet appears to have been something of a Parmesian speciality (Monteverdi’s torneo Mercurio e Marte was produced in Parma in 1628). La Filo was performed in conjunction with the equestrian ballet Il sei gigli, also by Manelli and Berni. As stated in the title page, the opera and torneo were produced in celebration of the wedding of Ranunccio Farnese, Duke of Parma, and Margaret of Savoy. This festive combination of opera and torneo was repeated on other occasions, for example the marriage of Antonio Farnese and Enrichetta d’Este in 1728 when the opera and torneo were authored by Vinci and Frugoni. itp 00697

30. Annibale in Capua L’ANNIBALE/ IN CAPVA/ MELODRAMA/ Rappresentato in Venetia nel/ famoso Teatro Grimano/ L’ANNO M.DC.LXI./ CONSACRATO/ All’Altezza

Sereniss. di Madama/ SOFIA/ Duchessa di Bransuich, e Lune-/ burg, Nata Principessa/ Elettorale Palatina./--p. 3. IN VENETIA, M. DC. LXI./ Appresso Giacomo Batti./ Si vende in Frezaria/ Con Licentia de’Sup., e Privilegio.--p. 3. CMP Ziani, Pietro Andrea (1616-1684) LBT [Beregani, Nicola (1627-1713)] 94 p., 13.5 cm. “musica impareggiabile del/ Molto Reverendo Signor D. Pietro Ziani” [“incomparable music of the Most Reverend Sig. D. Pietro Ziani”]--p. 8. 3 acts. Prologue. Frontispiece. Lo stampatore a chi legge. Argomento. List of scenes. 2 ballets. Dedicated to Sophia, Duchess of Brunswick.

Interlocutori: ANNIBALE. ARTANISBA. EMILIA. FLORO. PACUVIO. DALISA. GILBO. ARGILLO. MAHERBALE. BOMILCARE. ARBASTE. ALCEA. CADAVERO. OMBRA D’AMILCARE.--p. 11. Chori: SOLDATI. ARCIERI. MORI. DAMIGELLE. CAVALIERI.--p. 11. Prologue: MARTE. AMORE. VENUS.--pp. 13-16. Teatro Grimano (SS. Giovanni e Paolo) 1661 “BALLI./ Di Spiriti, che sorgono parte dalla Terra,/ e parte volano per l’aria./ Di Cavalieri.” [“DANCES./ Of Spirits, some who emerge from the Earth, and others who fly through the air./ Of Knights.”] --p. 12. “Escono Spiriti, e formano il Ballo.” [“Spirits emerge, and form a Dance.”] --p. 42. “Segue il Ballo de Cavalieri.” [“The Dance of Horsemen follows.”] --p. 70. Ballets at ends of Acts I and II. Allacci 91; Alm 114; Sartori 2030; Sonneck 120

The Baroque Libretto 87 Frontispiece is an engraving of a scene from the opera, including an elephant.--p. 1. Page numbers are reversed on pp. 78-79, but the page order is correct. According to Allacci the libretto is “Poesia de Co. Niccola Bernegiani, Patrizio Veneto.” (SelfridgeField (553) suggests that the libretto is “attributed to Nicolò Minato.”) The author of the preface states that the work was prepared in 20 days and that the audience should excuse any shortcomings. He then goes on to praise the composer and the singers and to cast doubt on whether the prologue was performed: “Tu uedi, ò benigno lettore, un Drama/ composto per trattenimento da una pen-/ na ch’è nobile, e rappresentato ne’Teatro/ Frà lo spatio di uenti giorni; onde sei pre-/ gato di compatimento per la strettezza/ del Tempo, se non ti comparirà innanti/ con quella pompa, che si ricercarebbe/ ad un’ ANNIBALE trionfante spe-/ rando, che la Musica impareggiabile del/ Molto Reuerendo Signor D. Pietro Ziani/ nuouo Ansione del nostro secolo, unita/ all’ Angeliche vuoci de’ primi Cantanti d’/ Europa sia per supplire alla mancanza/ del prologo, che per breuità si tralascia.”--p. 8. [“You see, o generous reader, a Drama composed for entertainment by a noble pen, and staged in the Theatre/In the space of twenty days; therefore you are asked to understand the constraints of Time, if in front of you does not appear a triumphant HANNIBAL with that pomp which you would expect, hoping that the incomparable Music of the Most Reverend Sig. D. Pietro Ziani, new Amphion of this century, united with the Angelic voices of the first Singers of Europe can make up for the lack of a prologue, which we leave out for brevity.”] Although the work was set to music again by Vincenzo Tosi in Messina in 1664, the anonymous revivals that took place in Northern/Central Italy during next decade probably derive from Ziani’s score: Ferrara, 1665; Milano, 1666; Bologna, 1667; Bergamo, 1668; Viterbo, 1671; and Lucca, 1675.

31. La Dori LA DORI/ ò vero/ LA SCHIAVA/ FEDELE/ [Dramma musicale]/ DEDICATO/ AL SERENISSIMO/ FERDINANDO II./ GRANDVCA/ Di Toscana./- -pre p. [1]. IN FIORENZA/ All’Insegna della Stella. 1661./ Con Lìcenza de’Superiori.--pre p. [1]. CMP [Cesti, Antonio (1623-1669)] LBT [Apolloni, Apollonio (fl. 1655-1669)] [12], 106 p., 10.5 cm. Prologue. 3 acts. Dedication. 2 ballets. The dedication to Ferdinando II de’ Medici (1610-1670) is signed by Gli Accademici Sorgenti./--pre p. [5].

Interlocutori (Prologue): LA CORTE. MOMO./--pre p. [6]. Interlocutori: DORI. ARSETE. GOLO. DIRCE. ORONTE. ARTAXERSE. ARSINOE. TOLOMEO. BAGOA. ERASTO. OMBRA DI PARISATIDE./--pre p. [6]. [Teatro in via del Cocomero] [1661] The two ballets appear to be an integral part of the drama. The first one takes place at the end of act 1: “Ballo d’Eunuchi; e fine dell’/ Atto primo.”[“Dance of the Eunuchs, and end of the First Act.”]/ --p. 33. The second ballet is at the end of act 2: “Ballo di Mori.” [“Dance of the Moors.”]/ --p. 74. Allacci 262; Sartori 8333

itp 02046 The title page is slightly mutilated: the designation “Dramma musicale,” along with a handwritten annotation or signature, has been torn out and the page repaired. Pages 97-98 are wanting. In the dedication a previous production of this opera is mentioned./ --pre pp. [3]-[5].

88 The Baroque Libretto There is a Prologo in verse./ --pre pp. [7]-[12]. Occurring after 24 October 1661 (Weaver, 133134), this production of La Dori was probably not part of the official festivities surrounding the wedding of the future Grand Duke Cosimo III and Marguerite Louise d’Orléans in 1661 (Schmidt 1975: 461-2). Allacci attributes the libretto to Apollonio Apolloni and the music to Cesti, but gives the premiere as Venice 1663. Actually the premiere took place in Innsbruck in 1657 under the title La schiava fortunata o vero La Dori (Sartori 21204). La Dori became one of the most popular operas of the century; during the years 1662-68, there were at least ten new productions. In Venice, it was produced in 1663, 1667, and 1671. When it was revived in Rome in 1672, the score was revised by Stradella. itp pam 00091

32. L’Egisto L’EGISTO/ FAVOLA/ DRAMATICA/ MVSICALE/ DI/ GIOVANNI/ FAUSTINI./ IN FIRENZE/ Nella Stamperia di S.A.S./ Con lic. de’ Super. 1667./ E priuilegio di S.A.S. CMP [Cavalli, Francesco] (1602-1676) LBT Faustini, Giovanni (c.1619-1651)

HERO. CINEA. APOLLO. HORE I./ --pp. 6-7. [Teatro del Cocomero] [1667] Allacci 279; Sartori 8683 [Preface] Lettore: “ti confesso d’auerlo tol-/ to d’Ausonio, con quella licenza,/ che usarono i Poeti Latini di to-/ glier l’inuenzioni da’ Greci per/ vestir le lor fauole, ed i loro Epi-/ ci componimenti.”--p. 5. [“Reader: ‘I confess to having taken it from Ausonius, with that license that the Latin Poets used to take the inventions of the Greeks to dress their tales and their Epic poems.’”] Theatre identified in Weaver (137-138). A late revival of Cavalli’s L’Egisto, first produced in Venice at the Teatro S. Cassiano in the autumn of 1643. By the time the work was produced in Florence in 1667, it had already appeared in Genova, Rimini, Naples, Bologna, Ferrara, Bergamo, Piacenza, as well as in Florence in 1646. The dedication to this second Florentine revival makes reference to the first revival: “Comparisce di nuo/ ua alla luce quel-/ l’opera dell’ Egi-/ sto, che con ap-/ plauso tanto se-/ gnalato illustrò/ già le Scene di questa fioritissi-/ ma Patria [...]”--p. 3. [“Again comes to light L’Egisto, which with such great applause graced the Stages of this flowering Nation. ...”] itp pam 00088

61 (i.e. 91) p., 12.5 cm. Prologue. 3 acts. Dedication. Lettore. The dedication to Leopoldo de’ Medici (16171675) is signed by “I comici dell’Egisto.”/ --p. 4.

Interlocutori (Prologue): LA NOTTE. L’AURORA./ --p. 6. Interlocutori: LIDIO. CLORI. EGISTO. CLIMENE. IPPARCO. VOLUPIA. DEMA VECCHIA. BELLEZZA. AMORE. VENERE. SEMELE. FEDRA. DIDONE.

33. L’Artaxerse L’/ ARTAXERSE/ OVERO/ L’ORMONDA/ COSTANTE/ DRAMA PER MVSICA/ Nel Famoso Teatro Grimano/ L’Anno M. DC. LXIX./ DI/ AVRELIO AVRELI./ Opera Decimaquinta./ DEDICATO/ A gl’Illustrissimi Signori/ GIO: CARLO,/ ET/ VICENZO/ Fratelli Grimani./

The Baroque Libretto 89

IN VENETIA, M. DC. LXIX./ Per Francesco Nicolini./ Con Licenza de’Superiori, e Priuilegio./ Si vende in Spadaria. CMP [Cesti, Antonio, (1623-1669)] LBT Aureli, Aurelio (fl. 1652-1708) 65, [1] p., 14 cm. “Venetia li 28. Decembre 1668.”--p. 4. 3 acts. Dedication. Argomento. List of scenes. List of Aureli’s opera libretti (15 in all) on final page. Colophon. 3 ballets. The dedication to Giovanni Carlo Grimani (16481714) and Vincenzo Grimani (1652/5-1710) is signed by Aurelio Aureli./ --p. 4.

Interlocutori: IL CAPRICCIO. L’INVENTIONE (Che introducono il Ballo nell’Anfiteatro). ARTAXERSE. CIRO. STATIRA. EURIMENE. ORMONDA. CLEARCO. DELFA. CLIMERO. CLITO. STATUA. DUE MUSICI DI CORTE./ --p. 8. Chori: DAME. CAVALIERI. PAGGI. ALABARDIERI. SOLDATI. EUNUCHI. SCHIAVI. CACCIATORI./ --p. 8. “Ingegnieri, e Direttori delle Ma-/ chine, e della Scene./ Gasparo, e Pietro fratelli Mauri./ Pittori delle Scene./ Hippolito Mazarini, e Gio: Battista Lam-/ branci./ Inventore degl’ Habiti./ Horatio Franchi.”/ --p. 10. Teatro Grimano (SS. Giovanni e Paolo) 1669 “Ballo Primo./ Di seguaci del Capriccio e dell’Inuentione./ Ballo Secondo./ Rissa trà Corteggiani per l’affronto fatto./ Ad vn Caualiero./ Ballo Terzo./ Di schiaui fatti liberi.”/ -p. 9. [“First Dance./Of the followers of Capriccio and Inventione./ Second Dance./Fight between Courtiers for the offense made./To a Cavalryman./Third Dance./Of freed slaves.”] “Inuentori de’Balli./ Lelio Bonetti, & Angelo Frezzato Ballari-/ ni, e Pittori.”/ --p. 10.

“Per solleuar dalla mestitia Statira si celebra/ d’ordine Regio vna Festa Teatrale in/ forma di ballo giocoso introdotto/ da due Musici d’ Artaxerse/ rappresentati in Machina./ Il Capriccio, e l’Inuentione” [“To lift Statira from sadness we celebrate by Royal decree a Theatrical Festivity in the form of playful dance introduced by two musicians of Artaxerse staged in a Machine./The Caprice and the Invention.”]/ -p. 11, first scene in opera. “Nella festa Teatrale d’vn Balletto intro-/ dotto dal Capriccio e dà l’Inuentione nell’/ Anfiteatro principia il Drama.” [“In the Theatrical celebration of a Ballet in the Amphitheatre the Drama was introduced by Capriccio and Inventione.”]/ --p. 7, in Argomento. “Segue il Ballo qual terminato/ segue”/ --p. 12. “Fine del’ Atto Primo./ Segue il Ballo.”/ --p. 28. “Fine dell’ Atto Secondo./ Segue il Ballo.”/ --p. 48. The literary source is identified in the argomento as Plutach./ --p. 6. List of Aureli’s opera libretti: “DRAMMI/ Per Musica composti da/ Aurelio Aureli./ L’Erginda./ L’Erismena./ La Rodope, e Damira,[sic]/ Il Medoro./ La Costanza di Rosmonda./ La Virtù Guerriera rappresentata in Viena./ L’Antigona delusa da Alceste./ Il Pirro./ Gli scherzi di Fortuna./ Le fatiche d’Ercole per Deianira./ Gl’Amori d’Apollo, e Leucotoe./ La Rosilena,[sic]/ Il Perseo./ L’Eliogabalo./ L’Artaxerse.”/ --post p. [1]. Colophon: “IN VENETIA, M. DC.LXIX./ Per il Nicolini.”/ --post p. [1]. Allacci 120; Alm 161; Sartori 3120; Sonneck 169 Previously attributed to Carlo Grossi (c.16341688), the music was more likely composed by Cesti. See Herbert Seifert, “Cesti and his Opera Troupe in Innsbruck and Vienna, with new information about his last year and oeuvre,” in La figura e l’opera di Antonio Cesti nel seicento europeo: Convegno internazionale di studio, Arezzo, 26-27 aprile 2002, ed. Mariateresa Dellaborra (Florence: L.S. Olschki, 2003), pp. 42-43. Eleanor Selfridge-Field suggests that the production opened by 30 December 1668, and was still running four weeks later (SelfridgeField, 94). itp pam 00337

90 The Baroque Libretto

34. Il Girello IL/ GIRELLO/ Drama Burlesco/ PER MVSICA,/ Rappresentato in Bologna/ l’Anno 1669./ In Bologna, per l’Herede del Benacci./ Con licenza de’ Superiori. CMP [Melani, Jacopo (1623-1676) and Alessandro Stradella (1639-1682)] LBT [Acciajuoli, Filippo (1637-1700)] 95 p., 13 cm. 3 acts. Prologue. 2 Intermezzi including ballets. List of scenes.

Interlocutori nel Prologo: PLUTONE. PROSERPINA. VENDETTA. INGANNO. CHORO DI SPIRITI./--p. 3. Interlocutori nell’Opera: CLORIMANTE. ERMINDA. DORALBA. MUSTAFA’. FILONE. ORMONDO. MAGO. GIRELLO. PASQUELLA. TARTAGLIA./--p. 3. CHORI: SOLDATI DI CLORIMANTE. DAMIGELLE D’ERMINDA. DAMIGELLE DI DORALBA. SOLDATI DI GIRELLO. SOLDATI DI TARTAGLIA.--pp. 3-4. l’Anno 1669 “Primo Intermezo./ Choro di Spiriti, che formano vn Ballo.”/--p. 4. “Quì segue il Ballo”--p. 37, near end of Act I. “Secondo Intermezo./ Choro di Armeni, che conducono Orsi,/ e Papagalli, che formano vn Ballo.”/--p. 4. At the end of scene XVI, act 2 stage directions indicate: “I Papagalli cantano.” and “Gli Orsi Ballano.”--p. 63. [“Second Intermezzo./Chorus of Armenians, who lead Bears and Parrots, who form a Dance.” “The Parrots sing and the Bears dance.”] Allacci 411; Sartori 12062

Allacci (411): “Se si vuol credere al Libriccino de’ Signori Socj Filopatrj di Bologna, questo Dramma fu recitato nella loro Città l’anno 1669, e lo dicono attribuito a N. Acciajoli, Fiorentino.” [“If we are to believe the Book of the Filopatri of Bologna, this Drama was staged in their City in the year 1669, and they attribute it to N. Accaioli, a Florentine.”] Originally produced at the Colonna palace in Rome in 1668, Il Girello was “one of the four or five most frequently performed operas in the seventeenth century” (Robert Weaver, NG). The prologue was one of Alessandro Stradella’s earliest operatic compositions. The rest of the music was composed by Melani. itp pam 01547

35. Il consiglio de gli dei IL CONSIGLIO/ DE GLI DEI/ DRAMA DA MVSICA/ DI/ ANTONIO/ ABATI/ Nella Pace frà le due Corone, e nelle Nozze/ frà la Maestà Christianissima di LVIGI/ Decimoterzo Rè di Francia, e la/ Maestà Cattolica di MARIA/ TERESA Infanta di/ Spagna./ DEDICATO/ All’Eminentissimo, e Reuerendissimo Principe/ il Signor/ CARDINAL/ MAZARINO./ IN BOLOGNA, M.DC.LXXI./ Per Gio: Recaldini., Con licenza de’Super. CMP LBT Abati, Antonio (d. 1667) 142 p., 13.5 cm. “Roma à dì 15. Maggio 1660.”/ --p. 4. Prologue. 3 acts. Dedication. Argomento distinto di tutto il Drama. Quotation from Horace. Prologo. Quotation from Juvenal. 1 ballet. Index of the librettist’s poetry, presumably in a collected edition. Errata for this edition, as well as for the present libretto. Colophon.

The Baroque Libretto 91 The dedication to Louis XII (1601-1643) and Maria Theresa of Spain (1638-1683) is signed by Antonio Abati./ p. 4.

CMP [Pagliardi, Giovanni Maria (1637-1702)] LBT [Ivanovich, Christoforo (1628-1680)] 69, [1] p., 13.5 cm.

Interlocutori del Drama: GIOUE. SATURNO. FEBO. MARTE. PLUTONE. NETTUNO. MERCURIO. CERERE. BELLONA. VENERE. GENIO CITTADINO. GENIO MILITARE. MOMO COL SONNO, E CON LA NOTTE. CARONTE CON DUE ANIME. SENNA. LUNA./ --p. 9. Prologo: LA PACE. LA FAMA./ --p. 11. At the end of the text: “Quì partono i Numi, e l’Hore fanno/ un Ballo.”/ --p. 108. Imprimatur: “Vidit P.D. Ioseph Cribellus Poeniten-/ tiarius pro Eminentiss. & Reueren-/ diss. D.D. Hieronymo Cardinali Bon-/ compagno Archiepiscop. & Princi-/ pe./ Imprimatur./ Fr. Marcellus Girardus à Diano Sacræ/ Teologia Magister Ordinis Prædica-/ torum, ac Vicarius Generalis S. Of-/ ficy Bononiæ.”/ --p. [142]. Allacci 212; Sartori 6255 On the last leaf handwritten in ink “Ex libri Bartholomeo/ Giacomelli”. 2 copies. Copy 2 is missing all pages after p. 108. itp 00001

36. Lisimaco LISIMACO/ Drama per Musica./ Da rappresentarsi nel Fa-/ moso Theatro Grimano/ a SS. Giovanni, e Paolo./ L’Anno M.DC.LXXIV./ CONSECRATO/ All’Illustriss. & Eccellentiss. Sig./ GIOVANNI/ MICHIELI. IN VENETIA M.DC.LXXIV./ Appresso Francesco Nicolini./ Con Licenza de Super. e Privilegio.

“Adi 10. Decembre 1673”/ --p. 6. “IN VENETIA, M.DC.LXXIV./ Per il Nicolini.”/ --p. 70. 3 acts. Dedication. Lo Stampatore à chi Legge. Argomento. List of scenes. 2 ballets. Colophon. The dedication to Giovanni Michieli is signed by Francesco Nicolini./ --p. 6.

PERSONAGGI: LISIMACO. BERENICE. TOLOMEO. CLEANTE. ORESTE. ENDIMIRO. ANTIOPE. LISA. ALINDO. ARBASTE. HERMETE. CORIMBO. il teatro Grimano a SS. Giovanni e Paolo 1674 Allacci 481; Alm 190; Sartori 14298; Sonneck 688 This libretto represents the first performances of Lisimaco, first performed in Venice during the carnival of 1674, with the dedication dating back to the previous month (December 1673). The librettist is identified by Allacci as “D. Cristoforo Ivanovich, Dalmatino, Canoniero di S. Marco.” In the preface, the text is described as the author’s first libretto for the Teatro SS. Giovanni e Paolo. Reference is also made to the honours Ivanovich received at the Imperial court, probably relating to the production of La Circe in Vienna in 1665: “Esce questo Dramatico/ scherzo dalla Penna di/ chi auuezzò i suoi primi/ voli sù questo famosissi-/ mo Teatro. Comparisce/ di nuouo, doppo d’hauersi in Germania/ trattenuta all’ombra Augusta degl’-/ Allori Cesarei, e deliciata in Italia/ trà i Gigli Farnesi col pregio di quel/ rimarcabile, e sourano compiaci-/ mento de’ gran Prencipi, di cui facil-/ mente t’haurà informato la Fama.” (p. 7). [This dramatic little piece comes from the Pen of one who attempted his first flight in this most famous Theatre. Having remained in Germany for some time in the august shadow of the Imperial Court, he reappears again with delight in Italy, among the lilies of the Farnesi,

92 The Baroque Libretto with the esteem and indulgence of the great Princes, of whom Fame has no doubt informed you.”] Although not named in the libretto, the composer must have been the Florentine Pagliardi, who had composed Caligola delirante for the same theatre two years earlier. (See #86 for a libretto related to a revival.) The great success of Caligola apparently was the reason for Pagliardi’s return to the Teatro Grimano a SS. Giovanni e Paolo: “Haurai la Musica di chi già nel Ca-/ligola con la delicatezza delle sue no-/ te s’acquistò il tuo intiero applauso,/ ed’ hora con distinta applicatione in/ atto di sua gratitudine ritorna, per far/ tele godere, onde il tuo gusto può, ac-/ crescerli il desiderio, di affaticarsin au/ uenire nelle tue maggiori cōpiacenze.” (p. 8). [“You will hear music by one who has already earned your applause with the delicacy of its notes in the Caligola and who now, making a concerted effort to show his gratitude, returns to let you enjoy his notes again, so that your satisfaction may increase his desire to please you even more.”] The impresarios are given credit for obtaining a fine selection of voices for the production, particularly at a time when music is in such demand at the courts and major cities: “Si è impiegata dalli Signori Oratio/ Franchi, Gasparo Mauro, ed Ippoli-/ to Mazarini, interessati nel Teatro/ tutta la diligenza possible, per farti/ sentire apresso una scelta delle Voci,/ che si spera, saranno da te gradite,/ considerando il tèmpo, in cui la Mu-/ sica hà disteso la stima del suo diletto,/ per le corti, e Città principali, e che/ certamente non si è hauuto riguardo/ a spesa, perché il tutto corrisponda/ alla tua espettatione.” (p. 8). [“All the diligence possible was employed by the Sig.ri Oratio Franchi, Gasparo Mauro, and Ippolito Mazarini, all with an interest in the Theatre, to allow you to hear a selection of Voices, that we hope will be appreciated by you. They have taken into consideration the time in which Music has extended her delights to the courts and the principal Cities, and they certainly had no regard for expenditure so that all might correspond to your expectations.”] For more on the production, see Selfridge-Field, 110-111. Lisimaco was apparently not revived; this suggests that the success anticipated in the preface was not realized. The Lisimaco that appeared during the 1680s is a libretto by

Giacomo Sinibaldi, first set to music for Rome by Bernardo Pasquini and then for Venice by Giovanni Legrenzi. itp 00811

37. Il Massinissa IL/ MASSINISSA/ DRAMA/ PER LA MVSICA./ D’/ ERCOLE/ BONACOSSI/ PATRITIO/ FERRARESE. [no imprint] CMP LBT Bonacossa, Ercole (d. 1691) 88 p., 14.5 cm. 5 acts. Lettore.

Interlocutori: MASSINISSA. SCIPIONE. SOFONISBA. SIFACE. NICANDRA. IREA. AREACIDE. LELIO. ERIFO. DORILO. SOLDATI (spoken).--p. 6. Cori: SOLDATI DI MASSINISSA. SOLDATI DI SCIPIONE. SOLDATI DI SIFACE. DAME DI SOFONISBA. DAME DI NICANDRA./ --p. 6. Allacci 516; Sartori 15102 Juvenal and Virgil are mentioned in [preface] Lettore./ --p. 3. Page 37 is mislabelled as p. 73. This libretto is preceded in the volume by Bonacossa’s drama La Semiramide, and followed by his Discorsi accademici. Each work is paginated separately. There are 30 additional MS pages of verse bound at the beginning and at the end of the book. Most of these are sonnets addressed to the opera singers Diana Testi, Margarita Salicola, and Angela Coechi, and include references to arias they sang in recent productions of L’Alarico and Il re infante.

The Baroque Libretto 93 Il Massinissa has a title page with no imprint, and the custus on the final page of the opera points to the title page of the Discorsi. The date on the imprint of the Discorsi is 1675. La Semiramide is dated 1674. The poetry in MS bound around the book is contemporary, with the date 10 Dec. 1674 appearing on p. 10 of the front section. The last page of the back section (on the inside back cover) bears the date April 1675. Allacci’s citation includes: “Dramma. - in Ferrara, nella Stampa degli Eredi del Giglio, 1674 in 12mo di Ercole Bonacossi Ferrarese.”

EUMENE. SESTO. DELBO. LISA. UN MUSICO. DUE PERSIANI./ --p. 9.

itp 01966

The frontispiece contains a full-page engraving of a Herculean figure saving two women from a lion (a scene that cannot be related to the opera). According to Selfridge-Field (113), the production opened 11 December 1674. Allacci attributes the music to “Carlo Pallavicino, Bresciano.” The opera was revived in Bologna in 1682 and in Verona and Ferrara in 1683 (C-Tu has a libretto for both the original production and its revival in Ferrara; see the discussion in the Introduction). The opera that appeared in 1687 entitled Il Diocleto is a new opera by Andrea Rossini, with music by Teofilo Orgiani. The libretto includes full stage directions, many of these concerning stage movement and acting.

38. Diocletiano DIOCLETIANO/ Drama per Musica/ Da Rappresentarsi nel sempre Fa-/ moso Teatro Grimano à/ Ss. Gio: e Paolo./ L’Anno M.DC.LXXV./ DI MATTEO NORIS./ CONSACRATO/ All’Eccellenza di Madama/ DIANA/ De TIANGE/ Duchessa di Neuers. IN VENETIA, M.DC.LXXV./ Appresso Francesco Nicolini./ Con Licenza de’ Superiori, e Priuilegio

il teatro Grimano a SS. Giovanni e Paolo 1675 Act I is followed by the designation “Segue ìl ballo” (p. 30). Act II ends with a dance by the Persian prisoners, two of whom sing a song. After this, another indication of a ballet (p. 52). Allacci 254; Alm 196; Sartori 7906; Sonneck 385

itp pam 01538

CMP [Pallavicino, Carlo (1630-1688)] LBT Noris, Matteo (1640-1708)

39. Enea in Italia

72 p., 15 cm.

ENEA/ IN ITALIA./ DRAMA PER MUSICA/ Nel Famoso Teatro/ GRIMANI./ DEL BUSSANI./ CONSACRATO/ ALL’ILLUSTR.MO, ET ECCELL.MO/ SIGNOR/ FILIPPO GIVLIANO/ MAZARINI MANCINI/ DVCA DI NIVERS, E DONZIOIS,/ Pari della Francia, Caualliere Commenda-/ tore de gl’Ordini del Rè Christianissimo,/ Luogotenente de’ Gran Moschettieri del/ Rè, Gouernatore, e Luogotenente per S. M./ de’sudetti Paesi. Gouernator della Rocella,/ Bruage, Isola dei Rè, e Paese d’Aulnis, &c./

“Venetia li 10. Decembre 1674.”/ --p. 6. 3 acts. Frontispiece. Dedication. Argomento. List of scenes. 2 ballets. The dedication to Diane-Gabrielle de Thianges, Duchess of Nevers and of Donzy (d. 1715) is signed by Matteo Noris./ --p. 6.

Interlocutori: DIOCLIZIANO [sic]. MASSIMIANO. GALERIO. LICINIO. VALERIA. NARSETE. ROSIMONDA.

94 The Baroque Libretto

VENETIA, MDCLXXV./ Per il Nicolini./ Con Licenza de’ Superiori, e Privilegio. CMP [Pallavicino, Carlo (c. 1640-1688)] LBT Bussani, Giacomo Francesco (fl. 16731680) [10], 1-44, 49-69 p., 14 cm. 3 acts. Dedication. Argomento. List of scenes. 2 ballets. The dedication to Filippo Giuliano Mancini (1641-1707) is signed by Giacomo Francesco Bussani./ --p. [6].

Interlocutori Troiani: ENEA. ASCANIO IULO. ILIONEO. Latini: LATINO. LAVINIA. TURNO. CAMILLA. CELSO. BIRENA. NISO. Deità: IL FATO. VENERE. VULCANO. AMORE. LO SDEGNO. Ciclopi: STEROPE. BRONTE. PIRAMMONE./ --p. [9]. Coro: DI SIRENE./ --p. [9]. Il famoso teatro Grimani [SS. Giovanni e Paolo] 1675 “BALLO./ Primo. Di Guerrieri. Secondo. Di Ciclopi.”[“DANCE./First. Of Soldiers. Second. The Cyclopses.”]/ --p. [10]. “Segue trà i Guerrieri d’ Amore, e de lo/ Sdegno la Battaglia in forma di Ballo,/ doppo il quale con gran volo tutti/ spariscono.” [“Following, the Warriors of Love and Hate in a Battle in the form of a Dance, after which they all disappear with great haste.”]--p. 24. First ballo end of Act I, second probably end of Act II, in missing pages. Allacci 289; Alm 201, 202; Sartori 8895; Sonneck 437 According to Sartori there should be an antiporta figurata. The libretto is missing pp. 45-48. The incipit on p. 44 indicates that on these pages there was another scene, as described in the stage directions. The second Cyclops ballet was probably here, since it is not mentioned elsewhere. The first ballet is at the end of Act I. The libretto calls for “Trombe” in Act III, singly

and in groups. Also mentioned is a huge and bright machine on which deities were transported. This libretto represents the first production of Bussani’s Enea in Italia, with music attributed by Allacci to Carlo Pallavicino. This was a popular subject for opera at that time; operas with the same title appeared in Vienna in 1675 (Niccolo Minato/Antonio Draghi), in Munich in 1678 (Ventura Terzago/Giuseppe Antonio Bernabei), and in Florence in 1689 (Giovanni Andrea Moniglia/Jacopo Melani). In spite of the reputations of Moniglia and Minato, Bussani’s opera was the only one revived, presumbably on the strength of Pallavicino’s music: in Genoa in 1676, in Naples in 1677 and in Milan in 1686. In these revivals the cast was reduced by omitting the Cyclops and most of the gods. itp 00820

40. Eteocle, e Polinice ETEOCLE,/ E/ POLINICE./ Drama per Musica/ Da Rappresentarsi nel Teatro/ à S.Saluatore,/ L’Anno M.DC.LXXV./ CONSACRATO/ ALLE NOBILISSIME/ DAME/ DI VENETIA./ IN VENETIA, M.DC.LXXV./ Appresso Francesco Nicolini./ Con Licenza de’ Superiori, e Priuilegio. CMP Legrenzi, Giovanni (1626 -1690) LBT [Fattorini, Tebaldo] 72 p., 14 cm. “La/ Musica veramente incomparabile del/ Sig. Maestro Legrenzi,”--pp. 5-6, preface. 3 acts. Dedication. A chi legge. Argomento. List of scenes. 2 ballets. Dedicated to the noblewomen of Venice./ --p. 4.

Interlocutori: ETEOCLE. POLINICE. ANTIGONA. ARBANTE. CLEANTE.

The Baroque Libretto 95

ADRASTO. DEIFILE. ARGIA. SILENA. TIDEO. EURILLO. OMBRA D’EDIPO.--p. 9. “le Scene del Sig. Gio: Batti-/sta Lanbranzi,”--p. 6. nel Teatro a San Salvatore 1675 “BALLO PRIMO./ Di Soldati, e di Caualieri.” [“FIRST DANCE./ Of Soldiers and Cavalrymen.”]--p. 10. “BALLO SECONDO./ Di Fantasmi.” [“SECOND DANCE./Of Ghosts.”]--p. 10. The ballets take place at the end of act I (p. 30) and at the end of act II (p. 53). The latter is integrated into the action, the “Fantasmi” accompanying the “Ombre di Edipo,” [“Shades of Oedipus,”] who sing the final scene. Allacci 311; Alm 199; Sartori 9331; Sonneck 456 “Tutto cio,/ riferisce Statio nella Tebaide.” [“All this is told to us by Statius in the Thebaid.”]--p. 8. On the title page handwritten in pencil: “La musica è del M.̊ Legrenzi”. According to Selfridge-Field (113), this production probably opened on 13 December 1674. In the preface it is explained that this text differs greatly from the original presented “sù le/ Scene dell’Ausonia” in past centuries. The text was composed according to the customs of modern theatres and the author has followed only the laws of delight. The preface includes a short “protesta” (pp. 5-6). Although Allacci states that Tebaldo Fattorini is the librettist, he mentions that others attribute the libretto to Leonardo Loredano, “Patrizio Veneto.” The writer of the preface praises both the composer and stage designer: “La/ Musica veramente incomparabile del/ Sig. Maestro Legrenzi, che hà supera-/ to in questa occorrenza, con infinita/ sua lode, la comune aspettatione, vio-/ lando il proprio genio (auezzo à cose/ studiate, e sode) alla vaghezza, ed all’-/ amenità, e le Scene del Sig. Gio: Batti-/ sta Lanbranzi, con mirabile maestria/ nobilmente pennelleggiate, lo rende-/ ranno egualmente vago, e maestoso.” (pp. 5-6). [“The truly

incomparable Music of Sig. Maestro Legrenzi, which has surpassed on this occasion general expectations, to his infinite credit, violating even his own genius (accustomed, as it is, to serious matters) and the graceful beauty of the Scenes of Sig. Giovanni Battista Lanbranzi, conceived with admirable mastery and nobly painted, will render this work equally graceful and majestic.”] Eteocle e Polinice was later revived in Naples (1689), Milan (1684), and Modena (1690); a manuscript score of the Neapolitan production has survived. itp pam 00415

41. Il Girello IL/ GIRELLO/ DRAMMA MVSICALE/ BURLESCO./ Da recitarsi nel Teatro/ di LVCCA/ l’ANNO 1676./ IN LVCCA,/ Appresso Iacinto Paci. MDCLXXVI./ Con Licenza de’ Superiori. CMP Melani, Jacopo (1623-1676); Stradella, Alessandro (1639-1682) LBT Acciajuoli, Filippo (1637-1700) 81 p., 13.5 cm. Prologue. 3 acts. List of scenes. 2 ballets.

Interlocutori (prologue): PLUTONE. PROSERPINA. VENDETTA. INGANNO.-p. 3. Interlocutori (opera): ODOARDO. ERMINDA. DORALBA. MUSTAFA’. FILONE. ORMONDO. PASQUELLA. GIRELLO. EURILLO. MAGO. SEGUACI DI: PLUTONE; ODOARDO; ERMINDA; DORALBA; GIRELLO; EURILLO.--p. 3. Teatro di Lucca 1676 Ballets mentioned at ends of first two acts:

96 The Baroque Libretto “Segue Ballo di Spiriti./ Fine del Primo Atto.” [“Ballet of Spirits follows./End of the First Act.”]-p. 33. “Segue Ballo di Carcerieri./ Fine del Secondo Atto.” [“Ballet of Jailers follows./End of the Second Act.”]--p. 55. Sartori 12070 This libretto contains significant differences from the libretto for Bologna, 1669, and features more detailed stage directions. The musical settings may have differed in the last few lines of the prologue, since the earlier version ends with a quartet, while the final lines are distributed among the individual characters in the later print. The King of Thebes is Clorimante in the 1669 one, Odoardo in this. There are other differences in the names of minor characters. Small differences in text occur, for example, different words for Pasquella and Ormondo (pp. 10-11), and different place names and people in Ormondo’s and Girello’s speeches (p. 11). There are also some significant aria substitutions, a much longer aria with different words in Tartaglia’s of 1669 than in the corresponding one by Eurillo in 1676, and a much longer aria by Doralba in II,v of 1676. Other instances of this suggest music may have been different in the two productions, especially where dances are indicated. Eurilla’s aria in II,xv is new in 1676, while the earlier libretto has an extra scene (II,xvi) where the second intermezzo is presented. References to bordellos in 1669 were removed and altered in the later version. In 1669 there were two intermezzi, the first of which, Spiriti, is also the first ballet of the 1676 version. The second intermezzo of 1669 has Armenians, bears and parrots, as compared with the second ballet of jailers in 1676. itp 01839

Eccellentiss. Sig./ ALESSANDRO/ CONTARINI/ IMPERIALE/ Procurator di San Marco./--p. [3]. IN VENETIA, M.D.C. LXXVI. Per Francesco Nicolini/ Con licenza de’Superiori e priuilegio.--p. [3]. CMP [Gianettini, Antonio (1648-1721)] LBT Aureli, Aurelio (fl.1652-1708) 60 p., 13.5 cm. “Venetia 14. Decembre 1675.”--p. 6. 3 acts. Half title page. Dedication. [Argument] Dilucidatione. List of scenes. 2 ballets. The dedication to Alessandro Contarini is signed by Aurelio Aureli./ --p. 6.

Interlocutori: MEDEA. EGEO. MEDO. ANDROGEO. IPPOLITA. TESEO. LISO. CADAVERE DI PROCUSTE CHE PARLA./ --p. 9. Chorus: CAVALIERI ATENIESI. LOTTATORI ATENIESI. ALABARDIERI. DAMIGELLE. PAGGI./ --p. 9. Nel Teatro Zane a San Moisè [1676] “BALLO PRIMO./ di Giardinieri, & Animali.” [“FIRST DANCE. of Gardeners, & Animals.”]--p. 9. “BALLO SECONDO./ di Statue, e Mostri Infernali.” [“SECOND DANCE. of Statues, and Infernal Monsters.”]--p. 9. The ballets take place at the end of act 1, and at the end of act 2./ --p. 26 and p. 45. Allacci 519; Alm 204; Sartori 15302

42. Medea in Atene MEDEA/ IN ATENE/ DRAMA PER MVSICA/ Nel Teatro Zane à S.Moisè/ DI AVRELIO AVRELI/ Opera Decima ottaua/ CONSACRATO/ All’Illustriss. &

The “Dilucidatione” provides plot background and synopsis--pp. 5 (i.e. 6)-8. Dilucidatione: “Tutto ciò scrisse più d’una penna Greca,/ e Latina.” [“All this was written by more than one Greek and Latin pen.”]--p. 8. Half title page: “MEDEA/ IN ATENE”/ --p. [1].

The Baroque Libretto 97 The dedication is dated Venice, 14 December 1675./ --p. 6. The music is attributed to “Antonio Zanettini Veneziano” by Allacci, who also mentions a revival in Venice two years later: “replicato con qulache riforma l’anno 1678 nel Teatro di Sant’ Angiolo, e musica del suddetto Zanettini.” [“repeated with some changes in the year 1678 in the Theatre of Saint Angiolo, and with the music of the aforementioned Zanettini.”] According to Thomas Walker and Beth Glixon in NG, Medea in Atene is Giannettini’s first and most widely performed opera. Medea in Atene was later produced in Milan (1681), Lucca (1683), and Wolfenbüttel (1688 and 1692), and, as Teseo in Atene, in Parma (1688). itp pam 00302

Capella di S. M. C. in/ Ispruch...”--p. 5. [“You will enjoy the suave and Harmonious notes of Sig. Giovanni Bonaventura Viviani, Maestro di Cappella of Santa Maria C. in Ispruch....”] 3 acts. Dedication. Benigno Lettore. [Argument] Dilucidatione del Drama. List of scenes and balli. The dedication to Alvise Contarini (1601-1684) is signed by Matteo Noris./ --p. 4.

Personaggi: ASTIAGE. ARMIDORO. MANDANE. CLEANTE. CAMBISE. ROSANE. ARTAMENE. EVRIMANTE. ARCONTE. SITALCE. LINDO. SPIRITO INFERNALE CON ASPETTO DI DEITA’. OMBRA DI CIRENE. CARONTE.--p. 7. Nel Teatro Grimani di SS. Giovanni e Paolo 1677

43. Astiage ASTIAGE/ DRAMA PER MUSICA/ Nel famoso Teatro Grimani di SS./ Gio: e Paolo./ L’ANNO M.DC.LXXVII./ CONSAGRATO/ All’Illustrissimo, & Eccellentissimo/ Signor/ ALVISE/ CONTARINI, / Fù dell’Illustriss. & Eccellentiss. Sig./ PIETRO/ IN VENETIA, M.DC.LXXVII./ Per Francesco Nicolini./ Con Licenza de’Superiori, e Priuilegio. CMP Viviani, Giovanni Bonaventura (1638-after 1692) LBT Noris, Matteo (1640-1708) 71 p., 14 cm. “il Drama presente già sotto altro fa-/ uoleggiato nome composto con marauiglia/ dalla penna faconda del Signor Cauaglier/ Appoloni...”--p. 5. [“the Drama already present under another fantastical name composed with wonder from the fruitful pen of Sig. Cavaglier Appoloni...”] “Goderai in oltre delle soaui, &/ Armoniche note del Sig. Gio. Bonauentura/ Viuiani Maestro di

“BALLI./ Nel principio del Primo Atto. Abbatimen-/ [to] finto de Soldati. Nel fine del Primo/ [...] Paggi./ [...] fine del Secondo. Di spiriti con l’aspe- to di Deità.” [“DANCES. At the beginning of the First Act. Pretend battle of the Soldiers. At the end of the First. […] Pages. […] end of the Second. Of spirits with the appearance of Deities.”]--p. 8. (Page is torn.) “Ballo de Paggi.” [“Dance of the Pages.”]--p. 28. “Segue il Ballo di spiriti con l’aspeto di Deità.” [“The Dance of the spirits with the appearance of Deities follows.”]--p. 51. The balli take place at the beginning and at the end of act 1, and at the end of act 2. Allacci 123; Alm 216; Sartori 3260; Sonneck 175 In the preface Noris states that his contribution to the opera was principally to revise and adapt a work by Apolloni (c. 1635-1688): “Solo per Vbbidire con obligo a’ sup-/ premi comandi de Partiali Pa-/ droni, e per Vniformarci all’vso,/ e genio corrente, è conuenuto/ sopra il Drama presente già sotto altro fa-/ uolleggiato nome composto con marauiglia/ dalla penna faconda del Signor Caualier/ Appoloni agionger intreccio, & in qualche/ parte proportionate apparenze, rappresen-/ tandosi nel grande è sempre famoso Tea-/ tro Grimano:” (p. 5). [“Only to obey with obligation to the supreme commands of his Superiors, and to accommodate current custom

98 The Baroque Libretto and taste, it seemed appropriate to add to this drama—already marvellously composed under another fantastical title by the eloquent pen of Signor Cavalier Apolloni—complexity of action and appropriate visual effects, since it is to be staged in the grand and for ever famous Grimani theatre.”] Allacci attributes the libretto to “Cav. Apollonio Apollonj, Veniziano” and specifies that the Apolloni original had been performed at an earlier time under a different title: “recitata prima altrove con altro titolo, ed accomodato poi all’ uso di queste scene da Matteo Noris.” Thomas Walker identifies “Apollonio Apolloni” as Giovanni Filippo Apolloni, the author of two of the most celebrated libretti of the seventeenth century, L’Argia and La Dori (NG). Astiage appears again in Milan in 1679 and in Naples in 1682, both productions probably based on Viviani’s score. For more on the production, see SelfridgeField, 119-120. itp 02034

44. Chilonida LA/ CLEANDRA/ DRAMA/ Per Musica. [no imprint] CMP [adapted from Draghi, Antonio (16351700)] LBT [Minato, Niccolò (c.1627-1698)] [10], 70 p., 13 cm. Colophon: IN BOLOGNA./ Per li Manolessi. M.DC.LXXVIII./ Con licenza de’ Superiori.--p. 70. Prologue. 3 acts. Argomento. Imprimatur. Colophon.

Interlocutori: CLEANDRA. TEGEO. ISAURO. TEOPOMPO. CHILONIDA. AMALTEA. ARRICIO. HERO.--p. [10]. Prologue: GIOCONDITA’. AFFANNO.--p. 7.

22 di Agosto 1678 Allacci 196; Sartori 5742 In the argomento the author says that the historical material was derived from Valerius and Quintilian, while the fictional details were invented by the librettist. There follows a protesta concerning the occurrence of references to the pagan gods in the text. Imprimatur: “Vidit D.Fulgentius Orighettus Cle-/ ricus Reg. S. Pauli pro Eminen-/ tissimo, ac Reuerendiss. Domino/ D Hieronymo Boncompagno Ar-/ chiepiscopo Bonon. & Principe./ Imprimatur./ Vicarius S. Offic. Bonon.”-pre p. 6. Handwritten in ink on the title page is the following: “Rapresentata alli 22 di/ Agosto in la corte del Sig./ Quaranta [scribbled name]/ in un teatro provisorio/ con ghrande applauso di../” [“Staged the 22nd of August in the court of Sig. Quaranta [name] in a temporary theatre with great applause from…/”]--p. 1. A second note on the same page gives the work as anonymous. According to Allacci the authors of La Cleandra are “d’incerto.” The music was attributed to Pietro Andrea Ziani in Corrado Ricci’s I teatri di Bologna (1888). According to NG, the attribution to Ziani is doubtful and La Cleandra is probably an adaptation of Antonio Draghi’s Chilonida. Draghi’s setting of Nicolò Minato’s Chilonida had been premièred in Vienna the year before. It is possible that Ziani picked up the commission to adapt Chilonida on his way home from an extended stay in Naples. To complicate the issue further, his nephew Marc’Antonio Ziani produced a new setting of Minato’s Chilonida in Vienna in 1709. itp pam 00981

The Baroque Libretto 99

45. Le amazoni nell’isole fortunate LE/ AMAZONI/ NELL’ISOLE FORTVNATE/ Drama per Musica/ DEL DOTTOR PICCIOLI/ Da Rapresentarsi in Piazzola, nel Nobi-/ lissimo Teatro/ DELL’ILL. ET ECCELL. SIG./ MARCO/ CONTARINI/ PROC. DI S. MARCO./ CONSACRATO/ Alla medemma Eccellenza./ L’ANNO MDCLXXIX./ In Padoua, per Pietro Mar. Frambotto./ Con licenza de’ Superiori. CMP [Pallavicino, Carlo (c.1640-1688)] LBT Piccioli, Francesco Maria (fl.1679-1685) 67 p., 13 cm. “Piazzola li 11. Nou. 1679.”--p. 4. Prologue. 3 acts. Frontispiece. Dedication. Argomento. Benigno Lettore. List of scenes. 2 ballets. The dedication to Marco Contarini (1632-1689) is signed by Francesco Maria Piccioli./ --p. [4].

Interlocutori nel Prologo: IL GENIO. LA DIFFICOLTA’. IL TIMORE.--p. [7]. Interlocutori nel Drama: PULCHERIA. FLORINDA. AURALBA. IOCASTA. CILLENE. SULTAN. ANAPIET. GIUNONE (in machina).--p. [7]. Cori: CENTO AMAZONI. CENTO MORI. CINQUANTA AMAZONI A CAVALLO. PAGGI. GUARDIE. PALAFRENIERI. LACHE.--p. [7]. il teatro Contarini 1679 “Balli./ Rassegna della Cauallaria./ Danza di Pulcheria.”--p. [8].

The ballets were incorporated into the drama: Pulcheria performs a dance before the Sultan in Act II/xvii; the “Rassegna della Cavallaria” was apparently an equestrian ballet involving the coro of “cinquanta Amazoni à cavallo” who appear in Act II/ix and in the final scene. Allacci 45; Sartori 1185; Sonneck 81 II,ix opens with Amazons entering “al suono di Trombe, e Timpani”--p. 39; an “armoniosa sinfonia” in the presence of the Sultan is mentioned in stage directions.--p. 48. “1679” penned on p. [1]. Two trimmed fragments of leaves at end. Engraving of coat of arms, back of title page, facing the dedication--p. [2]. The music is attributed to Pallavicino by both Sonneck and NG, on the basis of archival documents. According to Harris S. Saunders in NG, the opera was written for the private theatre of Marco Contarini, the Procurator of S. Marco. In the brief preface, Piccioli praises Contarini’s “più merauiglioso Theatro” and, after asking the public for sympathy for “le debolezze della mia penna,” concludes with a Protesta. Le amazoni nell’isole fortunate should not be confused with Pallavicino’s L’Amazone corsara from 1686, which was frequently revived during the late 17th century. Le amazoni was essentially a provincial production (Piccioli is described by Allacci as Padovano while Pallavicino had previously served as organist at S. Antonio in Padua), and, despite its lavish production and the reputation of Pallavicino, the opera was probably never revived. On dating the production, see Thomas Walker 1984, p. clvii. For more on the production, see SelfridgeField, 132-133. itp pam 00710

46. L’amante muto loquace L’AMANTE MVTO LOQVACE/ Drama per Musica./ Di D. NICOLO’ LEONARDI./ Da rapresentarsi nel secondo Teatro Con-/ tarino delle Vergini./ Consacrato dà S.E./ IL

100 The Baroque Libretto

SIG./ MARCO/ CONTARINI/ Procurator di San Marco./ Al divertimento di Dame,/ e Cavaglieri, che lo favo-/ riscono in Piazzola/ l’anuo 168 [sic]. In Piazzola, nel loco dell Vergini./ Con licenza de’ Superiori. 168./ --p. [1]. CMP LBT Leonardi, D. Nicolò 45 p., 16 cm.

47. La divisione del mondo LA DIVISIONE/ DEL MONDO/ APPLAVSI MVSICALI/ ALLE GRANDEZZE/ DELL’ECCELLENTISSIMA/ REPVBLICA/ DI/ LVCCA./ Rappresentati per la sua Celebre Funzione delle TASCHE/ L’Anno M.DC.LXXXI./ Giornata Terza./--p. [1].

3 Acts. Protesta. Argomento.

IN LVCCA, M. DC. LXXXI./ Appresso Iacinto Paci.--p. [1].

Dedicated to Marco Contarini (1632-1689)./ --p. [1].

CMP LBT

Interlocutori: POLICLEA. ATASPE. ROSAURA. ARDIMIRO. FLORISMENE. CELINDA./ --p. 6.

24 p., 20 cm.

Protesta signed: “Venetia li 168./ Devotiss. obligatiss. Servitor Riverentiss./ Nicolò Leonardi.”/ --p. 5. Allacci 39-40; Sartori 1053 The libretto is not bound and the pages are not trimmed. It is in two gatherings. L’amante was first performed on 10 November 1680, at the “second theatre” (the Teatro delle Vergini) on Marco Contarini’s estate in Piazzola sul Brenta. Selfridge-Field reports (144) that each act was prefaced by an engraving representing the staging. However, our copy is in poor condition, unbound and with untrimmed pages, and only one illustration survives as a loose leaf. Sartori lists Domenico Freschi as the composer for this opera, though Thomas Walker and Beth L. Glixon do not give this title in their list of his works in NG. itp 00422

2 parts. Argomento.

Interlocutori: GIOUE. NETTUNO. PLUTONE. CIBELE. MERITO. MERCURIO. EOLO. SEGUACI DI GIOUE, NETTUNO, PLUTONE./--p. [4]. Coro di: SOLDATI VITTORIOSI. DEI. VENTI. SPIRITI.--p. [4]. 1681 Sartori 8076 In the argomento it is made clear that the story is an allegorical representation of the republican virtues on which Lucca was founded. The Tasche was a celebration of political elections every 30 months. The Tasche festivities lasted three days. The phrase “giornata terza” on the title page refers to the fact that the performance took place on the third day (p. [3]). itp 00359

The Baroque Libretto 101

48. Sardanapolo

nel Teatro di Reggio l’Anno 1681

L’ONOR/ VINDICATO,/ O’ SIA/ L’ARMISIA/ Gran Dinastessa/ di Tauris./ TRAGIDRAMMA REALE/ Per Musica/ Rappresentato nel Teatro dell’ Illustrissima/ Communità di Reggio l’Anno 1681./ Consegrato all’ Immortalità del Glorioso/ Nome del Serenissimo/ FRANCESCO II./ D’ESTE/ Duca di Reggio, Modona, &c./

Stage directions indicate a ballo in act I, scene XXII. “Donzelle, che fuggendo formano un Ballo,...” [“Young girls, who form a Dance while fleeing, …”]--p. 35.

IN REGGIO, per Prospero Vedrotti 1681/ Con licenza de’ Superiori. CMP [Freschi, Domenico (c. 1630-1710)] LBT [Maderni, Carlo] 81 p., 15 cm. “Reggio li 28. Aprile 81”/ --p. 4. 3 acts. Dedication. Argomento. List of scenes. Imprimatur. [1 ballet]. The dedication to Francesco II d’Este (16601694) is signed by “Gli auocati del Teatro.”/ --p. 4.

Interlocutori del tragidramma/Nomi de’ SS. Musici rappresentanti i Personaggi dell’Opera: ARMISIA. Sig. Laura Teresa Rossi Bolognese. SARDANAPALO. Sig. Antonio Pietro Galli, Musico del Sereniss. Padrone. ARBACE. Sig. Gio: Francesco Grossi, Musico del Sereniss. Padrone. BELESSO. Sig. Marc’Antonio Origoni, Musico del Sereniss. Padrone. NICEA. Sig. Anna Maria Menarini Bolognese. DIRCE. Sig. Sebastiano Rota Musico del Sereniss. della Mirandola. TERSITE. Sig. Girolamo Mellara Reggiano./ --pp. 10-11. Choro di: DAMIGELLE. PAGGI EUNUCHI DEL RE. ACETTARIJ GUARDIA REALE. ZAGAGLIERI SOLDATI D’ARBACE./ --p. 10.

Sartori 17095 “IMPRIMATVR./ F.Aurelius Inquisitor Generalis Re-/ gij, &c./ Prosper Scaruffius Vicarius Gene-/ ralis, &c./ Iustinianus Possidonius Locum Te-/ nens, &c.”/ --p. 12. Substitute arias for Act I, Scenes 9, 16, 22, and Act II, Scene 11.--pp. 79-81. This libretto is based on Carlo Maderni’s Sardanapolo, a dramma per musica first produced in Venice in 1679 with music by Domenico Freschi. Since the principal differences between this libretto and the text of Freschi’s opera occur in certain arias, it is conceivable that Freschi’s music was also employed, with occasional replacement arias inserted to update the score. If this is the case, then L’onor vindicato would have been one of several revivals of Maderni and Freschi’s Sardanapolo that took place in North-central Italy during the early 1680s. Allacci lists the 1678 print (col. 694). itp 01830

49. San Crescentiano SAN CRESCENTIANO/ DRAMMA PER MVSICA/ Del Sig. Dottore/ FRANC. IGNATIO LAZZARI/ Da recitarsi nel Theatro degl’Illumi-/ nati in Città di Castello dagli/ Musici di detta Città, nel-/ la Festa di San Bar-/ tolomeo./ DEDICATO/ All’Illustrissimo Signor Marchese/ CAMILLO/ VITELLI./--p. [1]. IN PERVGIA, per il Zecchini./ Con licenza de’ Superiori 1682.--p. [1].

102 The Baroque Libretto CMP LBT Lazzari, Francesco Ignatio

50. Diocletiano

84 p., 14.5 cm.

DIOCLEZIANO/ DRAMMA/ PER MUSICA/ Da Rappresentarsi in Fer-/ rara il Carneuale 1683./ NEL TEATRO/ Del Signor/ CONTE PINAMONTE/ BONACOSSI./ In questa seconda Impressione cor/ retto, & aggiuntoui alcune/ Ariete non più stampate &c./ DEDICATO/ All’Illustrissimo Sig. Marchese/ FRANCESCO/ ROSSETTI/ GIUDICE DE SAVII.

“C. di Castello/ questo di 10. Agosto 1682.”/--p. 4. 3 acts. Dedication. Argomento. [Short list of scenes] Mvtationi. Imprimatur. 2 ballets. Poems. The dedication to Marchese Camillo Vitelli is signed by “Il Maestro di cappella, e Musici/ Di. C. di Castello.”/ --p. 4.

Interlocvtori: S. CRESCENTIANO. HERINA. PULCINELLA. ANGELO. DEMONIO. CONTE FLACCO. FLAUIO. CORTEGIANI DEL CONTE. PERSONE CHE NON PARLANO. CORTE DI FLACCO. CACCIATORI DEL ISTESSO PER IL BALLO. ALTRE PERSONE CHE PASSEGGIANO./--p. 7. nel Theatro degl’Illuminati Musici di Città di Castello nella Festa di San Bartolomeo “E col ballo de Cacciatori finisce/ l’Atto Primo.” [“And with the dance of the Hunters ends the First Act.”]--p. 32. “Fine del Atto secondo con ballo di/ fughe, e spaventi, e di furie/ Che fuggono. [“End of the second Act with a dance of flights, scares and furies that flee.]--p. 55. B/W La santa casa di Loreto. Scaramuccia. 1631. The poems at the end of the text are dedicated to Lazzari: the first is signed “Del Sig. Conte Nicolò MoteMelini.”--p. 83. The second is signed “Del Sig. Federico Stefani Romano”/ --p. 84. “Imprimatur/ Pro Illustriss. & Reuerendiss. D. Episc./ Perus. Carolus Sabbatinus Doctor/ Libror. Censor Synod./ Imprimatur/ F. Hieronymus Peronus Lector, &/ S. Off. Cancellarius Perugiæ.”/ --p. 8. Sartori 20475 (C-Tu not listed) itp 00657

IN FERRARA MDCLXXXIII./ Nella Stampa Camerale. Con Lic. de Sup. CMP [Pallavicino, Carlo (c. 1640-1688)] LBT Noris, Matteo (1640-1708) 67 p., 13.5 cm. 3 acts. Dedication. Argomento. List of scenes. 1 ballet. The dedication to Marchese Francesco Rosetti is signed by Giovanni Battisti Scalini./ p. 4.

Interlocutori: DIOCLEZIANO. MASSIMIANO. GALERIO. LICINIO. VALERIA. NARSETE. ROSIMONDA. EUMENE. SESTO. DELBO. LISA.--p. [7]. il teatro Bonacossi 1683 Act I ends with the designation “Ballo”. The “ballo” of Persian prisoners from Act II of the original Venetian production has been cut. Allacci 254; Sartori 7909 This dramma per musica by Matteo Noris was first produced in Venice in 1675, with music attributed by Allacci to Carlo Pallavicino (C-Tu has the original libretto, item #38). The opera was revived on the mainland during the early 1680s in three (probably related) productions: in Bologna in 1682 and in Verona and Ferrara in

The Baroque Libretto 103 1683. There were two editions of the libretto printed for the revival in Ferrara, this second edition incorporating corrections and “Ariete non più stampate.” [“Ariette not available in print.”] The latter are quite extensive, particularly in Acts I and II where at least half of Noris’s aria texts (and presumably Pallavicino’s music) have been replaced by new arias. itp pam 01542

51. Falaride, tiranno d’Agrigento FALARIDE/ Tiranno d’Agrigento/ D[R]AMA PER MVSICA/ Da rappresentarsi nel Teatro/ di Sant’Angelo./ L’Anno M.DC. LXXXIV./ CONSACRATO/ All’Illustriss. & Eccell. Sig./ ALLESSANDRO/ CONTARINI/ IMPERIAL/ Procurator di S. Marco. IN VENETIA, M.DC.LXXXIV./ Per Francesco Nicolini/ Con Licenza de’Sup. e Priuil. CMP Bassani, Giovanni Battista (c. 1657-1716) LBT [Morselli, Adriano (fl. 1676-1691)] 57 p., 13.5 cm. “Le notte armoniose, che qualificano il/ Dramma presente sono parti della penna/ del Sig. Gio. Battista Bassani Maestro di/ Capella dell’Illust. Accademia della Mor-/ te in Ferara.”--p. 8. 3 acts. Dedication. Argomento. List of scenes. [Preface/Note/protesta] A chi legge. Dedicated to Alessandro Contarini./ --p. 5.

Personaggi: FALARIDE. LIVIO. PERILLO. IRENE. ALINDO. ONORIA. LENO./ --p. 7. nel Teatro di Sant’Angelo 1684 Allacci 321; Alm 301; Sartori 9580; Sonneck 470

According to Sartori, there is a second version of Falaride, tiranno d’Agrigento from 1684, with additional verses for Act II/ix (Sartori 9581). The opera was revived in Treviso in 1694 (Sartori 9582). Although the poet is not named in any of these libretti, according to Allacci, he was Adriano Morselli. After a few minor changes in its racy text, Falaride was first performed 29 November 1683 (Selfridge-Field, 161). “A chi legge” [“To the reader”] includes the following note: “Le voci Fato, Deità, etc. sono puri ornamenti poetichi.” [“The characters of Fate, Deity, etc. are poetic figures.”] (p.8). itp 00086

52. Licinio imperatore LICINIO/ IMPERATORE/ DRAMA PER MUSICA/ Nel Famosissimo Teatro Gri-/ mano in S. Gio: Grisosto-/ mo l’Anno 1684./ DI MATTEO NORIS./ CONSACRATO/ All’Illustriss. & Eccellentiss./ D. GASPARO ALTIERI/ Nipote della Santità di N. Sig./ Papa CLEMENTE X. Generale/ di S. Chiesa, Prencipe del Soglio/ e dell’Oriolo, Nobile Veneto./ VENETIA, MDCLXXXIV./ Per Francesco Nicolini./ Con Licenza de’Superiori, e Priuil. CMP [Pallavicino, Carlo (c. 1640-1688)] LBT Noris, Matteo (c. 1640-1714) 84 p., 14 cm. 3 acts. Dedication. Argomento. List of scenes. 3 ballets. The dedication to Gaspare Altieri is signed by Matteo Noris./ --p. 5.

Personaggi: LICINIO. GIUNIO. QUINTILIO. EUSONIA. SABINO.

104 The Baroque Libretto

GITILDE. BRENO. LEONIO. SPARTACO. AMASIO./ --p. 7. Teatro Grimano in S. Giovanni Grisostomo “BALLI./ Di seguaci di Spartaco./ Di Donne./ La Catena d’Amor.” [“DANCES. Of the followers of Spartacus. Of Women. The Chain of Love.”]--p. 8. “Ballo de’seguaci.” [“Dance of the followers.”]--p. 38. At end of Act I. “Segue il Ballo.”--p. 67. Second ballet incorporated into the action in III,ii “Segue il ballo che terminato.”--p. 82. Third ballet incorporated into action in final scene of Act III. Allaci 484; Alm 302; Sartori 14258; Sonneck 683 The argomento provides a frank historical assessment of the Emperor Licinio and the reason for choosing such an unappealing hero: “Parliamo chiaro. Licinio fù Imper-/ rator Romano, Crudelissimo di na-/ tura, disonesto, libidinoso, e vano/ pieno di sensualità, e cupidigia/ ignorantissimo, e senza dottrina veruna/ abborriua le lettere le disprezzaua chia-/ mandole pestilenze del Regno. Bandí da Roma tutti i Letterati, accoglie,/ ma qualunque vizio, ed era suo Idolo la rila-/ satezza. Vuoi di più? tanto si hà dall’Isto-/ ria, che non si può tacere. Il resto è fa-/ uolleggiata annessione alla medema, che/ in fine serue per coreggere ìl vizio, esaltar-/ la virtù, e dar esempio al buon viuere, e/ buon costume.” (p. 6). [“Let us be clear. Licinio was a Roman Emperor, cruel by nature, dishonest, libidinous, vain and full of sensuality and greed, very ignorant, and, without any true doctrine himself, he abhorred letters and called them the disease of the Kingdom. He banished all men of letters from Rome, cultivated all vices, and his Idol was relaxation. Do you want more? This much we have from History and we cannot be silent about that. The rest is invented and added to the same history, and its function is to correct vices, exalt virtue, and give an example of a good life and good manners.”] A Sinfonia is mentioned in the stage directions, p. 81. There are frequent stage directions on the actions to be performed by the singers. Allacci attributes the music to “Carlo Pallavicino, di Brescia”. According to Selfridge-

Field (162), Licinio imperatore opened on 17 December 1683. The opera does not appear to have been revived, perhaps because of the subject. itp 00821

53. La Maddalena pentita LA/ MADDALENA/ PENTITA/ ORATORIO/ DEL SIG. ALFONSO COLOMBI/ Animato dalla Musica/ DI ANTONIO GIANNOTTI/ Da rappresentarsi nella Venerabile Confra-/ ternità di San Geminiano la sera/ del Martedì Santo./ E DEDICATO/ ALL’ALTEZZA SERENISSIMA DI/ FRANCESCO II./ DVCA DI MODANA, REGGIO, &c./ Dal signor Marchese/ FRANCESCO MARIA/ MOLZA/ ORDINARIO DELLA DETTA./--p. [3]. IN MODANA, M. DC. LXXXV./ Per gli Eredi Cassiani Stampatori Episcopali./ Con Licenza de’ Superiori.--p. [3]. CMP Giannotti, Antonio LBT Colombi, Alfonso 32 p., 16 cm. 2 parts. Half title page. Dedication. Imprimatur. Engraving. The dedication to Francesco II d’Este (16601694) is signed by Francesco Maria Molza./ --p. 6.

Interlocutori: TESTO. MADDALENA. ELPIRO. MARTA. ANGELO./ --p. 8. nella Confraternita di San Geminiano. la sera del Martedì Santo [Tuesday of Holy Week, 1685]

The Baroque Libretto 105 Half title page with engraving: “LA/ MADDALENA/ PENTITA/ ORATORIO.”/ --p. [1]. Engraving on last page./ --p. [32]. Sartori 14581 “IMPRIMATVR, Vicarius Sancti Officij Mutinæ./ VIDIT,/ Philippus Castaldus.”/ --p. 7. Under Duke Francesco II, Modena became a centre of oratorio production. Antonio Gianotti (or Giannotti, not to be confused with Antonio Gianettini) was not a gifted composer, but a titled amateur who joined the court orchestra in 1687, two years after the performance of this oratorio. See Crowther 1992, pp. 62 and 65. itp 01834

54. Il Giunio Bruto IL GIVNIO/ BRVTO/ DRAMA PER MVSICA/ Da rappresentarsi nel/ TEATRO FORMAGLIARI/ l’Anno 1686./ DEL DOTT. PIERPAOLO SETA/ POSTO IN MUSICA/ Dal Sig. Giuseppe Felice Tosi/ CONSEGRATO/ Al merito impareggiabile dell’ Illustriss./ Sig. Conte/ ANTONIO GIOSEFFO/ ZAMBECCARI./ In Bologna, per gli Eredi del Barbieri./ Con licenza de’Superiori. CMP Tosi, Giuseppe Felice (1619-1693) LBT Seta, Pietro Paolo 79 p., 13.5 cm. “l’armonia Musicale del Sig GIVSEP-/PE FELICE TOSI”--p. [5] “Bologna li 4. Gennaro 1686.”/ --p. 4. 3 acts. Dedication. [Preface/Protesta] Cortese Lettore. Argomento dell’ Istoria. List of scenes. Imprimatur. 3 ballets. The dedication to Antonio Gioseffo Zambeccari is signed by Pietropaolo Seta./ -- p. 4.

Personaggi dell’ Opera: TARQUINIO. TULLIA. GIUNIO BRUTO. COLATINO. ERMINIA. VALERIO. DESO.--p. 8. Chori: CAVAGLIERI (DI TARQUINIO). DI SOLDATI (DI TARQUINIO). DI PAGGI (DI TULLIA). DI DAMIGELLE (DI TULLIA). DI SOLDATI (DI VALERIO)./ --p. 8. nel Teatro Formagliari 1686 “BALLI./ Choro de’ Confederati di Giunio, e/ Colatino, che maneggiano l’armi.” [“DANCES. Chorus of the Confederates of Giunio and Colatino, who carry arms.”]--p. 8. “Segue il maneggio dell’ Armi” [“The handling of Arms follows.”]--p. 12. End of Act I,i. “Choro di Paggi Mori, che leuano le/ tauole alla Mensa di Colatino.” [“Chorus of Moorish Pages, who clear the tables in the dining hall of Colatino.”]--p. 8. “Segue il Ballo de’ Paggi, che leuano/ le mense.” [“Dance of the Pages follows, who clear the tables.”]--p. 31. At end of Act I. “Choro de’ Lauoratori, che formano vn Ballo nell’iscauar’ i Condotti/ di Roma.” [“Chorus of Workers, who form a Dance while excavating the conduits of Rome.”]--p. 8. “Ballo de’ Lauoratori che cauano gli Con-/dotti di Roma.” [“Dance of the Workers who excavate the Conduits of Rome.”]--p. 56. At end of Act II. Sartori 12253 Imprimatur: “V.D. Fabricius Conturbius Cle-/ ricus Regularis S. Pauli, & in/ Metropolitana Bononiensi Pe-/ nitentiarius pro Illustrissimo,/ Dom. D. Iosepho Musotto Vi-/ cario Capitulari./ Pro Reuerendiss. P. Inquisitore/ vidi, & admitti posse censui./ Ego Bartholomæus Cæsius./ Imprimatur./ Fr. Angelus Gulielmus Molus/ Vicarius Generalis Sancti Of-/ficij Bononiæ.”/ --p. 10. On page 9, there is a list of the scene changes in each act. Annotations in ink are present on six afterpages. There is a note saying that the book belongs to Niccolò di Franco Rinaldi.

106 The Baroque Libretto The dedication is signed and dated by the author, “Pierpaolo Seta”. This was one of Seta’s first attempts at writing for the theatre, and he did not express much confidence in his talents: “Perciò mi/ assicuro, che sarai per compatire/ tutto ciò, che di mal fatto vi scorge-/ rai, e se ti nausearà l’amarezza ne/ mal composti Versi, m’affido, che/ l’armonia Musicale del Sig GIVSEP- / PE FELICE TOSI, sarà per riu-/ scirti grata, come oltre volte l’ag-/ gradisti cortese.” (p. 5). [“I am sure you will forgive anything that you may discover badly done, and if you should feel nauseated by the bitterness of the badly written verses, you will surely be pleased by the musical harmony of Signor Giuseppe Felice Tosi, just as you have been gratified by it at other times.”] In his dedication, Seta expressed the hope that the music would carry the day as it had on other occasions, a reference to other operas by Tosi produced in Bologna (for example Traiano the previous year). Although Giunio Bruto was never revived and it was more than a decade before Seta would make another attempt at opera, in the preface to Le Due Augusti from 1700, he states that it did achieve some success: “Eccomi di nuovo a tediarti con le Poetiche mie debolezze. Riportarono queste, anni sono, qualche aggradimento, quando sul Teatro Formagliari ti si fecero udire nel Giunio Bruto” [“Here I am again to bore you with my Poetic weaknesses. These brought some pleasure, years ago, when they were heard in the Giunio Bruto at the Formagliari Theatre.”] (Sartori 8401). The music is lost.

SETTALA/ Vescouo di Cremona, Conte &c./

itp pam 00940

56. La morte delusa

55. La lega della bontà, e della gratia LA LEGA/ DELLA/ BONTA’, E DELLA GRATIA/ Trionfante/ DELLA GIVSTITIA, E DELLA COLPA/ Nella/ SEMPRE IMMACOLATA/ CONCEZIONE/ DI MARIA/ ORATORIO/ ALL’ILL.MO, E REV.MO MONS.R/ LODOVICO

In Cremona, Per Francesco Zanni 1686. Con lic. de Sup. CMP LBT Rigotti, Bernardino 15 p., 18 cm. 1 part. Dedication. The dedication to Lodovico Settala, Bishop of Cremona (d. 1697) is signed by “D. Bernardino Rigotti/ P.̊ di S. Pantaleone.”/ --p. 3.

Interlocutori: TESTO. GIUSTIZIA. BONTA’. COLPA. GRAZIA. MARIA.-- p. 5. Choro: ANGIOLI.--p. 5. [1686] Allacci 479; Sartori 14168 Scriptural quotations are given as sources in the margins. itp pam 00414

LA MORTE/ DELVSA/ DAL/ PIETOSO SVFFRAGGIO/ PRESTATO IN FERRARA/ All’Anime degl’Estinti nell’Imprese/ CHRISTIANE/ CONTRO IL TVRCO./ ORATORIO/ DEDICATO AL MERITO IMPAREGGIABILE/ Dell’Eminentiss., e Reverendiss. Sig. Cardinale/ NICOLO’ ACCIAIOLI/ LEGATO DI FERRARA./ POESIA DEL P. D. AMBROSIO AMBROSINI/ Ferrarese C.R. Teatino Accademico Faticoso./ MVSICA DEL VIRTVOSISS. SIG./ GIO:

The Baroque Libretto 107

BATTISTA BASSANI/ Dignissimo Maestro della Capella Catedrale, e dell’Illustrissima/ Accademia della Morte./

57. Didio Giuliano

2 parts. Dedication. Imprimatur.

DIDIO/ GIVLIANO/ DRAMA/ Rappresentato nel nuovo Teatro Ducale/ in PIACENZA,/ E CONSACRATO/ A SVA ALTEZZA SERENISSIMA/ IL SIG.OR DVCA/ PADRON CLEMENTISSIMO./ Poesìa del Dottor Lotto Lotti, e Musica/ di Don Bernardo Sabadini ambidue/ Seruitori Attuali della Sudetta/ Altezza Serenissima./-p. [3].

The dedication to Nicolò Acciaioli (1630-1719) is signed by “LA MORTE DELUSA.”--p. 4.

[IN] PARMA, M.DC.LXXXVIJ./ Nella Stamparia Ducale.--p. [3]

Interlocutori: LA PIETA’. LA GLORIA. LA GIUSTITIA. LA MORTE. LUCIFERO./ -p. 6. Choro: ANIME SUFFRAGATE./ --p. 6.

CMP Sabadini, Bernardo (d.1718). LBT Lotti, Lotto (d.1740)

In Ferrara, per Bernardino Pomatelli. 1686. Con licenza de Superiori. CMP Bassani, Giovanni Battista (c.1657-1716) LBT Ambrosini, Ambrosio 19 p., 19 cm.

[1686] Allacci 539; Sartori 16001 (C-Tu not listed) “Imprimatur/ Fr. seraphinus Zucchettus Vicar. Sanct. Officij/ Ferrariæ./ Carolus Andreas Spica Sacerdos Societatis Iesù/ Theologus, Censor pro Eminentiss. Episcop./ vidi, & iudico posse imprimi./ Imprimatur/ F. á Balneo Vic. Gen.”/ --p. 5. The militant subject matter of the oratorio is probably related to the recent outbreak of war with the Turks that resulted in Morsini’s recapture of Morea in 1685. Bassani was maestro di capella of the cathedral of Ferrara and of the Accademia dei Faticosi in Milan, which had recently issued a work celebrating the defeat of the Turks by the Hungarian army. itp 00089

120 p., 15 cm. 3 acts. Half title page. Dedication. [Argument] Favoleggiamento unito all’istoria. Studioso lettore. List of scenes. 2 ballets. The dedication to Ranuccio II Farnese (16301694) is signed by Giuseppe Calvi./ --p. [6].

Personaggi: DIDIO GIULIANO. CORNELIA. VALERIA. PLACILLA. SETTIMIO. CURTIO. FAUSTO. FLERIDA. ERNOLDO.--p. 13. Choro di: TRIBUNI. PRETORIANI. PAGGI. SERVI. POPOLO. GUARDIE. SOLDATI. APPARATORI. ESSECUTORI &C.--p. 13. nel nuovo Teatro Ducale [1687] “BALLI./ Di Paggi nell’ Atto Primo./ Di Serui nel Secondo.” [“DANCES. Of Pages in the First Act. Of Servants in the Second.”]--p. 15. Sartori 7723 (C-Tu is not listed); Sonneck 378 “FAUOLEGGIAMENTO/ VNITO ALL’ISTORIA.” [“FANTASY UNITED WITH HISTORY.”] (Argument)--pp. 7-9.

108 The Baroque Libretto “Per la parte vera dell’Istoria vedi Cel. Rhod./ Tit.Lui.”--p. [9] Half title page: “DIDIO/ GIULIANO/ DRAMA”.--p. [1]. The impresario, Giuseppe Calvi, praises the newly erected theatre in his dedication: “nuouo Teatro eretto dalla splendidezza,/ e magnificenza di spirito[...]”--p. 6. In the preface it is stated that the text is based for the most part on a Spanish work referred to in Italian as Costanza è spesso il variar pensiero. The author urges the reader to read the libretto only in the theatre, when it is complemented by Sabadini’s music, otherwise, it will be impossible to get any pleasure from it: “Leggilo dunque solo in Teatro, con-/ templando, chi lo rappresenta unito all’/ ingegnosa armonìa del Sig. D. Bernardo/ Sabadini eroico compositore de nostri/ tempi; mà non applicare a trascorrerlo/ con occhio curioso fuori di Teatro, per-/ che non ne cauerai alcuna allettazione” (pp. 10-11). [“read it, therefore, only in the theatre, beholding those who perform it to the ingenious harmony of Sig. Bernardo Sabadini, heroic composer of our times, but do not attempt to peruse it with curious eyes outside the theatre, for you will not get any pleasure out of it.”] After quoting Quintilian, he concludes with a three-paragraph Protesta with unusual, bold headings: “Idiota” “Maligno” “Cattolico.” (pp. 1112). This was a provincial production, utilizing local talent. Lotti and Sabadini were both members of the Ducal court at Piacenza. itp 00920

58. Il Dioclete IL/ DIOCLETE/ DRAMA PER MVSICA/ Da Rappresentarsi/ nel Teatro/ DI S. ANGELO/ L’Anno M.DC.LXXXVII./ DEDICATO/ A Sua Eccell. il Sig./ TVRRISMONDO/ DELLA TORRE/ Co:del S.R.I. & Valsasina Sig. di Dui/ no, Sagrado, Vipulsano, Fratta, Me/ riano &c. Cameriere di S.M.C. &/ hereditario Maresciallo del Friuli./

IN VENETIA, M.DC.LXXXVII./ Per Francesco Nicolini./ Con Licenza de’Superiori. CMP Orgiani, Teofilo (d.1725) LBT [Rossini, Andrea (fl.1661-1683)] 71 p., 14.5 cm. “Venetia li 18. Genaro 1686”/ --p. [4]. “[...]la/ Musica del Sig. Teofilo Orgiani[...]”/ --p. [8]. 3 acts. Dedication. Argomento. Lettore amico. List of scenes. Imprimatur. 1 ballet. Dedicated to Turrismondo della Torre./ -- p. [4].

Interlocutori: CARINO. NUMERIANO. DIOCLETE. SILVANO. COSTANZO. GALERIO. EUTROPIA. CLELIA. BELLAURA./ --p. [10]. nel Teatro di S. Angelo 1687 Stage directions indicate a ballet at the end of act 1: “Ballo di Schiaui, e Schiaue Persiane:”/ -p. 30 Allacci 254; Alm 336; Sartori 7904; Sonneck 385 “Imprimatur/ Fr. Io. Thomas Rouetta Inquis. Genera-/ lis S. Off. Venet./ Gio: Batt. Nicolosi Segret./ Adi 15. Gennaro 1686./ Registrata nel Magist. Eccell. Degli Esse-/ cutori contro la Bestemia./ Antonio Canal Nod.”/ --p. 71. Given that the New Year began on March 1 in Venice, the seeming discrepancy between the dates of dedication and imprimatur--January 18 and 16, 1686--and the publication date--1687-can be resolved. The libretto was likely prepared in January for distribution in connection with a March production. The opera does not appear to have been revived, though the libretto was given a new musical setting by Pietr’Antonio Fidi for Palermo in 1692. Allacci attributes the libretto to “Andrea Rossini, Veneziano.” From the preliminaries one learns that Rossini was a patrician and that this was his third work: the dedication states that the text is “parto/ d’vna

The Baroque Libretto 109 penna non volgare” [“offspring of a pen that is not vulgar”], while the author, in his address to the “Lettore amico,” mentions that it is “la mia terza fatica” [“my third labour”] (pp. [4],[7]). According to Allacci, Teofilo Orgiani was “maestro di capella della città di Udine.” As a Northerner, Orgiani was probably responsible for having the opera dedicated to the Marshal of Friuli. itp pam 00606

59. Catone il giovane

nel Teatro Formagliari l’Anno 1688 “BALLI/ Di Operari nella Zecca. / Di Caualieri con abbattimento d’Armi.” [“DANCES of workers in the Mines. Of fighting Cavalrymen.”]--p. 11. Allacci 172; Sartori 5231 “Vidit D. Antonius Barucebiut Clericus/ Regul. S. Pauli, & in Eccles. Metro-/ polit. Bonon. Poenitent. pro Illustriss./ & Reuerendiss. D. D. Ioseph Musot-/ to Vicar. Capit. Bonon./ Imprimatur./ Fr. Angelus Gulielmus Molus Vicar. Ge./ ner. S. Officij Bonon.”/ --p. 10.

CMP Monari, Bartolomeo detto il Monarino (c.1663-1697) LBT Neri, Giovanni Battista (d.1726)

The Argument and preface are combined, including a protesta at the end (pp. 7-9). Neri praises his collaborator Monari, particularly since this was his theatrical debut: “[...]nell’elo-/ cuzione del Verso ammira solo l’ar-/ monia del Sig. Bartolomeo Monari/ prouetto ormai nella finezza di tali/ materie, benché queste siano le pri-/ mizie Teatrali della sua penna,/[...]” [“...in the elocution of the Verse admire only the harmony of Sig. Bartolomeo Monari, now a master in the finesse of such subjects, although these are the first Theatricals of his pen, / ...”] (p. 9). According to Ricci (I teatri di Bologna nei secoli XVII e XVIII, p. 363) the role of Fulvia was sung by Anna Maria Peruzzini. Catone il giovane was apparently never revived and the libretto was never given another musical setting. According to Manferrari, Catone was Monari’s only opera. The music is lost.

72 p., 14 cm.

itp pam 00500

CATONE/ IL GIOVANE/ DRAMA PER MVSICA/ DEL DOTTOR/ GIO. BATTISTA NERI/ Da rappresentarsi nel Teatro For-/ magliari in Bologna l’Anno 1688./ DEDICATO/ ALL’ILLVSTRISS. ET ECCELLENTISS./ SIG. CO./ ERCOLE PEPOLI/ Co. di Castiglione, Baragazza,/ Sparui, &c. Senatore di Bo-/ logna, Nobile Ferrarese,/ e Patrizio Veneto./ In Bologna, per Giacomo Monti. 1688./ Con licenza de’ Superiori.

“ammira solo l’ar-/ monia del Sig. Bartolomeo Monari”/ [“admire only the harmony of Sig. Bartolomeo Monari”]--p. 9. 3 acts. Dedication. Argomento al lettore. Imprimatur. List of scenes. 2 ballets. The dedication to Ercole Pepoli is signed by Giovanni Battista Neri./ --p. 6.

Interlocutori: CATONE. LEPIDA. EMERIA. DOMIZIO. GELLIO. FULVIA. SILLO./ --p. 11.

60. La Corilda, overo, L’amore trionfante della vendetta LA/ CORILDA/ OVERO/ L’AMORE TRIONFANTE/ DELLA VENDETTA/ Drama per Musica/ Da rappresentarsi nel Teatro/ Zane di S. Moisè./ L’Anno M. DC. LXXXVIII./ CONSACRATO/ All’Altezza Serenissima/ DI/ FERDINANDO CARLO/ Duca di Mantoua &c./

110 The Baroque Libretto

IN VENETIA, M.DC.LXXXVIII./ Per Francesco Nicolini./ Con Licenza de’ Superiori./ --p. [1]. CMP [Rossi, Francesco] LBT 52 p., 13 cm. 3 Acts. Dedication. Argomento. Preface. List of scenes. Dedicated to Charles IV Gonzaga, Duke of Mantua (1652-1708)./ --p. [4].

Personaggi: CORILDA. OLINTO. ARSACE. ELMIRA. CLITIO. AMBASCIATORE DELLA TRACIA. GENERALE DE CRETESI. LISETTO. SOLDATO. GIUNONE. AMORE./ --p. [8]. Teatro Zane di S. Moisè [22 January 1688] “BALLI/ Ballo di Gratie, e Amori/ Ballo di Caualieri, e Dame.” [“DANCES/ Dance of the Graces and Loves/ Dance of the Gentlemen and Ladies.”]--p. 8. Allacci 219; Alm 346; Sartori 6656 Lorenzo Bianconi and Jennifer Williams Brown give Francesco Rossi credit for this and two other works performed at the S Moisè in Venice in the 1680s, based on Venetian theatre chronicles (NG). Allacci also credits “Ab. Francesco Rossi, Pugliese” with La Corilda (p. 219). He suggests the libretto is the work of several authors (“Poesia di Diversi” [p. 219]). The libretto may have been written by Paolo Emilio Badi (Selfridge-Field, 183). There are no indications for the two ballets in the text itself. In act III, scenes ii and iii, and a section of the scena ultima are marked with versi virgolati. itp smb 00232

61. I giochi troiani I GIOCHI/ TROIANI/ DRAMMA PER MVSICA/ DI/ CARLO SIGISMONDO CAPECE/ DEDICATO/ all’Illustriss. & Eccellentiss. Signora/ LA SIGNORA/ MARCHESA DI/ COGOLLVDO/ AMBASCIATRICE DI SPAGNA/ Rappresentato in Roma nel famoso Teatro/ dell’Eccellentiss. Sig. Gr. Contesta-/ bile Colonna, l’anno 1688./ In Roma, 1688. Con licenza de’Sup./ Si vendono in Piazza Nauona nella Libreria/ di Carlo Giannini CMP [Pasquini, Bernardo (1637-1710)] LBT Capece, Carlo Sigismondo (1652-1728) 68 p. “IN ROMA, Per il Tizzoni./ Con lic. de’ Superiori.-p. 68. 3 acts. Dedication. Cortese Lettore. Imprimatur. List of scenes. 2 ballets. The dedication to Marchesa di Cogolludo is signed by Carlo Sigismondo Capece./ --p. [5].

Interlocutori: PRIANO. ALLESSANDRO. NISO. CASANDRA. ENONE. SIRINGA. COREBO. TERSILLO. FORBANTE.--p. [10]. nel teatro del Sig. Gr. Contestabile Colonna 1688 The stage directions indicate the presence of two ballets integrated into the drama. The first is just before the end of act 1: “Qui i sogni intrecciano il ballo con varij cambia-/ menti di figure mutandosi in Donne mostri, v-/ celli, fontane, Vasi, & altre, & nel fine si rappre-/ senta in lontano l’incendio della Città di Troia [...]” [“Here the dreams weave the dance with various figures changing into Women, monsters, birds, fountains, Vases, & others, & in the end the

The Baroque Libretto 111 burning of the City of Troy is represented in the distance ...”]--p. 30 The second ballet takes place just at the end of act 2: “Segue l’ Intermedio del ballo, lotta, ab-/ battimento, & altri giochi.” [“The Intermezzo follows with dance, combat, & other games.”]--p. 51.

are only due to his desire to follow Horace’s teachings (pp. [6]-[9]). In NG, Lowell Lindgren attributes the music to Pasquini. The music for only two or three arias survives. itp 00232

Franchi (I) 597; Sartori 11965 (C-Tu not listed) “Imprimatur, Si videbitur Reuerendiss. P. M./ Sac. Pal. Apost./ Steph. Joseph Menattus Episc. Cyrenen. Vicesg./ Imprimatur./ Fr. Ioseph Clarionus Sac. Theol. Mag. ac Re-/ uerendiss. P. Fr. Dominici Mariæ Puteobonelli,/ Sac. Pal. Apost. Mag. Soc. Ord. Præd.”--p. [9]. The librettist explains that he has translated and adapted for the Italian stage a very well known and successful Spanish work written by Agostino di Salazar. Los fuegos Olimpicos was represented for the first time to celebrate the birthday of Marianna d’Austria, then Queen Mother (pp. [3]-[5]). In the long preface Capece explains that he dared to consider himself the real author of this work, because in doing so he has followed the example not only of modern authors, but also of Terence himself, who in Andria admits to have based it on one of Menander’s comedies. Then he points out the qualities of I giochi troiani: “l’unittà dell’attione” [“unity of the action”], “la facilità e destrezza nel maneggiar l’intrico, facendo nascere da un solo accidente... l’occasione di tanti equiuochi, gelosie, & affetti diversi...” [“ease and dexterity while handling the intrigue, bringing out from one event… the events of many misunderstandings, jealousies, & and different effects”], “l’imitatione esattissima del costume, havendo saputo conformare al gusto moderno l’idee dell’antico...” [“the exact imitation of custom, knowing how to adapt the ideas of the ancient world to modern taste.”] Capece goes on to explain that the text also adheres to another Aristotelian principle “che vuole il costume buono almeno nei Personaggi principali.” [“that requires appropriate decorum at least in the conception of the Principal Characters.”] He then lists the many differences between his work and the Spanish original version, admitting that sometimes the changes

62. Amor spesso inganna AMOR/ SPESSO INGANNA./ DRAMA/ Rappresentato in Musica nel Nouissimo/ Teatro Ducale di Parma./ CONSECRATO/ All’ Altezza Serenissima/ DI/ RANUCCIO II./ DVCA DI PARMA, PIAC. &c./ Poesia di Aurelio Aurelj Seruitor/ attuale di S.A.S./--p. [3] IN PARMA,/ Nella Stamperia Ducale 1689.--p. [3] CMP Sabadini, Bernardo (d.1718) LBT Aureli, Aurelio (fl.1652-1731) 3-87 p., 17 cm. “Supplirà à que-/ ste la Virtù ammirabile del Sig. D. Bernardo Sa-/ badini servitore attuale di questa A. S. mio cle-/ mentissimo Padrone, e spero, ch’egli con l’armo-/ nia delle sue note ti radolcirà le amarezze del-/ la mia penna”--p. 10. [“The admirable Virtue of Sig. Bernardo Sabadini will come to our aid, as a servant of His Highness and my most generous Patron, and I hope that with the harmony of its notes he will help sweeten the bitterness of my pen.”] 3 acts. Coat of arms. Dedication. L’ Autore del drama a chi legge l’ Argomento. List of scenes. 2 ballets. The dedication to Ranuccio II Farnese, Duke of Parma (1630-1694) is signed by Giuseppe Calui./ --p. 8.

Personaggi: ORFEO. Sig. Rinaldo Chirardini. ARISTEO. Sig. D. Ascanio

112 The Baroque Libretto

Belli. ESCULAPIO. Sig. Carl’Andrea Clerici. EURIDICE. Signora Clarice Beni Venturini. (Musici di S. A. S..) AUTONOE. La Signora Maria Maddalena Musi del Serenissimo di Mantova. ACHILLE. Sig. Vincenzo Dati Musico di S. A. S.. CHIRONE. Sig. D. Gio: Battista Cativelli Musico del Sig. March. Serafino Piacentino. ERINDA. Sig. Antonio Predieri Musico di S. A. S.. BRILLO. Sig. Pietro Paolo Benigni Musico di S. A. S..--p. 11. Comparse: EUNUCHI, E GUARDIE CON ORFEO. DONZELLE CON EURIDICE. CAVALIERI CON ARISTEO.--p. 11. “INVENTORE DELLE SCENE./ Sig. Ferdinando Galli Bibiena Pittore di S. A. S./ INVENTORE DEGL’ ABITI./ Sig. Gasparo Torelli Servitore attuale di S. A. S.”--p. 12. nel Novissimo Teatro Ducale [1689] “BALLO PRIMO./ D’ Uccellatori.” [“FIRST DANCE. Of the Bird Trappers.”]--p. 11. “Segue il ballo d’Vccellatori.” [“The Dance of the Bird Trappers follows.”]--p. 37. End of Act I. “BALLO SECONDO./ Di Zingare.” [“SECOND DANCE. of the Gypsies.”]--p. 11. “Segue il ballo di Zingare.” [“The Dance of the Gypsies follows.”]--p. 62. End of Act II. “INVENTORE DE BALLI./ Sig. Federico Crivelli Servitore attuale di S. A. S.”--p. 12. Sartori 1466 “Canta sul calissone un’ aria alla Siciliana.” [“Sings a Sicilian aria on the colascione.”]--p. 56. These are stage directions during Brillo’s aria, II, vii, during which he sings words “E cantar c’ improviso/ Alla pazza canuta una canzone” [“And I improvise a song for a mad woman with white hair”]--p. 56. Act III, x features Orfeo and his lyre, numerous references to music and singing, and interplay between Orfeo’s music and the sounds of nature. For example, stage directions here state “Quì al suono, & al canto d’ Orfeo si mo-/ uono alcune piante, e compariscono va-/ rij animali, &

augelli ad’ascoltarlo poi/ s’ode ne la Selua vn Rusignolo, che/ canta.” [“To the music and singing of Orpheus, some plants move, while various animals and birds come to listen to him, and then a nightingale is heard singing in the forest.”]--p. 73. Described by Gian Paolo Minardi in NG as “the first comic opera to be staged in Parma,” Amor spesso inganna is a revised version of the Venetian Orfeo of 1673, with music by Antonio Sartorio revived in Palermo in 1676, Naples in 1682, and Brunswick in 1690. For the production at the court of his patron, the Duke of Parma, Aureli revised his text for a new setting by the Duke’s Maestro di Cappella, Bernardo Sabadini. The L’Orfeo that appeared in Rome in 1694 was a revival of Sabadini’s Amor spesso inganna as its preface clearly states: “Il presente Componimento è parto della penna del signor Aurelio Aureli; e la musica del signor Bernardo Sabatini; ambidue servidor del Serenissimo di Parma, e molto noti per l’eccellenza del loro ingegno” [“The present Composition is fruit of the pen of sig. Aurelio Aureli; and the music of sig. Bernardo Sabatini; both servants of the Prince of Parma, and very well known for the excellence of their skill.”] (Sartori 17409). The impresario then goes on to apologize for the new production, saying that the original production in Parma had been compromised because of a lack of time and that Sabadini and Aureli did not have the opportunity to revise their opera to the tastes of the Roman public, nor was anyone else called upon to do so: “Fu fatto in altri tempi per urgenze incapaci d’aspettar il commodo di maggior abbilimento. Ed ora viene a comparire in Roma con poca approvazione degli autori, i quali s’avessero creduto di dover ricevere quest’onore, avrebbero soddisfatto un poco meglio al buon gusto[...].” [“in other times it was done with urgency without awaiting the leisure for a better production. Now it appears in Rome with little approbation from the authors, who, if they had known they were to receive this honour, would have endeavoured to satisfy good taste a bit more...”] The L’Orfeo o sia Amore spesso inganna that appeared in Bologna in 1695, though described by Allacci as a revival of Sartorio’s original setting, is undoubtedly another revival of Sabadini’s resetting; its cast of characters

The Baroque Libretto 113 corresponds to that of Amor spesso inganna rather than to Sartorio’s original Orfeo. The music for selected arias survives in lRvat. itp pam 00881

63. La fortuna tra le disgrazie LA/ FORTUNA/ TRA/ LE DISGRATIE,/ DRAMA PER MUSICA/ Da Rappresentarsi nel Famoso/ Teatro Vendramino di San/ Saluatore l’Anno 1689./ CONSACRATA/ All’Illustrissima, & Eccellentiss./ Signora/ ELENA/ PESARO BASADONNA/ PROCVRATESSA./ VENETIA, M.DC.LXXXIX/ Per il Nicolini./ Con Licenza de’ Superiori, e Priuil. CMP [Biego, Paolo (fl.1682-1714)] LBT [Cialli, Rinaldo (fl.1684-98)] 59 p., 14 cm. 3 acts. Dedication. A chi legge. Argomento. List of scenes. 2 ballets. The dedication to Elena Pesaro Basadonna is signed by N. Nicolini./ --p. [4]

Personaggi: SATRAPE. GILDE. CLEARTE. IRENE. ALINDO. DARIO. DELFO.--p. [7]. Nel Teatro Vendramino di San Salvatore 1689

the preparation of some ornaments needed for the performance. However, the only change made was “il luoco ove si rappresenta/ la Scena” [“the place where the Scene is staged”] (p. [5]). La Fortuna tra le disgratie was first performed in Venice in 1688 at the Teatro S. Angelo. The production run must have been an extended one because a second edition of the libretto was published this same year. In both editions of the original libretto, the composer is named in the preface: “[...] La musica del Signor Paulo Biego [..].” In addition to this 1689 revival there was one in Bergamo in 1691. In the Bergamo production the librettist is given as D. Rinaldi Cialli. Although the libretto for the 1689 Venetian revival mentions neither composer nor poet, a reference in the preface to the virtual lack of changes (see above) suggests that this production stayed close to the Cialli/Biego original. Whereas the original production had been set in Persia, the 1689 one represented here was set in Sicily. According to Harris S. Saunders in NG, a detailed description of the original staging appears in Pallade veneta (January 1688). itp 00118

64. L’amor di Curzio per la patria L’AMOR/ DI CVRZIO/ PER LA PATRIA./ DRAMA/ Da Rappresentarsi in Musica nel/ famosissimo Teatro Grimano/ di SS. Gio: e Paolo/ l’Anno 1690./ DI/ GIVLIO CESARE CORRADI/ Consacrato all’Eccellenza/ DEL SIG. CONTE/ MARC’ANTONIO/ GAMBARA/ NOBILE VENETO./ VENETIA, M.DC.LXXXX/ Per il Nicolini./ Con Licenza de’Superiori, e Priuil.

The only indication of ballet is the direction at the end of Acts I and II: “Segue il Ballo.”--p. 26 and p. 44.

CMP Alghisi, Francesco Paris (1666-1733) LBT Corradi, Giulio Cesare (d.1701 or 1702)

Alm 358; Sartori 10799

68 p., 14.5 cm.

In the preface it is stated that “L’Angustia del tempo” [“The Restraint of Time”] has not allowed

“hauendo io/ l’onore, e la consolatione in-/ sieme di veder’il mio Drama/ vestito di bizzarre, e

114 The Baroque Libretto spiritose/ note dalla Virtù del Sign. D./ Paris Algisi,” [“myself having the honour and the consolation to see my Drama dressed in exotic and beautiful notes by the Virtue of Sig. D. Paris Algisi,”]--p. [3], Dedication. “I miei difetti saranno/ coperti dalle bizzarre, e viuacissime/ note del Sig. D. Paris Algisi Maestro / della Musica;”[“my faults will be concealed by the exotic and lively notes of Sig. D. Paris Algisi, Maestro of Music;”]--pp. [7]-[8], Preface. 3 acts. Dedication. Argomento. Cortese Lettore. List of scenes. 3 ballets. The dedication to Marc’Antonio Gambara is signed by Giulio Cesare Corradi./ --p. [4].

Personaggi: ROMOLO. TATIO. FLAVIA. CURZIO. ATTILIO. SILVIA. CLAUDIO. GILBO. NICEA.--p. [9]. “il Sig. Giuseppe Sartini Aut-/ tore delle Scene”-p. [8]. “il Signor Gasparo/ Pellizzari Inuentore degl’Abiti.”--p. [8]. nel Teatro Grimano di SS. Giovanni e Paolo 1690 “Balli./ Di Gladiatori./ Di Caualieri, e Dame./ Di Solazieri.” [“Dances. Of Gladiators. Of Knights and Ladies. Of Sailors.”]-- p. [9]. The ballets at the end of acts I and II are integrated into the opera to a certain extent. “Ballo di Cauallieri, e quattro Damigelle/ Prigioniere.” [“Dance of Knights, and four Ladies in Waiting who are Prisoners.”] (at the end of act 1)--p. 32. Allacci 56; Alm 363; Sartori 1363; Sonneck 88 In spite of Corradi’s praise for his composer, L’amore di Curzio is one of only two known operas by Algisi, or Alghisi, both works being produced in 1690-1691. Selected arias survive in I-Rvat. itp pam 00011

65. Antioco, principe della Siria ANTIOCO/ PRINCIPE DELLA/ SIRIA,/ DRAMMA/ PER MVSICA/ Da recitarsi nel Teatro del Falcone/ l’Anno 1690/ Consacrato al merito dignissimo/ Dell’Illustriss.Signora, la Signora/ ANNA MARIA/ GRIMALDI. IN GENOVA,/ Per Gio: Battista, & Antonio Scionici./ Con licenza de’Seperiori./ Si vendono dall’istesso Stampatore. In/ Piazza delle cinque lampade./ CON PRIVILEGIO. CMP [Lonati, Carlo Ambrogio (c.1645-c.1710)] LBT [Minato, Niccolò revised by Carlo Ambrogio Lonati] 79 p., 13 cm. 3 acts. Dedication. Argomento. The dedication to Anna Maria Grimaldi is signed by Tommaso Aldrovandini./ --p. [4].

Interlocutori: ANTIOCO. Il Sig. Gio: Battista Speroni del Sereniss. di Parma. LAODICEA. Anna Maria Torri del Sereniss. di Mantova. ANASSANDRA. La Sig. Anna Maria Lisi della Sereniss. di Toscana. BERENICE. La Sig. Cristina Morelli del Sereniss. di Parma. STESICRATE. Il Sig. Giuseppe Scaccia del Sereniss. di Parma. TOLOMEO FILADELFIO. Il Sig. Francesco Ballerini, del Sereniss. di Mantova. LINCASTE. Il Sig. Pietro Mozzi del Sereniss. di Mantova. IANISBE. Il Sig. Antonio Predrieri, del Sereniss. di Parma. LIRO. Il Sig. Pietro Paolo Benigni, del Sereniss. di Parma.--pp. [7]-[8]. Chori di Personaggi muti: MORI. PAGGI. ALABARDIERI, E PICCHIERI.--p. [8]. Scene designer: Tommaso Aldrovandini.–pp. [3]-[4].

The Baroque Libretto 115 nel Teatro del Falcone l’Anno 1690 Sartori 2216; Sonneck 126 In the argomento, the literary sources are identified as “Ita/ Pausan, & Iustin.”--p. [5]. While Sonneck attributes both the music and the libretto to Carlo Ambrogio Lonati, Sartori states that the libretto is based on the 1673 Bolognese production of Niccolò Minato’s Antioco, “completamente rifatto.” [“completely redone.”] Comparison of Antioco, principe della Siria with Minato’s original libretto from 1658 (which is in C- Tu) demonstrates an identical cast and argomento and a parallel scene structure. Moreover, much of the revision consisted in reducing the number of scenes, replacing arias and comic scenes, and adding arias at the end of scenes (according to late 17th- century practice). In spite of some omissions and revisions, Minato’s dialogue remains largely intact in the serious scenes. Therefore this libretto should be regarded neither as a new work by Lonati nor as a “complete revision” of Minato; it is an example of the type of revision one frequently encounters in the 18th century, best represented by the libretti of Stampiglia and Zeno. In NG, the libretto of Lonati’s Amor per Destino (produced by Lonati and Stradella in Genova in 1678 after their escape from Rome) is tentatively linked with Minato’s Antioco. It is therefore possible that Antioco, principe della Siria is a revival of Amor per Destino. While the libretto of Amor per Destino is signed by Lonati, that of Antioco, principe della Siria is signed by the Bolognese painter Tommaso Aldrovandini, suggesting that Lonati may not have been involved in the revival. itp pam 01540

66. Brenno in Efeso BRENNO/ IN/ EFESO/ DRAMA PER MUSICA/ Da rappresentarsi nel famoso Teatro/ Vendramino di S. Saluatore./ L’Anno 1690./ CONSECRATO/ A Sua

Eccellenza/ IL SIGNOR PRINCIPE/ D. ANTONIO/ OTTOBONO/ Nipote di Sua Santità,/ Generale di Santa Chiesa./ Kau., e Procurator di S. Marco, & c./ IN VENETIA, M.DC.LXXXX/ Per il Nicolini./ Con Licenza de’Superiori, e Privilegio. CMP Perti, Giacomo Antonio (1661-1756) LBT Arcoleo, Antonio 12, 60 p., 14.5 cm. “Intanto fa che li si rendano/ tollerabili le mie presenti mancanze dalla esperi-/ mentata armonica habilità del Signor Giacomo/ Antonio Perti (le di cui note l’ anno inanzi hai/ cosi gradito) e dalle dotte voci de Virtuosi rappre-/ sentati.” [“In the meantime, let my lack of skill be rendered tolerable by the skilled harmonic abilities of Sig. Antonio Giacomo Perti (whose notes you so liked this past year) and by the well-trained voices of the Virtuous actors.”]--pre p. 4. 3 acts. Frontispiece. Dedication. Amico Lettore. Motivo Historico. List of scenes. 2 ballets. The dedication to Antonio Ottoboni (1646-1720) is signed by Antonio Arcoleo/ --pre p. 4.

Interlocutori: BRENNO. ELVIRA. ROMERICO. ENDIMIRO. CAMILLA. EUSONIA. LEONTIO. DORILLO.--pre p. 12. Balli: DI MORI. DI GUERRIERI.--pre p. 10. “le sceniche opera-/ zioni del Signor Carlo Lodouico del Basso. Pittore/ di nota esperienza, e del Signor Pietro Massilini/ Architetto ingegnosissimo.” [“The scenic operations of Sig. Carlo Lodovico del Basso, Painter of noted experience, and of Sig. Pietro Massilini, most ingenious Architect.”]--pre p. 5. Teatro Vendramino di S. Salvatore 1690

116 The Baroque Libretto “Balli.”--pre. p 10. [Dancers]: MORI. GUERRIERI.--pre p. 10.

Interlocutores: ABRAM. SARAI. LOTH. PHARAO. AULICUS. CHORUS.--p. [2].

Allacci 149; Alm 362; Sartori 4139; Sonneck 231

1692

Page 28 was numbered 26 by mistake. Frontispiece is a full-page engraving with the title on a banner. There is no indication when the “balli” would have been performed, although one might assume that they followed Acts I and II. The libretto was published again that same year with 12 pages of additions. This second edition also contained a cast list which probably represents the cast of the première (unless the revisions involved in the second edition accompanied changes in the cast): BRENNO. Francesco Ballerini, virt. del ser. di Mantova. ELVIRA. Angelica Zannoni veneziana. ROMERICO. Pietro Mazzi, virt. de ser. di Mantova. ENDIMIRO. Francesco Gradis, virt. di S.M.C. CAMMILLA. Clarice Venturini, virt. del ser. di Parma. EUSONIA. Elena Cavazzoni, virt. di S.A.S. di Mantova. LEONICIO. Antonio Panconi fiorentino. DORILLO. Vallentino Urbani da Udine. (Sartori 4140). Brenno in Efeso was revived in Milan in 1692 by Antonio and Giuseppe Piantinida.

Sartori 76; Franchi (I) 651

According to Franchi, Abram in Aegypto was first performed on the fifth Friday in Lent, (20 March) 1692. The oratorio was revived the following year under the title Pharaonis, Infaustus Amor (See entry 74). In spite of the new name and new publisher, this is essentially the same oratorio, except that three arias have been replaced. Abramo in egitto (Florence, 1696) and Pharaoiis poena Mendacium amoris (Rome, 1705) may also be revivals of Figari and Zazara’s oratorio. Figari moved to Rome from his native Rapallo in 1690, was one of the founding members of the Accademia dell’ Arcadia, wherein he was known as Montano Falanzio. The author of several librettos, Figari championed the style of Gabrielle Chisture.

itp 00859

lib pam 03479

67. Abram in Aegypto

68. L’Eraclio

ABRAM/ IN ÆGYPTO./ MELODRAMMA/ ABBATIS POMPEII FIGARII/ Musicis animatum Modulis/ A DOMINICO ZAZARA/ SEMINARII ROMANI PHONASCO./

L’ERACLIO/ DRAMA/ PER MVSICA/ Da Rappresentarsi nel Teatro/ MALVEZZI/ L’ANNO MDCLXXXXII./ CONSECRATO/ All’Illustriss. & Eccellentiss./ Signora Principessa/ D. FLAMINIA/ PAMPHILIA PALLAVICINA./

ROMÆ,/ Ex Typographia Reu. Cam. Apostolicæ./ M. DC. XCII./ SVPERIORVM PERMISSV. CMP Zazara [Zazzera], Domenico LBT Figari, Pompeo (c.1650-1730)

Separate argomento in Italian for each part, on same page.

In Bologna, per gl’Eredi del Sarti./ Con licenza de’Superiori.

[15] p., 19.5 cm.

CMP [Ziani, Pietro Andrea (1616-1684)] LBT [Beregani, Nicola (1627-1713)]

2 parts. Argomento.

65, [1] p., 14 cm.

The Baroque Libretto 117 “Bologna primo Gennaro 1692.”--p. 4. 3 acts. Dedication. Argomento. List of scenes. Imprimatur. 2 ballets. The dedication to Flaminia Pamphili Pallavicino (d. 1709) is signed by “Gasparo Torelli.”/--p. 4.

Interlocutori: ERACLIO. FOCA. MAURITIO. TEODOSIA. ONORIA. SIROE. EMILIANO. PRISCO. ARCONTE. ASPASIA. IDRENO.--p. 7. il teatro Malvezzi 1692 “Balli./ 1 Di finte Deitadi./ 2 Di Cacciatori.”[“Dances. 1 Of false Deities. 2 Of Hunters.”]--p. 8. “Fugge, e segue il Ballo de’ Cacciatori con/ vaghi scherzi di Dardi.” [“Flees, and follows the Dance of the Hunters playing gracefully with their arrows.”]--p. 46. End of Act II. Allacci 292; Sartori 9027 Imprimatur: “Vidit D. Vincentius Maria/ Marcutius Cleric. Regul./ S. Pauli, & in Eccl. Me-/ trop. Bonon. Poenitentia-/ rius, pro Illustrissimo, &/ Reuerendissimo Domino,/ D. Iacobo Boncompagno/ Archiepiscopo Bononiæ, &/ Principe./ Imprimatur/ Fr. Ioseph Maria Agudi Vi/ carius Sancti Officij Bono-/ niæ.”--post p. [1]. This was first performed in Venice as L’Heraclio at the teatro SS. Giovanni e Paolo during carnival 1671 (Sartori 9022). Although neither the poet nor the composer is mentioned in the two editions of the libretto published that year, Allacci provides the attributions: “Poesia del Co. Niccolò Beregani,/ Patrizio Veneto - Musica di Don Pietr’ Andrea Ziani, Veneziano.” The opera was revived in Naples in 1673, Milan in 1678, and Verona in 1683. By the time of this Bolognese revival, the libretto had already been reset to music by Giuseppe Antonio Bernabei for Munich in 1690. There are operas with the same title from the early 18th century, but these are settings of other librettos on the same subject. itp 02047

69. Massimo Puppieno MASSIMO/ PVPPIENO/ DRAMA PER MUSICA/ Da Rappresentarsi nel Teatro/ FORMAGLIARI/ L’ANNO MDCLXXXXII./ CONSACRATO/ All’Illustriss. & Eccellentiss./ Signora Principessa/ D. FLAMINIA/ PAMPHILIA PALLAVICINA./ In Bologna, per gl’Eredi del Sarti./ Con licenza de’Superiori. CMP [Pallavicino, Carlo (c. 1640-1688)] LBT [Aureli, Aurelio (fl.1652-1731)] 64 p., 14.5 cm. “Bologna 7. Gennaro 1692”/ --p. 4. 3 acts. Frontispiece. Dedication. Argomento. Cortese Lettore. List of scenes. The dedication to Flaminia Pamphili Pallavicino (d. 1709) is signed by Giuseppe Maria Segno Finalino./ --p. 4.

Personaggi: MASSIMO PUPPIENO. CLAUDIA. FLAVIO. ELIO. MASSIMINO. DECIO. SULPITIA. IRENA. OMBRA DI GORDIANO.--p. 8. il teatro Formagliari 1692 Allacci 516; Sartori 15092 Imprimatur: “Vidit D. Antonius Baruchi/ Cler. Reg. S. Pauli, & in/ Eccl. Metropolitana Bo-/ non. Poenitent. pro Illu-/ strissimo, & Reuerendiss./ Domino D. Iacobo Bon-/ compagno Archiepisc. Bo-/ non. ac Principe./ Imprimatur/ Fr. Ioseph Maria Agudius Vi-/ carius S. Officij Bononiae.”/ -p. 10. Cortese Lettore: “Ecoti auanti gl’occhi quel Mas-/ simo Puppieno, che sù le Sce/ ne dell’ Adria riportò non vol-/ gare applauso apresso l’opinione de’/ risguardanti; Non ti stupire se lo/

118 The Baroque Libretto miri in qualche loco variato dalla/ prima intentione dell’ Autore, poiché/ questo non fù per pregiudicare punto/ a Penna così felice; Mà bensi per in-/ contrare il genio de’ Virtuosi Cantan-/ ti, che non potendo uniformarsi in/ tutto alle prime Ariette, fu necessa-/ rio il cangiarle in varij luoghi.”/ --p. 7. [Dear Reader: “Here in front of your eyes is Massimo Puppieno, who received no vulgar applause on the Hadrian Scenes in the opinion of those concerned; Do not be surprised if you see it in some ways altered from the first intention of the Author, because this was not at all to damage such a happy Pen; But to accommodate the wishes of the Virtuoso Singers, who could not adapt entirely to the first Ariette, it was necessary to change them in various places.”] A machine enters at the sound of trumpets, II, xiv.--p. 42.

made to the Venetian original, particularly with regard to the arias. itp pam 00711

70. Ottaviano in Sicilia OTTAUIANO/ IN SICILIA/ DRAMA PER MVSICA/ Da rappresentarsi nel Teatro/ Dell’Illustrissima Comunità/ di Reggio./ CONSECRATO/ All’Altezza Serenissima/ DI FRANCESCO II./ Duca di Reggio, Modona, &c./--p. [3]. In Reggio, per Prospero Vedrotti./ 1692. Con licenza de’Superiori.--p. [3].

The section called “ESSERCITO DI MASSIMINO” [“MASSIMINO’S ARMY”] is a description of stage movements and formations, III, xviii.--p. 61.

CMP Ballarrotti, Francesco (c.1660-1712) LBT Pesci, Ercole

A blank strip of paper was pasted over Irena’s first line, III, 16, p. 60, covering the words “altro ... complessi...e baci.”

“Reggio li 29. Aprile.” “stante la virtuo-/ sissima Musica del Sig. Francesco Balla-/ rotti Maestro di Capella di Bergamo, che/ veramente hà composto note piene di me/ lodia.” [“The virtuous music is that of Sig. Francesco Ballarotti, Maestro di Cappella of Bergamo, who has truly composed notes full of melody.”]--p. 11, preface.

The names of both the composer and the poet are stated on the title page of the original Venetian libretto, which exists in two different editions: the first edition was published in December 1684 for the première at the beginning of carnival 1685; the second was published during carnival 1685, “con nova aggiunta,” to accommodate changes made during the production. The opera was subsequently revived in various Italian cities: Milan (1685), Verona (1689), Trent (1688), and Ferrara and Vicenza (1692). Aureli’s text was set to new music by Perti in 1690 for Genoa, by Sabadini in 1692 for Parma (as Il Massimino), and by Scarlatti for Naples in 1695. Allacci assumes the music of this Bolognese revival to have been by Pallavicino. According to the preface this production originated in Adria, though no libretto survives for such a production (it may in turn be related to the one that took place in nearby Ferrara in 1692). Changes were

94 (i.e. 96) p., 14 cm.

3 acts. Half title page. Dedication. Argomento. Benigno, e Cortese Lettore. List of scenes. The dedication to Francesco d’Este II (16601694) is signed by Ercole Pesci./ --p. 4.

Interlocutori: OTTAVIANO CESARE AUGUSTO. Il Sig. Francesco Ballarini del Serenissimo di Mantova. SESTO POMPEO. Il Sig. Francesco Borosini del Serenissimo di Modena. GIUNIA. La Signora Francesca Cottini del Serenissimo di Modena. LEPIDO. Il Sig. Valentino Urbani del Serenissimo di Mantova. ROMILDA. La Signora Gioanna Gabrielli. IDRENA. La

The Baroque Libretto 119

Signora Anna Marini. VALERIO. Il Sig. Antonio Cottini del Serenissimo di Modena. GILDO. Il Sig. Gio. Battista Baracchi.--p. 12. nel Teatro della Comunità [1692] Half title page: “OTTAUIANO/ IN SICILIA.” Page number 42-43 duplicated. Sartori 17611 This libretto for the premiere of Ottaviano in Sicilia was dedicated by Ercole Pesci (sometimes spelled “Pessi”). When the opera was revived in Parma in 1697, it was designated as a “Dramma per musica d’Ercole Pesci.” Although Pesci’s libretto should be distinguished from Ottaviano Ces. Augusto, set by Legrenzi in 1682, there may be certain connections, since Francesco Ballarini played the title role in both works. itp pam 00033

71. Il Roderico IL/ RODERICO/ DRAMA PER MVSICA/ Da rappresentarsi nel Teatro di/ Bergamo l’anno 1692./ CONSACRATO/ All’Illustriss., & Eccellentiss. Sig./ MICHEL ANGELO/ SEMENZI/ Castellano di Bergamo./ IN MILANO,/ Nella Stampa di Carlo Giuseppe Quinto./ Con licenza de’ Superiori. CMP [Pollarolo, Carlo Francesco (c.1653-1723)] LBT [Bottalino, Giovanni Battista] 1-26, 29-44 p., 15 cm. “Bergamo li [blank] Febraro 1692.”--p. 4. 3 acts. Dedication. Argomento. Supposti verisimili. List of scenes.

Dedicated to Michel Angelo Semenzi./ --p. 4.

Personaggi: SANCIO. RODERICO. ANAGILDA. D. GIUGILIANO. FLORINDA. ULIT. ZILAURO. LESBIA. BUBO. PAGGI, E GUARDIE CON SANCIO. PAGGI, E GUARDIE CON RODERICO. PAGGI, E DAMIGELLE CON ANAGILDA. PAGGI, E ARCIERI CON ULIT. SOLDATESCHE EUROPEE E AFRICANE. DAME E CAVAGLIERI CON POPOLO ALLO STECCATO.--p. 7. nel Teatro di Bergamo 1692 Sartori 20078 The literary source is identified in the argomento as “Hist. Spagn-del/ Rogatis Vol. primo.”-- p. 6. Several pages are missing: pp. 27/28 and pp. 45-48. This libretto is likely based on Il Roderico as originally produced in Brescia in 1684, the author of whose libretto is given by Allacci as “Giambatista Bottalini, Bresciano, Segretaria dell’ Accademia degli Erranti di Brescia.” [“Giambatista Bottalini, from Brescia, Secretary of the Academy of the Wanderers of Brescia.”] It was produced in the same year in Pavia and Milan. A 1687 libretto attributes the music to Pollarolo; this is given as the premiere by Olga Termini, in NG, but surely Pollarolo’s music had been originally written for the first performance of Bottalino’s drama in Brescia in 1684; Pollarolo had been maestro di cappella in Brescia since 1681, and was a member of the same Accademia degli Erranti for which Bottalino served as secretary. Productions in Bologna and Mantua (1686) may well be related, and Termini suggests a possible relationship with L’Anagilda, ovvero il Rodrigo (Raggio Emilia, 1685). Pollarolo’s music probably provided the basis for the anonymous revivals of Il Roderico in Florence and Bergamo in 1692. This is the only known copy of the libretto for the revival in Bergamo. itp pam 01545

120 The Baroque Libretto

72. Impii per iustum in Iosue Iericho demoliente IMPII/ PER/ IVSTVM/ IN IOSVE/ IERICHO DEMOLIENTE/ Ostensa Subuersio/ PER/ PHILIPPVM CAPISTRELLIVM ROMANVM/ Litterarum Apostolicarum Min. Grat. Scriptorem/ RYTHMICE/ A IO: BAPTISTA BLANCHINO ROMANO/ Sacrosancti Capituli Romani, ac Archiconfraterni-/ tatis Sanctissimi Crucifixi Musicæ Præfecto:in eius-/ dem Archiconfraternitatis Oratorio./ Feria sexta post Dominicam Secundam Quadrage-/ simæ Anni Dñi M.DC.XCIII./ ARMONICE EXPRESSA./ In id Argumenti sacra verba faciente/ ADM. REV. P. CAROLO EMANVELE D’INCISA/ Clerico Regulari Congregationis Pauperum Matris/ Dei Scholarum Piarum S. Theologiæ Lectore./ ROMAE, Ex Typographia Reu. Cam. Apost. M.DC.XCIII./ SVPERIORVM PERMISSV. CMP Blanchini, Giovanni Battista (d.1708) LBT Capistrelli, Filippo 18 p., 19.5 cm. 2 parts. Imprimatur. Argomento.

Personæ: IOSVE. PRINCEPS TRIBUS RUBEN. PRINCEPS TRIBUS GAD. PRINCEPS TRIBUS MED. MANASSÆ. POPOLUS HEBRÆUS. REX IERICHO. CONSILIARIUS REGIS. DUX MILITUM. NUNCIUS EXCUBIARUM. POPULUS IERICHUNTINUS.--p. [3]. Feria sexta post Dominicam Secundam Quadragesimæ Anni Domini 1693 [i.e. first Saturday in Lent] Franchi (I) 662; Sartori 12848 (C-Tu not listed)

“Imprimatur./ Si videbitur Reuerendiss. P. Sac. Apost. Pal. Mag./ Sperellus Episcopus Interamnen. Vicesg./ Imprimatur./ Fr. Franciscus Maria Forlani, Reuerendiss. P. Fr. Tho-/ mæ Mariæ Ferrari Sacri Apost. Palatij Mag. Soc./ Ord. Prædic.”--p. [4]. Franchi has calculated the date of the first performance as 20 February 1693. He also draws attention to the use of short verses in several arias and choruses. Such short verses were generally favoured for situations of agitation or conflict where they suggested a percussive rhythmic setting, appropriate for the battle scenes in the Joshua story. Blanchini was maestro di cappella of San Giovanni in Laterano between 1684 and 1708. According to Angela Lepore in NG, he composed several oratorios for the Oratorio di San Marcello. lib pam 00335

73. La Passione LA PASSIONE/ ORATORIO/ POESIA/ DEL SIG. CAMILLO/ ARNOALDI/ Musica del Padre/ ATTILIO OTTAVIO/ ARIOSTI/ Organista ne Serui di Bologna,/ E CONSACRATO DEL MEDESIMO/ All’ Altezza Serenissima/ DI FRANCESCO II./ DUCA DI MODONA, REGGIO, &c./--p. [3]. Ristampato in MODONA, 1693./ Nella Stamparia Vesc. Con Lic. de’Sup.--p. [3]. CMP Ariosti, Attilio Malachia (1666-1729) LBT Arnoaldi, Camillo 23 p., 17 cm. “Modona li 6. Marzo 1693.”--p. 6. 2 parts. Half title page. Dedication. Imprimatur.

The Baroque Libretto 121 The dedication to Francesco II d’Este (16601694) is signed by Attilio Malachia Ariosti./ --p. 6.

Interlocutori: PILATO. CAIFA. S. PIETRO. S. GIOVANNI. GIUSEPPE AB ARIMATHIA. TURBA DE GIUDEI.--p. 7. [1693]

2 parts. Argomento.

Interlocutores: ABRAM. SARAI. LOTH. PHARAO. AULICUS. CHORUS.--p. 2. [1693] Franchi (I) 663; Sartori 18621

Sartori 17890 & 17891 (see note)

The argomento is in two sections, one for each part, in Italian.

Half title page: LA/ PASSIONE/ ORATORIO.”--p. [1]. No. cover.

There are a few handwritten corrections of printed errors.

“REIMPRIMATVR/ F. Alexander Maria Arresti In-/ quisitor Gen. Mutinæ./ VIDIT/ Io: Gallianus de Coccapanis.”--p. 8.

This is a revival of Zazara’s Abram in Ægypto which was performed the previous year in Rome (See entry 67). In spite of the new title, new publisher, and new typesetting, the text of Pharaonis infaustus amor is essentially the same as Abram in Ægypto, except that three arias have been replaced. In the 1692 libretto Abate Pompeo Figari is identified as the librettist. Both performances took place on the fifth Friday in Lent. Franchi calculates that the first performance of Pharoanis took place on 13 March.

There appear to be two versions of this libretto, both published in 1693, one by Eredi Soliani and the other by Vescovile (in Sartori the C-Tu libretto is incorrectly listed as the Soliani version). The Vescovile version is the later version, hence the “ristampato” and “reimprimatur” designations. It is possible that the Vescovile “ristampato” originated from a second performance of the oratorio in Modena in 1693. The oratorio was revived in Vienna in 1709 (NG). itp pam 00027

74. Pharaonis infaustus amor PHARAONIS,/ INFAVSTVS AMOR./ MELODRAMMA/ A. P. F./ Musicis animatum Modulis/ A DOMINICO ZAZARA/ Seminarij Romani Phonasco./ ROMÆ,/ Ex Typographia Iosephi Vannaccij,/ MDC.XCIII./ SVPERIORVM LICENTIA. CMP Zazara [Zazzera], Domenico LBT [Figari, Pompeo (fl.1690)] [16] p., 19.5 cm.

lib pam 03480

75. Il sagrifizio di Abel IL SAGRIFIZIO/ DI ABEL/ ORATORIO/ A QUATTRO VOCI/ DA CANTARSI NELLA CHIESA DE’PADRI/ DELLA CONGREGAZIONE/ DELL’ORATORIO/ DI S. FILIPPO NERI/ DI FIRENZE/ Musica del Signor/ ALESSANDRO MELANI/ IN FIRENZE. MDCXCIII/ Per Vincenzio Vangelisti. Con licenza de’ Superiori CMP Melani, Alessandro (1639-1703) LBT [Pamphili, Benedetto (1653-1730)] [12] p., 19.5 cm.

122 The Baroque Libretto 2 parts.

Interlocutori: ADAMO. EVA. ABELLE. CAINO.--p. [2]. nella Chiesa de’ Padri della Congregazione dell’Oratorio di San Filippo Neri [1693] BDW Isacco Figura del Redentore. Niccola Rinierni Redi. Pietro Metastasio. 1741.

In Roma, per Gio: Francesco Buagni. 1693./ Con licenza de’Superiori. CMP Pallavicino, Carlo (c.1640-1688) LBT Corradi, Giulio Cesare (d.1701 or 1702) 72 p., 13.5 cm. 3 acts. Frontispiece. Dedication. Argomento. Preface. List of scenes. Protesta. 2 ballets.

Sartori 20298

The dedication to Lorenza De la Cerda, duchessa di Medinaceli, is signed by Francesco Leone./ --p. [4].

First performed at the Palazzo Pamphili in 1677, the work was widely circulated under several titles, including Il fratricidio di Caino, and Abele. The first performance from which a libretto survives is the one that took place in Vienna in 1678 under the title of Il fratricidio di Caino. The Viennese libretto identifies both poet and composer: “Poesia del sig. D. Benedetto Panfili/ musica di Alessandro Melani” (Sartori 11034). Subsequent revivals, under the title Il sagrifizio di Abel, took place in Bologna (1682), Modena (1687), and Cremona (1696), as well as in Florence. According to Renzo Lustig, during this same year in Florence the oratorio was also performed by the Venerabil compagnia dell’Archangelo Raffaello detta la Scala under the title Abele. See our Introduction, pp. 57-59.

Interlocutori: VESPASIANO. Sig. Gioseppe Scaccia del Sereniss. di Parma. TITO. Sig. Francesco Antonio Pistocchi, del Sereniss. di Parma. DOMITIANO. Sig. Francesco Ballarino, del Sereniss. di Mantuua. ARRICIDA. Sig. Gioseppe Finalino, del Sereniss. di Mantoua. GESILLA. Sig. Rinaldo Gherardini, del. Sereniss. di Parma. ATTILIO. Sig. Giovanni Battista Roberti. SERGIO. Sig. Francesco Landri. DELIA. Sig. Domenico Zaffiro. DELBO. Sig. Giovanni Battista Pettricioli.--p. [7].

itp 01825

76. Il Vespasiano IL/ VESPASIANO/ DRAMMA PER MUSICA/ DI GIULIO CESARE CORRADI/ Da rappresentarsi nel Famosissimo/ Teatro di Torre di Nona/ L’ANNO MDCXCIII./ CONSACRATO/ All’Ill.ma & Eccell.ma Signora,/ La Signora Duchessa/ DI MEDINA CELI, &c./ Ambasciatrice di Spagna/ in Roma./ Si vende in Bottega di Francesco Leone/ Libraro in Piazza Madama.

il Teatro di Torre di Nona (Tordinona) 1693 Ballo primo: “Vien Domitiano leuato con le sedia sopra cui si/ era addormentato da quattro Soldati, e con-/ dotto, doue Sergio haueva già concertato./ Al partir di Domitiano leuano dalla mensa/ le fauorite di Vitellio, ogn’vna delle quali/ presa per la mano da vn Caualiere, porge/ materia all’intreccio del ballo.”--p. 34. [First Dance: “Domitian comes raised in the chair on which he fell asleep by four soldiers, and brought to a place determined by Sergius. At Domitian’s departure they remove from the dining hall the favorites of Vitellius, each taken by hand by a Knight, thereby adding complexity to the dance.”] Ballo secondo: “Qui seguono il ballo di diuerse/ Maschere ridicole.”--p. 52. [Second Dance: “Here follow the dances of several comic Masks.”]

The Baroque Libretto 123 Allacci 813; Franchi (I) 657/58; Sartori 24730 (CTu not listed) First produced in Venice, 1678, for the opening of the Teatro S. Giovanni Grisostomo. Both editions of this libretto identify the composer: “l’armoniose note del sig. Carlo Pallavicino.” [the harmonious notes of Sig. Carlo Pallavicino.”] The opera was revived at the same theatre two years later “con nuove aggiunte.” [with new editions.”] Other revivals took place in Ferrara in 1682 and 1687, with revisions and additions by Giuseppe Tosi, and in Parma in 1689, with comic scenes by Aurelio Aureli and Bernardo Sabadini and stage machinery by Ferdinando Galli Bibiena. Aureli’s comic scenes were later reset by Pietro Porfiri for a revival in Pesaro in 1692. In the dedication to a Genovese production of Il Vespasiano in 1692, Francesco Carlo Pollarolo refers to “questo Drama, rinovato dalle mie note,” [“this Drama, renewed by my notes,”] suggesting another revision of Pallavicino’s opera by Pollarolo. The dedication of this Roman libretto of Il Vespasiano from 1693 makes reference to the previous success of the work, before going on to praise the new production: “Dopo di essersi fatto vedere/ sopra le più celebri Scene d’Italia/ [...], torna oggi/ a procacciarsene nuoui, e più glo-/ riosi trionfi in questo famosissimo/ Teatro di Roma.” [“after having appeared on the most famous Stages in Italy … it returns today to gain new, and more glorious triumphs in this most famous Theatre of Rome.”] (p. [3]). Lowenberg states that Corradi’s text was altered for the Roman production by Silvio Stampiglia. Franchi is more cautious, stating that the text may have been modified by Stampiglia. The numerous differences in the aria texts between this libretto and Corradi’s original (Sonneck 1132) suggest that a simple revival of Pallavicino’s opera was out of the question; more than half of Pallavicino’s arias (26/50) appear to have been replaced or omitted. There is a possibility that this Roman production is based on Pollarolo’s Genovese production of the previous year, which would have contained music by both Pallavicino and Polloarolo. Such a production, with music by two of the most renowned Italian composers of the late 17th century, could account for the reference to the “[...] canora melodia de’più/

rinomati Cigni d’Europa [...].” [“vocal melody of the most well-known Swans of Europe...”] (p. [4]). itp smb 00225

77. Abigail ABIGAIL/ MELODRAMMA/ IN SACELLO ARCHICONFRATERN./ SS.MI CRVCIFIXI/ Feria sexta post Dominicam Passionis./ SUB HARMONICA DIRECTIONE/ CINTHII VINCHIONII VITERBIENSIS/ audiendum./ ROMÆ, Typis Reu. Cameræ Apostolicæ. MDCXCIV./ SVPERIORVM PERMISSV. CMP Vinchioni, Cinzio LBT [Figari, Pompeo (c.1650-1730)] [16] p., 20 cm. 2 parts. Imprimatur. Argomento.

Interlocutores: ABIGAIL. NABAL. DAVID. NUNCIUS. PASTOR.--p. [4]. Chorus: MILITUM. PASTORUM.--p. [4]. In Sacello Archiconfratern. Sanctissimi Crucifixi Feria sexta post Dominicam Passionis [fifth Friday of Lent, 1694] Franchi (I) 678; Liess 69; Salvioli 13; Sartori 41 (C-Tu not listed as one of the locations); Sesini 538 In the argomento, the biblical source is listed as “lib. I Reg. cap. 25.”, i.e. 1 Kings, I, 25.--p. [3]. “Imprimatur/ Si videbitur Reuerendiss. Patri Magistro Sac. Palatij Apost./ Sperellus Episc. Interamnen. Vicesg./ Imprimatur/ Fr. Franciscus Maria Forlani Reuerendiss. Patris S.A.P. Mag./ Soc. Ord. Præd.”--p. [2].

124 The Baroque Libretto Franchi calculates the date of the first performance as 2 April 1694. According to Franchi and Sartori, the author of the libretto is Abate Pompeo Figari. Two other oratorios on this subject appeared during this period: Bernardo Gaffi’s L’Abigaille first performed in Modena 1689 (libretto by Francesco Bambino), and Pietro Bacci’s Abigail first performed at Città delle Pieve in 1691 (libretto attributed to Michele Brugueres). The latter was probably the Abigail that was performed at the same Archiconfraternita in 1701 with the music adapted by one Floriano Aresti (Sartori 40). Nothing is known about Cinzio Vinchioni except that he came from Viterbo, and from the title page one cannot be certain whether the music that he was directing was his own or by someone else (“sub harmonica directione Cinthii Vincionii viterbiensis audiendum”). Originally from Rapallo, Pompeo Figari was one of the founders of the Accademia dell’ Arcadia, wherein he assumed the pastoral name of Montao Falanzio. In 1707 he was elected secretary of the Roman academy. He was a friend of Clement XI (also a member of Arcadia) and of Cardinal Ottoboni. lib pam 04687

CMP Piusello [Pioselli], Giovanni Battista LBT 16 p., 20 cm. 2 parts. Imprimatur.

Personæ: REX PHARAO. REGINA. PUTIFAR. ANIEL. IOSEPH. CHORUS ANGELORUM. CHORUS DAEMONUM.-p. 3. Oratorio Archiconfraternitatis SS. Crucifixi 1694 Franchi (I) 677; Sartori 13988 (C-Tu not listed) “Imprimatur./ Si videbitur Reuerendiss. Patri Sac. Apostolici Palatij Ma-/ gistro./ Sperellus Episc. Interamnen. Vicesg./ Imprimatur./ Fr. Franciscus Maria Forlani Reuerendiss. Patris S.A.P. Mag./ Soc.Ord. Præd.”--p. 4. According to Franchi, the oratorio was first performed on 19 March 1694. Although Schering (86) identifies Pioselli as a proponent of the oratorio erotico, the vernacular oratorio based on violent or erotic subjects, this is a conventional Latin oratorio.

78. Iustus ut palma florebit, hoc est patriarcha Joseph evectior, quo depressior

lib pam 02309

IVSTVS/ VT PALMA FLOREBIT/ HOC EST/ PATRIARCHA IOSEPH/ Euectior, quo depressior/ MELODRAMMA/ Latinum vulgo Poeticum Musicis commodiùs notis/ In Clarissimo Romano Oratorio/ ARCHICONFRATERNITATIS SS. CRVCIFIXI/ Audiendum,/ Armonica sub elegantia/ A IO: BAPTISTA PIVSELLO ROMANO/ Exharatum./

OTTONE./ TRAGEDIA/ Per Musica/ FATTA/ Da rappresentarsi nel Teatro/ di S. Gio: Grisostomo./ L’ANNO M.DC.XCIV./ Dedicata/ A SVA ALTEZZA SERENISSIMA/ ELETTORALE./ ERNESTO AVGVSTO/ Duca di Bronsuich, e/ Lunebourg &c./ ELETTORE del S.R.I./-p. 3.

ROMÆ, Typis Reuerendæ Cameræ Apostolicæ, 1694./ Superiorum Permissu.

IN VENETIA M.DC.XCIV./ Per il Nicolini./ Con Licenza de’Superiori, e Priuilegio.--p. 3.

79. Ottone

The Baroque Libretto 125 CMP [Pollarolo, Carlo Francesco (c.1653-1723)] LBT Frigimelica Roberti, Girolamo (1653-1732) 84 p., 14.5 cm. 5 acts. 4 Intramezzi (containing balli). “Ultima Apparenza.” Frontispiece. Dedication. L’Autore à chi legge. Argomento Istorico. List of scenes (drama and intramezzi). Each act and intramezzo preceded by its own argomento. The dedication to Ernest Augustus, Elector of Hanover (1629-1698) is signed by Girolamo Frigimelica Roberti./ --p. 8.

Le Persone, che parlano: OTTONE III. OTTONE. ELEONORA D’ARAGONA. METILDE. LUCREZIA. ENRICO. UGONE. ADOLFO.--p. 15. Teatro di S. Giovanni Grisostomo 1694 “PRIMO INTRAMEZZO.”--pp. 13, 29. Scene.--p. 13. Synopsis.--p. 29. Between Act I and II. “SECONDO INTRAMEZZO.”--pp. 13, 39. Scene.--p. 13. Synopsis.--p. 39. Between Acts II and III. “TERZO INTRAMEZZO.”--pp. 13, 51. Scene.--p. 13. Synopsis.--p. 51. Between acts III and IV, “QUARTO INTRAMEZZO.”--pp. 14, 66. Scene.-p. 14. Synopsis.--p. 66. Between Acts IV and V. No text given for any of the intramezzi. “L’ VLTIMA APPARENZA.”--p. 83. Scene.--p. 14. Synopsis.--p. 83. Includes “varij suoni, Balli, e/ Canti.” [“various sounds, Dances, and Songs.”]--p. 83. Also short text, p. 84. Allacci 589; Alm 402; Sartori 17619; Sonneck 840 The literary source is identified in the argomento as “Sab. lib. II. Dec. IX.”--p. 9, footnote. Frontispiece is p. 1. Pages of Act I, scenes v and vi are headed “secondo”, and Act I ends “Il Fine dell’ Atto Secondo.” [“The End of the Second Act.”] (printing error)--pp. 25-28. 2 copies: Copy 1 has the name “Fabroni” stamped on its cover; Copy 2 has the stamp of the Museo Civico di Padova. Copy 2 is missing

the frontispiece. The handwritten correction on page 21 can be found in both copies, but copy 1 has a few additional small corrections. In copy 1, part of Fausto’s recitative is assigned to Eleonora (p. 42--Fausto is in reality Ottone). This is one of a series of tragedie per musica in five acts that appeared in Venice at the turn of the century. The aristocratic poets Girolamo Frigimelica Roberti and Benedetto Pasqualigo were the foremost exponents of this classicallyinspired subgenre that broke away from the standard three-act heroic format of the 17th and 18th centuries. The dedication to the Duke of Brunswick is signed by “Il Co: Girolamo Frigimelica Roberti.” The music is attributed to Carlo Francesco Pollarolo by Allacci and scores exist for the work in CS-K and US-SFsc. For more on the production, including the opening date 14 January 1694, see SelfridgeField, 207-208. Pollarolo’s Ottone was revived in Udine in 1696, Brunswick in 1697, Ferrara in 1701, and Venice again in 1716. Although Allacci states that the latter revival was with “pochissimo cambiamento,” [“very little change,”] it is hard to believe that Pollarolo would have revived his opera in 1716, more than 20 years later, without substantial changes. itp pam 00761

80. Alba, soggiogata da Romani ALBA/ SOGGIOGATA DA ROMANI/ DRAMA PER MVSICA/ Da Rappresentarsi in Bologna/ sul Teatro Maluezzi/ L’ ANNO 1695./ CONSECRATO/All’Illustrissimo, e Reuerendissimo Monsig./ ANTONIO FELICE/ ZONDODARI./ Protonotario Apostolico dell’vna, e l’altra Si-/ gnatura, di nostro Signore Refferendario,/ dignissimo Vicelegato di Bologna./ IN BOLOGNA, Per Giulio Borzaghi./ Con Licenza de’ Superiori.

126 The Baroque Libretto CMP LBT Anonymous revision of Adriano Morselli’s Tullo Ostilio 92 p., 14 cm. “Bologna, li [blank] Decembre 1694.”/ --p. 4. 3 acts. Dedication. Cortese Lettore. Istoria/ [Protesta]. Imprimatur. List of scenes. 1 ballet. The dedication to Antonio Felice Zondadari (1665-1737) is signed by Pietro Mozzi and Cesare Bonazzoli./ --p. 4.

Interlocutori: ROMANI. TULLIO OSTILIO. Sig. Pietro Mozzi Virtuoso di S.A.S. di Mantova. MARTIA. Sig. Elena Garofalini Virtuosa di S.A.S. di Mantova. VALERIO. Sig. Mauro del Maures Virtuoso del Sig. Gran Duca di Toscana. ARASPE. Sig. Gioachino Berettini Virtuoso dell’Em. Alt. del Sig. Card. de Medici. ALBANI. SABINA. Sig. Lucretia Borgonzoni Bolognese. SILVIO. Sig. Girolamo Mellari. ASCANIO. Sig. Cristina Morelli Virtuosa di S.A.S. di Parma. MILLO. Sig. Gio: Antonio Archi Virtuoso dell’Ill. Sig. Cav. Ercole Bonadras di Rimini.--p. 9. nel Teatro Malvezzi 1695 The ballet is part of the opera and concludes act 1: “Segue la Caccia, & il Ballo de’ Cacciatori” [“The Hunt follows, & the Dance of the Hunters”]--p. 38. Allacci 19; Sartori 540 In the Istoria, the literary source is identified as Livy. --p. 6. In the preface it is stated that the opera was successfully represented in several Italian cities and that many changes were made in order to accommodate the singers: “Fù necesario/ variarlo in molti luoghi, non già per pregiu-/ dicar punto alla singolare virtù dell’Au-/ tore, ma più tosto per conformarsi al genio/ de’ Virtuosi

Cantanti, e viui felice.”--p. 5. [“It was necessary to change it in various places, not at all to damage the singular virtue of the Author, but rather to accommodate the wishes of the virtuosic singers, and live happily.”] Imprimatur: “Vidit D. Bernardus Marchellus Rector Poeni-/ tent. Cleric. Regul. S. Pauli in Ecclesia Me-/ tropolitana Bononiæ pro Illustrissimo, ac/ Reuerendiss. Domino D. Iacobo Boncom-/ pagno Archiepiscopo ac Principe./ Imprimatur./ Fr. Vincentius Maria Ferrerius Vic. Generalis/ S. Officij Bononiæ.”--p. 8. Although Allacci considered the origins of this libretto as uncertain, for Sartori it is an arrangement of Adriano Morselli’s Tullo Ostilio, first set to music by Marc’Antonio Ziani for the Teatro S. Salvatore in Venice in 1685. The opera achieved considerable success and was frequently revived during the 1680s, presumably with Ziani’s music (according to Allacci, the revivals in Livorno and Verona from 1688/89 employed Ziani’s music). Beginning with the 1686 revival in Reggio, an alternate title was also used, Alba soggiogata da Romani. Morielli’s libretto was revised by Stampiglia for Bononcini in Rome in 1694. Although one is tempted to regard this Bolognese production of 1695 as a revival of Bononcini’s opera, Bononcini’s version does not appear to have achieved the success of Ziani’s, and several subsequent revivals suggest Ziani’s music continued to be used. Therefore one can amend Allacci’s designation to read “musica d’incerto autore.” itp pam 00003

81. La costanza vince il destino LA COSTANZA/ VINCE IL DESTINO/ Dramma Musicale/ Da Rappresentarsi nel Famosissimo/ Teatro di SS.Giov:e Paolo,/ Nell’Anno M.DC.LXXXXV./ CONSACRATO/ Al/ Merito Immortale/ Dell’/ ECCELLENZA DI MADAMA/ MARESCIALLA, E LIBERA/ CONTESSA PLATEN/ DI HANNOVERA/ Composto in

The Baroque Libretto 127

musica dal Sign. D. Pietro Romolo/ Abbate Pignatta./ IN VENETIA, M.DC.LXXXXV./ Appresso Paulo Antonio Sanzonio,/ Con Licenza de’ Superiori, e Priu./ Si vende alla Vittoria in Marzaria. CMP Pignatta, Pietro Romolo LBT Pignatta, Pietro Romolo 72 p., 15 cm. “Venetia 15. Ottobre 1695.”/ --p. 4. 3 acts. Dedication. Argomento. Benigno Lettore. 2 Ballets. The dedication to Klara Elisabeth Gräfin von Platen-Hallermund (d. 1700) is signed by Pietro Romolo Pignatta./ --p. 4.

Interlocutori: ALMIRA. ZELINDA. ARBANTE/ORMONDO. ADRASTE. CLEARCO. LAURENO. ORVANTE. GIOCASTA. EUDRISIO. NEL FINE DEL’ATTO TERZO LA MACHINA DEL FATO.--pp. 6, 8. “All’introduttione d’ un Ballo/ nel Secondo Atto.” --p. 8. IL GENIO. AMORE. LA GELOSIA. LA DISPERAZIONE.”--p. 8. Teatro di SS. Gio e Paolo “Segue il Ballo de Corteggiani/ di varie Nationi.” [“A Dance of Courtiers from various Nations follows.”]--p. 31. At end of I/xix. “All’ introduttione d’ un Ballo/ nel Secondo Atto.” [“To the Introduction of a Dance in the Second Act.”]--p. 8.

IL GENIO DI MENFI. AMORE. LA GELOSIA. LA DISPERATIONE. [Dancers]: DELFINI. QUATTRO AMORINI. UN DRAGO. QUATTRO OMBRE. QUATTRO MOSTRI.--p. 8.

In this “Introduttione” (Act II, xviii) the allegorical characters, who sing in conventional recitatives and arias, set up the situation for the unusual ballet which ends the act (a battle between the Dragon of Jealousy and Monsters of Desperation). Allacci 227; Alm 418; Sartori 6848 The dedication is signed by “Pietro Romolo Abbate Pignatta” who, according to Allacci, was both the poet and the composer. This same libretto was also published that year by Nicolini in two editions, the second with eight pages of “Nuova aggiunta di canzonette e altre scene”. [“new addition of canzonettas and other scenes.”] In Sartori, C-Tu has been incorrectly listed as a location for Nicolini’s first edition (Sartori 6847). For more on this production, see Selfridge-Field, 213. It may have been based on L’Oronta d’ Egitto, whose libretto for Graz (1688) names Pignatta as composer, but lists the characters by different names (Sartori 17524). The title L’Oronta d’ Egitto was revived for subsequent productions in Vicenza (1697, Sartori 17525) and Udine (1705, Sartori 17526). itp pam 00750

82. Judas Machabaeus JUDAS/ MACHABÆUS./ MELODRAMMA/ In Sacello Archiconfraternitatis/ SS. CRUCIFIXI/ Feria VI. post Dominicam secundam/ Quadragesimæ,/ Sub armonica directione/ GREGORII COLÆ ROMANI/ Audiendum./ ANNO DOMINI MDCXCV./--pre p. [1]. ROMÆ,/ Ex Typographia Joannis Francisci Buagni, 1695./ SUPERIORUM PERMISSU.-pre p. [1]. CMP Cola, Gregorio LBT [4], 10 p., 19.5 cm.

128 The Baroque Libretto 2 parts. Argomento.

Interlocutores: JUDAS MACHABÆUS. SIMON. NICANOR. ALCIMUS. JEREMIAS. CHORUS MILITUM.--pre p. [4]. Sacellum Archiconfraternitatis SS. Crucifixi Feria VI post Dominicam secundam Quadragesimæ, Anno Domini MDCXCV [Friday after the second Sunday of Lent, 1695.] Franchi (I) 692; Sartori 14071 (C-Tu not listed) Argomento: background (in Italian).--pre p. [3] “Al2. de Mach. cap. 14.”--pre p. [3]. Franchi concludes that the date of the first performance was 4 March 1695. One cannot be certain that this oratorio “sub armonica directione Gregorii Colae” was composed by the same Gregorio Cola. lib pam 00617

5 acts. 4 Intramezzi. “Ultima Apparenza”. Dedication. L’ Autore à chi legge. Argomento (including intramezzi). List of scenes and machinery, drama and intramezzi. MS additions throughout. The dedication to Karl Philip, Margrave of Brandenburg, is signed by Girolamo Frigimelica Roberti./--p. 5.

Le Persone, che parlano: APOLLO. DAFNE. CLIZIA. LICISCO. ERASTO. ARETE. COREBBO. CRISIDE. TESPI. PENEO. DIANA. AVRORA. NOTTE./--p. 12. Cori: NINFE. PASTORI. CACCIATORI. SATIRI. FIUMI. SOGNI, E FANTASMI. VENTI, ED AURE. Corte celeste d’Apollo: IL TEMPO; IL SECOLO; L’ANNO; IL MESE; IL GIORNO; LE ORE DODECI DIURNE; LE QUATTRO STAGIONI; L’AURORA; FOSFORO; LA LUCE./--p. 12. nel Teatro Grimano di S. Giovanni Grisostomo 1695

83. Il pastore d’Anfriso IL PASTORE/ D’ANFRISO./ TRAGEDIA PASTORALE/ Per Musica/ Da Rappresentarsi nel Teatro/ Grimano di San Gio:/ Grisostomo/ L’ANNO M.DC.XCV./ DEDICATA/ ALL’ALTEZZA/ SERENISSIMA/ DI CARLO/ FILIPPO/ Principe Margrauio di/ Brandeburg &c./ &c. &c. &c./ SECONDA IMPRESSIONE./ IN VENETIA, M.DC.XCV./ Per il Nicolini./ Con Licenza de’ Superiori, e Priuilegio. CMP [Pollarolo, Carlo Francesco (c.1653-1723)] LBT Frigimelica Roberti, Girolamo (1653-1732) 71 p., 15 cm.

“Primo Intramezzo./ Di Ninfe che suonano,cantano, e/ ballano in lode di Diana comparsa/ ad accettare il Voto di Dafne.” [“First Intermezzo. Of Nymphs who play, sing, and dance in praise of Diana who appears to accept Daphne’s Vow.”]--p. 13. “PRIMO INTRAMEZZO./ Diana in Cielo.” [“FIRST INTERMEZZO. Diana in the Sky.”]--p. 26. Between Acts I and II. “Secondo Intramezzo./ Di Satiri, e Cacciatori, che suona-/ no, cantano, e ballano per la Vit/toria del Serpente Pitone.” [“Second Intermezzo. Of Satyrs, and Hunters that play, sing and dance for the Victory of the Python Serpent.”]--p. 13. “SECONDO INTRAMEZZO./ Coro di Cacciatori,che cantano. Coro di Sa-/ tiri, che cantano. Coro di Cacciatori, che/ suonano. Coro di Satiri, che suonano. Co-/ ro di Cacciatori, che ballano. Coro di Sa-/ tiri, che ballano.” [“SECOND INTERMEZZO. Chorus of Hunters, who sing. Chorus of Satyrs, who sing. Chorus of Hunters, who play. Chorus of Satyrs, who play.

The Baroque Libretto 129 Chorus of Hunters, who dance. Chorus of Satyrs, who dance.”]--p. 36. Between Acts II and III. “Terzo Intramezzo./ D’Aure, e Zeffiri, che vengono con/ l’Aurora chiamata d’Apollo per/ segno della sua Diuinità.” [“Third Intermezzo. Of Breezes and Zephyrs who come with Aurora called by Apollo as a sign of his Divinity.”]--p. 14. “TERZO INTRAMEZZO/ L’ Aurora in Cielo./ Coro di Zeffiri, che cantano. Coro d’Aure/ che cantano. Coro di Zeffiri, che suonano./ Coro d’Aure, che suonano. Coro di Zeffiri,/ che ballano. Coro d’Aure, che ballano.” [“THIRD INTERMEZZO. Aurora in the Sky. Chorus of Zephyrs who sing. Chorus of Breezes who sing. Chorus of Zephyrs who play. Chorus of Breezes who play. Chorus of Zephyrs who dance. Chorus of Breezes who dance.”]--p. 48. Between Acts III and IV. “Quarto Intramezzo./ Di Ninfe, e Pastori che formano/ vn Giuoco.” [“Fourth Intermezzo. Of Nymphs, and Shepherds who play a Game.”]--p. 14. “QVARTO INTRAMEZZO./ Coro di Ninfe, che cantano. Coro di Pastori,/ che cantano. Coro di Ninfe, che suonano./ Coro di Pastori, che suonano. Coro di Ninfe/ che ballano. Coro di Pastori, che ballano.” [“FOURTH INTERMEZZO. Chorus of Nymphs who sing. Chorus of Shepherds who sing. Chorus of Nymphs who play. Chorus of Shepherds who play. Chorus of Nymphs who dance. Chorus of Shepherds who dance.”]--p. 60. “Vltima Apparenza./ Di Sogni, e Fantasmi con la Notte/ che sorge al partire d’Apollo” [“Final Appearance. Of Dreams, and Phantasms with the Night that rises at Apollo’s departure.”]--p. 14. “VLTIMA APPARENZA./ La Notte./ Coro di Sogni, che suonano. Coro di Fantasi-/ me, che suonano. Coro de Sogni, che / ballano. Coro di Fantasime, che ballano.” [“FINAL APPEARANCE. The Night. Chorus of Dreams that play. Chorus of Phantasms that play. Chorus of Dreams that dance. Chorus of Phantasms that dance.”]--p. 71. Intramezzi and Ultima Apparenza all have text. Characters of Intramezzi and Ultima Apparenza included in regular cast list of drama. Allacci 604; Alm 416; Sartori 18134; Sonneck 854

“Oui-/ dio nell’Epico delle metamorfosi; e/ forse da altri nel Dramatico” [“Ovid, in the Epic of the metamorphoses; and perhaps others in the Dramas.”]--p. 7. List of machinery: “MACHINE./ La Reggia del Peneo./ Diana/ L’Aurora/ Il Serpente Pitone/ La Reggia d’Apollo/ La Notte.” [“MACHINES. The Castle of Peneus. Diana. Aurora. The Python Serpent. The Caste of Apollo. The Night.”]--p. 14. In his preface, Roberti states that the idea for this pastorale was not his but that of the impresario: “Il pensiero d’esporre sù/ la magnificenza del/ Teatro Grimano vna/ Pastorale non fù mio/ dissegno, ma di chi ha/ tutta l’autorità sul/ Teatro, e sul mio volere.” [“The idea of staging a Pastoral in the magnificent Grimani theatre was not mine but of he who has full authority on the Theatre and on my will.”] (p. 6). Roberti then goes on to justify his mixing of the tragedic and pastoral genres, quotes Aristotle, and discusses the innovations of this particular work (pp. 6-9). This is one of a series of five-act tragedies that appeared in Venice at the turn of the century. The aristocratic poets Frigimelica Roberti and Benedetto Pasqualigo were the foremost exponents of this sub-genre that broke from the standard three-act heroic format of the 17th and 18th centuries. During the year of its premiere two editions of the libretto were published by Nicolini; this second edition has the same number of pages as the first but is lacking the frontispiece. Although no composer is mentioned in the libretto, Allacci attributes the music to Carlo Francesco Pollarolo. Il pastore d’Anfriso was revived in Brunswick in 1697, Wolffenbüttel in 1703, and at the San Giovanni Grisotomo in 1704, the libretto for the latter being designated “Terza Impressione.” This copy of the second edition appears to have been employed in one of these revivals. Ten of the arias and four of the five choral intermezzi have new texts inserted by a very neat hand at the bottom of the page. The other choral intermezzo has the designation “Bentivego ò Casta Dea,” presumably indicating the use of a pre-existing aria. The two aria texts inserted at the end of Act IV have crosses beside them to indicate they are in turn to be replaced by the new aria texts, headed by a

130 The Baroque Libretto cross, at the end of the libretto. The final page contains the ornate signature of one “Franciscus dè Rubeis”, presumably the author of the revisions - unless this unusual name is really is a nickname (derived from François Rabelais?) and these revisions are by Roberti himself for the 1704 Venetian revival. For more on this 1695 production, see Selfridge-Field, 211-212. itp pam 00762

The dedication to Isabella Maria della Zerda is signed by Pietro Francesco Manfredo Trecchi./ -pre p. [4].

Personaggi: RADAMISTO. ZENOBIA. TIRIDATE. ROSMIRA. ARTURO. CANDACE. ORONTE. FLORO.--pre p. [8]. Nel Regio Teatro 1695 Sartori 19443

84. Il Radamisto IL/ RADAMISTO/ OVERO/ LA FEDE/ NELLE SVENTURE/ DRAMA PER MVSICA/ DEL MARCHESE PIETRO FRANCESCO/ MANFREDO TRECCHI./ DA RECITARSI/ NEL REGIO TEATRO DI MILANO,/ E CONSACRATO/ AL MERITO IMPAREGGIABILE/ DELL’ILL.MA, ET ECC.MA SIG.RA/ LA SIGNORA/ D ISABELLA MARIA/ DELLA ZERDA, ET ARAGONA/ DVCHESSA DEL SESTO &c./- -pre p. [1]. IN MILANO, 1695./ Nella Stampa di Francesco Vigone./ Con licenza de’Superiori.--pre p. [1]. CMP Magni, Paolo (c.1650-1737) LBT Trecchi, Pietro Francesco [8], 68 p., 15 cm. “È stata animata la mia Poesia dalla vaga/ compositione di Musica del Sig. Paolo Magni/ Maestro di Capella in questa Regia, e Ducal/ Corte.” [“My Poetry was animated by the graceful Musical composition of Sig. Paolo Magni, Maestro di Cappella of this Castle and the Ducal Court.”]--pre p. [5], preface. 3 acts. Dedication. L’autore a’ lettori. Argomento. List of scenes.

In the argomento, Battista Fulgoso is acknowledged as a literary source: “Narra il caso sudet-/ to Battista Fulgoso famosissimo trà Scritt-/ tori.” [“The following event is narrated by Battista Fulgoso, most famous among Authors.”]--pre p. [6]. In the preface, Trecchi states that he has concealed under an Ancient Armenian veneer recent events and characters - whatever is true in the libretto, refers to the past, whatever is fictitious refers to the present: “Ecco esposti à chi legge sotto Armeno/ sembiante Personaggi Europei, & ideati/ con barbare fantasie accidenti d’Italia. Tutto/ il vero è vn successo de secoli trasandati, tut-/ to il finto è vn istoria de giorni nostri.” [“The reader will find here European persons of Armenian appearance, presented in the context of barbarous and fantastical events of Italian history. All that is true happened in the past centuries ; all that is false is a story of our days.”] The Marchese describes this process, favoured by the contemporary stage, as giving “foco moderno” to the “ceneri antiche.” Trecchi then goes on to say that he tried to please as many spectators as possible, but, since there are as many tastes as theatres, it is impossible to please everyone. Il Radamisto is the first of a series of operas based on the subject. It was followed by Antonio Marchi’s Radamisto, first set by Albinoni for Venice in 1698, Nicolò Giuvo’s Il Radamisto first set by Fago for Naples in 1707, and Domenico Lalli’s L’Amor tirannico, first set by Gasparini for Venice in 1710 and later set by Handel as Radamisto. In contrast to these later versions, Trecchi’s libretto does not appear to have been

The Baroque Libretto 131 revived, either with Magni’s music or in a new setting. itp 00696

85. Almansorre in Alimena ALMANSORRE/ IN/ ALIMENA./ Drama per Musica/ DEL DOTTOR GIOVANNI MATTEO/ GIANNINI./ CONSACRATO/ All’ Altezza Serenissima/ DI RINALDO I./ Duca di Reggio, Modana, & c./ IN REGGIO,/ per Prospero Vedrotti, 1696./ Con licenza de’ Superiori. CMP Pollarolo, Carlo Francesco (c.1653-1723) LBT Giannini, Giovanni Matteo 69 p., 16.5 cm. “la dotta, e bizzarra fantasia del Sig./ Carlo Francesco Polaroli, Vice-Maestro della Reale/ Basilica della Serenissima Republica di Venezia, e/ Maestro del Pio luogo degl’ Incurabili: Accoppiata/ questa soave melodia.” [“the learned and strange fantasy of Sig. Carlo Francesco Polaroli, Vice-Master of the Royal Basilica of the serene Republic of Venice, and Master of the Pious place of the Incurables: Along with this sweet melody.”]--p. 8. “Reggio 3. Maggio 1696.”--p. 5. 3 acts. Prologue. Dedication. Vero. Verisimile. Protesta. List of scenes. The dedication to Rinaldo I d’Este (1655-1737) is signed by “Gli Anziani.”/ --p. 5.

Attori nel drama: ALMANSORRE. Sig. Gio: Francesco Grossi del Serenissimo di Modana. ALINDARE. Sig. Francesco de Grandis del Serenissimo di Modana. SERIFFA. Sig. Barbara Riccioni del Serenissimo di Mãtova. ELBENDAURO. Sig. Gio: Batt. Franceschini del Serenissimo di Modana. TEORILLA. Sig. Maria

Domenica Pini del Sereniss. Gran Princ. di Toscana. ALVINDO. Sig. Domenico Cecchi del Serenissimo di Matova. GELBO. Sig. Gioseppe Marsigli del Ser. di Matova. ERGILLO. Sig. Anna Abbati Modanese.--p. 10. Prologue: IMENEO. Sig. Gio: Batt. Sacchi Modanese. FECONDITA’. Sig. Anna Ferretti. IL PO’. Sig. D. Bartolomeo Lodesani.--p. 10. Corteggi: ALABARDIERI. MORI. CACCIATORI. DAME. SPAGNOLI. CAVALARIERI [sic]. DI PAGGI. COMBATTIMENTO FRA’ MORI, E SPAGNOLI.--p. 11. “Sig. Gasparo Pelizari Veneziano, che negli A-/ biti hà studiata ogni pompa...” [“Sig. Gasparo Pelizari Venetian, who in the Costumes has studied every pomp...”]--p. 9. “Le Scene, Machine, ed altre Operazioni tutte del/ Drama sono ingegnose applicazioni del Sig, Ferdi-/ nando, e Francesco Galli, detti Bibieni; Virtuosi del/ Serenissimo di Parma.” [“The Scenes, the Machines, and other Operations of the Drama are all the ingenious applications of Sig.ri Ferdinando and Francesco Galli, called Bibieni; Virtuosos of the Prince of Parma.”]--p. 10. 1696 Allacci 33; Sartori 933 The author makes an attempt to separate fact from fiction in his drama by dividing his argomento into two parts with the headings “Vero” and Versimile”. Reference in [preface] Vero: “Bois. Rob. Accid. I. Eroic.”--p. 6. Although Allacci considered this to be a revival of the Almansore, o sia Il pregiudizio, che nasce dal mancar di parola that was premiered in Bologna in 1690, he admits that he has seen neither the Bolognese nor the Reggiano libretti. This, combined with the fact that the cast of characters of the Bolognese and Reggiano Almansores are different, strongly suggests these are two different works. The preface to the Venice 1703 production of Almansore in

132 The Baroque Libretto Alimena mentions that the original “nel Teatro di Reggio di Modona ha saputo riportarne i primi applausi” [“in the Theatre of the castle of Modena it was able to gain the first applause”] (Sartori 934). The dedication of the Reggio premiere is signed by neither the poet nor the composer, but by Gli Anziani, probably the name of the academy in Reggio responsible for the production of the opera. itp pam 00758

86. Caligola delirante IL/ CALIGVLA/ DELIRANTE/ DRAMA MVSICALE/ Da rappresentarsi/ NEL TEATRO DI LUCCA/ L’ANNO M.DC.XCVI. IN LVCCA,/ Per Giacinto Paci, e Domenico Ciuffetti./ il dì 26. Gennaro M.DC.XCVI./ Con Licenza de’ Superiori.

italiano, p. 603). The libretto of La pazzia is attributed to Domenico Gisberti di Murano by Allacci (who incidentally makes no connection between the two librettos and mentions neither the composer of La pazzia nor librettist of Caligola delirante). The new setting by Pagliardi, produced in Venice in 1672, appears to have been much more successful than Cavalli’s original. During the next two years Caligola delirante appeared in Bologna, Rome, Ferarra, Milan, Palermo, Pesaro, and Vicenza. No composer is mentioned for these or subsequent revivals with the exception of the Venetian revival of 1680, for which a score survives (IVnm), and the Florentine revival of 1685, which presumably was directed by Pagliardi (designated in the libretto as “maestro di capp. del gran duca di Toscana”). One can assume that the other productions also employed Pagliardi’s music, albeit with the usual additions and revisions. This Lucchese production from 1696 was probably the last to use Pagliardi’s music. The next Caligola delirante to appear was in Naples in 1714, when a new score was provided by Antonio Orefice. itp pam 00665

CMP [Pagliardi, Giovanni Maria] (1637-1702) LBT [Gisberti, Domenico] (fl.1664-1675) [1], 60 p., 13.5 cm. 3 acts. Argomento. Preface Cortese Lettore. List of scenes. 1 ballet.

CALIGULA. CESONIA. ARTABANO. TIGRANE. TEOSENA. DOMIZIO. CLAUDIO. GELSA. NESBO. il teatro di Lucca 26 January 1696 Sartori 4543 The preface has been inserted on a separate leaf between pages 2 & 3. According to Savioli Caligola delirante is a revision of the libretto La pazzia in trono, overo, Caligola delirante, first set to music by Francesco Cavalli for Venice in 1660 (Bibliographia universale del teatro drammatico

87. Gedeon in Harad GEDEON/ IN HARAD./ MELODRAMA/ Decantandum in Sacello SS. CRUCIFIXI/ Ven. Archiconfraternitatis S. Marcelli de Urbe./ Feria sexta post Dominicam secundam Quadragesimæ/ 23. Martii Anno salut. 1696./ Ad modulos Concinnatum/ A D. GREGORIO COLA/ ROMANO/ ILLUSTRISS. ET EXCELLENTISS./ PRINCIPIS SABELLI/ Aulico./--pre p. [1]. ROMÆ, M DC XC VI./ Ex Typographia Joannis Francisci Buagni./ Superiorum permissu.--pre p. [1]. CMP Cola, Gregorio LBT [Ridolfo di S. Girolamo]

The Baroque Libretto 133 [4], 11 p., 19.5 cm. 2 parts. Argomento della prima parte. [Argomento] Della seconda parte. 2 Allegorie.

Interlocutores: GEDEON. PHARA. OREB. ZEB. ECHO. CHORUS ISREAL. CHORUS MADIAN.--pre p. [2]. in Sacello SS. Crucifixi Archiconfraternitatis S. Marcelli de Urbe Feria sexta post Dominicam secundam Quadragesimæ, 23 Martii 1696 Franchi (I) 707; Sartori 11314 Argomento: Synopsis for both parts.--pre pp. [3][4]. A note at the end of the second argomento states that the entire oratorio was derived from the 7th Chapter of Judges: “Ex lib. Judic. cap. 7. per totum.”--pre p. [4]. Both parts are followed by a brief allegory: “ALLEGORIA./ Christus Dominus humanum genus redempturus, re-/ deptionem inchoat baptizatus in Jordane; ut et/ veterem Adam sepeliat in aquis; ideòque ascendit de/ aqua, secum quodammodo demersum educens, et elevans/ mundum. S.Greg.Nazianz.orat.in sanct. Luminar.”--p. 6. “ALLEGORIA./ Christus Jesus; in quo sunt omnes thesauri sapientiæ, et/ scientiæ absconditi; vas fictile (idest infirmitatem na-/ turæ humanæ, juxta S.Ambros.in epist.2.ad Corinth./ c.4.) induit, de hostibus triumphaturus in Cruce,/ vas fictile humanitatis confrigi passus est: Et ita/ Redemptor noster, Gedeonis opere, et nomine præfigura-/ tus, per trecentos viros (qui numerus inTau litera con-/ tinetur, quæ Crucis speciem tenet) scilicet per Crucem,/ nos à doemonis servitute, ac tyrannide liberavit. San-/ ctus gregor.Pap. lib.30.Moral.cap.17. Ruper.Abb./ in Judic.lib.1.cap.II.”--p. 11. At the end of the first argomento is a note explaining that the author will preach a sermon after the first part of the oratorio: “Doppo la prima Parte sermoneggiarà l’Autore/ dell Oratorio.” A contemporary note in the frontispiece of a Roman copy gives the author as “P. Ridulpho Religionis Scolarum Piarum”. Franchi identifies this as Ridolfo di S. Girolamo,

a favourite preacher of Cardinal Ottoboni. The following year another work on this subject, Il Gedeone, was performed on Christmas Eve at the Palazzo Apostolico, but this contained only three characters and was in the vernacular (poetry by Pietro Giubilei and music by Antonio Costa). lib pam 04876

88. Il Giona IL GIONA/ ORATORIO/ PER MUSICA/ Da recitarsi dà Musici dell’ Illustrissima Acca-/ demia, & Archiconfraternità della Morte./ POESIA DEL PADRE/ D. AMBROSIO AMBROSINI/ CHIERICO REGOLARE./ MUSICA DEL SIGNOR/ GIO: BATTISTA BASSANI/ Maestro di Capella della Cattedrale, e della/ medema Illustrissima Accademia./ IN FERRARA, M.DC.XCVI/ Per il Giglio. Con Licenza de’ Superiori. CMP Bassani, Giovanni Battista (c.1650-1716) LBT Ambrosini, Ambrosio 16 p., 19 cm. 2 parts. Imprimatur.

Interlocutori dell’Oratorio: GIONA. SPERANZA. OBBEDIENZA. TESTO. ATREBATE NOCCHIERO. CHORO DI MARINARI.--p. [2]. 1696 Sartori 11977 “Reimprimatur./ F. Carolus Franciscus Corrad. Vic./ Gen. S. Offic. Ferrariæ./ Io: Bapt. Eleusarius Vic. Gen. &c.”--p. [2].

134 The Baroque Libretto The stamp on the title page indicates that the libretto comes from the private collection of Patrizio Antolini.

The dedication to Antonio Felice Zondadari (1665-1737) is signed by Lelio Maria Landi./ --p. 4.

In 1689 two oratorios with the title Il Giona were produced in Modena, presumably in competition with one another: one by Domenico Bartoli, with music by Giovanni Battista Vitali and the other by Ambrosio Ambrosini, with music by Giovanni Battista Bassani. Ambrosini and Bassani’s Il Giona was performed in Florence in 1693, in Ferrara in 1696, and probably in Lucca in 1698. The libretto in the Thomas Fisher collection is the only known libretto of the performance in Ferrara.

Personaggi: GIULIA. ROSAURA. DOTTORE GRAZIANO. NARCISO. BARBA PASQUALE. ZE MENGA. TUGNOL, SOTTO NOME DI ALDIMIRO. ZANINA.--p. 9.

itp 00087

89. Gl’inganni amorosi scoperti in villa GL’INGANNI/ AMOROSI/ SCOPERTI IN VILLA,/ Scherzo Giocoso/ DI LELIO MARIA LANDI,/ Da Rappresentarsi nel Teatro For-/ magliari l’Anno MDCXCVI./ Musica del Signor/ GIVSEPPE ALDROVANDINI./ DEDICATO/ Al merito Impareggiabile dell’Illustrissimo,/ e Reuerendissimo Monsignore/ ANTONIO FELICE/ ZONDODARI/ Degnissimo Vicelegato di Bologna./ In Bologna, per gli Eredi del Sarti, sotto le/ Scuole, alla Rosa, Con licenza de’Super. CMP Aldrovandini, Giuseppe Antonio Vincenzo (d.1707) LBT Landi, Lelio Maria 95 p., 13 cm. “Bologna li 28. Gennaro 1695.”/ --p. 4. 3 acts. Dedication. Lettor Cortese/[Protesta]. List of scenes. 3 ballets.

nel Teatro Formagliari 1696 “BALLI/ DI SPIRITI./ DI RUSTICI, CON ZAPPE./ DI VILLANI, E VILLANELLE.”--p. 9. Attempts are made to integrate the ballets into the drama. The first ballet takes place in act 1, scene 1 “Alceste fà ceno alli Spiriti, quali escono/ dalla Grotta, e formano il Ballo.” [“Alcestes makes a sign to the Spirits, who come out of the Cave and form a Dance.”]--p. 11. Sartori 13115 Imprimatur: “Vidit D. Alexander Giribaldus/ Cler. Reg. Congreg. S. Pauli,/ & in Eccl. Metropolit. Bono-/ niæ Poenitent. pro Eminen-/ tiss. & Reverendiss. Domino,/ D. Iacobo Card. Boncom-/ pagno Archiepisc. Bononiæ,/ ac Principe./ Imprimatur/ Fr. Dominicus Pius Fontana/ Provicarius Sancti Officij Bo/ noniæ.”/ - p. 95. The dedication is dated 28 January 1695. Because the new year did not begin until 1 March, Landi signed it in 1696. This is the libretto for the premiere of Landi and Aldrovandini’s opera. In NG, James L. Jackman and Sergio Durante point out that the opera is in Bolognese dialect except for the lead romantic roles. It was revived several times in Bologna and Modena during the years 1725-28, each libretto carrying the attribution to Landi and Aldrovandini. It is difficult to imagine a revival of an opera from the 1690s in the 1720s, considering the numerous developments that had taken place in Italian opera during these three decades. One assumes that Landi’s libretto and especially Aldrovandini’s music were substantially altered. The inspiration for this series of productions was probably the recent success of the Neapolitan dialect commedia per

The Baroque Libretto 135 musica, which could have suggested the revival of this old Bolognese comedy. itp pam 00006

90. Innocentiæ de hypocrisi triumphus INNOCENTIÆ/ DE HYPOCRISI/ TRIVMPHVS./ AD SANCTISSIMVM D.N.D./ INNOCENTIVM XII./ PONT. OPT. MAX. Harmonicè exprimetur/ In Oratorio Archiconfraternitatis SS. CRVCIFIXI/ Die xiy.Aprilis 1696. feria sexta ante Palmas/ PER FLAVIVM LANCIANVM ROMANVM./-- pre p. [3].

The Frontispiece contains an allegorical engraving by Arnold van Westerhout, depicting a woman holding a lamb and a flaming sword, with the inscription: “Zelavi Super iniquos” (pre p. [1]). The style of the picture is reminiscent of Carlo Marata, a prominent artist in Rome at the time. In a very different style is the mannered half-page crest at the end of the oratorio (p. 14). One of a series of Latin oratorios that Lanciani, the maestro di cappella for S. Maria Trastevere, composed between the years 1683 and 1706 for the Archiconfraternitatis SS. Crucifixi. The work as a tribute to the pope is reflected in the title and in the final line of the oratorio: “Viuit, Regnat, Triumphat INNOCENTIA.”--p.14. A contemporary note in the Roman copy states that the oratorio was performed in conjunction with a sermon by “P. A. D’Aquino, Gesuita.” An oratorio on a similar subject, Elia sacrificante, by Paolo Seta and Domenico Gabrielli, was performed in Bologna in 1688.

ROMÆ, M DC X CVI./ Ex Typographia Joannis Francisci Buagni./ Superiorum permissu.

lib pam 01471

CMP Lanciani, Flavio Carlo (1661-1706) LBT Capistrelli, Filippo

91. Abraham in Geraris

[8], 14 p., 19.5 cm.

ABRAHAM/ IN GERARIS/ ORATORIVM/ MVSICIS EXPRESSVM NVMERIS/ A PETRO ANTONIO/ CENNAMI./ Habitum in Oratorio Archiconfraternitatis/ SANCTISSIMI CRVCIFIXI./ Feria sexta post Dominicam primam Quadragesimæ/ Anni M.DC.XCVIII.

2 parts. Frontispiece. Dedication. Argomento. The dedication to Pope Innocent XII (16151700) is signed by Filippo Capistrelli./ --pre p. [6]

Personæ: ELIAS. ACHAB. ABDIA. IEZABEL. ANTISTES BAAL. PROPHETÆ DOMINI. BAALITÆ./ --pre p. [8]. In Oratorio Archiconfraternitatis SS. Crucifixi Die xiy Aprilis 1696, feria sexta ante Palmas Franchi (I) 708; Sartori 13282 (C-Tu not listed) The argomento, which is in Italian, lists the biblical source as “Ex Tertij Reg. cap.xij. & seqq.”--pre p. [7].

ROMÆ, M.DC.XCVIII./ Ex Typographia Lucæ Antonij Chracas, propè/ Magnam Curiam INNOCENTIANAM./ SUPERIORVM PERMISSV. CMP Cennami, Pietro Antonio LBT 15 p., 20 cm. 2 parts. Argomento. Imprimatur.

136 The Baroque Libretto

Interlocutores: ABRAHAM. SARA. REX. SERVUS.--p. 5.

3 acts. Half title page. Frontispiece. Dedication. Al Lettore. List of scenes. 1 ballet.

in Oratorio Archiconfraternitatis Sanctissimi Crucifixi Feria sexta post Dominicam primam Quadragesiamæ Anni MDCXCVIII [Friday after the first Sunday of Lent]

The dedication to Paola Maria Sfondrati Goldona Vidoni is signed by Salvi Sironi./ --p. 6.

Franchi (I) 731; Sartori 72 (C-Tu not listed as a location) The argomento, written in Italian, identifies the biblical source as “Gen. 20.”--p. 4 “Imprimatur./ Si videbitur Reuerendiss. Patri Apostolici Palatij/ Magistro./ Sperellus Episcopus Interamnen. Vicesg./ Imprimatur./ Fr. Gregorius Sellari Sacræ Theologiæ Magister, ac Reue-/ rendiss. P. Fr. Paulini Bernardinij Sac. Apost. Palatij/ Mag. Socius, Ordinis Prædic.”--p. 6. According to Franchi the first performance took place on 21 February 1698. It was apparently a modest in-house production that was never revived. lib pam 00549

92. L’Enone gelosa L’ENONE/ GELOSA./ PASTORALE PER MVSICA./ Da rappresentarsi/ Nel Teatro Ariberti/ l’Anno 1698./ CONSECRATO AL GRAN MERITO/ DELL’ILLVSTRISSIMA SIGNORA/ MARCHESA/ D. PAOLA/ MARIA/ SFONDRATI/ GOLDONA/ VIDONI./--p. [3].

Personaggi: ENONE. Sig. Ubaldesca Salvi Sironi di S. A. Serenissima di Mantova. PARIDE. Signora Angela Pretiosi della stessa Ser. A. LICORI. Sign. Catterina Covi di Mantova. FILENO. Sig. Tomaso Fabri di S. A. Sereniss. di Mantova. LISO. Sig. Pietro Paolo Pozzoni di Piacenza. SATIRO. Sig. Giacomo Trombetti di Cremona.--p. 8. Nel Teatro Ariberti 1698 The ballet is integrated into the opera and concludes act 2: “Segue il Ballo de Pastori.”--p. 30. Sartori 8950 (C-Tu is not listed) Half title page: “L’ENONE/ GELOSA.”--p. [1]. Engraving on frontespiece.--p. [2]. The preface includes a “Protesta”.--p. 7. The preface states that this is a new work: “Rapresentandoti in questo/ Illustriss. Teatro un nuouo/ diuertimento [..]” [“Staging in this Illustrious Theatre a new diversion...”] (p. 7). The dedication is signed by “Vbaldesca Salui Sironi/ detta la Pisanina.” (p. 6). Salvi Sironi sang the title role and probably also served as impressario (perhaps even composer and librettist). In a production during the same year in neighbouring Crema (Sartori 8949), the cast was completely different, except for Sironi in the title role. itp pam 00197

IN CREMONA/ Per il Zanni. con lic. de’ Sup.--p. [3] CMP LBT 44 p., 13 cm.

93. Marzio Coriolano MARZIO/ CORIOLANO/ Drama per Musica/ Da Rappresentarsi nel Famoso Teatro/ di S. Gio: Grisostomo./ L’ANNO

The Baroque Libretto 137

1698./ DI MATTEO NORIS/ CONSACRATO/ A Sua Eccellenza il Signor/ CARLO CONTE/ Di Manchester; Visconte di Mandevil; Baro-/ ne Montagù di Kinbolton; Pari d’Inghil-/ terra; Luogotenente del Rè nella Contea/ di Huntingdon; Capitano della Guardia/ Reale; Gran Siniscalco della nobilissima/ Vniuersità di Cantabrigia; & c. ed ora Am-/ basciatore Straordinario per la S.R.M. di/ Guglielmo III. Rè d’Inghilterra, Scotia,/ Irlanda, &c. &c. &c. alla Serenissima Re- / pubblica di Venezia./ IN VENEZIA M.DC.IIC/ Per il Nicolini/ Con Licenza de’Superiori, e Priuilegio. CMP [Pollarolo, Carlo Francesco (c.1653-1723)] LBT Noris, Matteo (1640-1708) 82 p., 14.5 cm. “Venetia li 18. Genaro 1697. M.V.”--p. 6. 3 acts. Double Frontispiece. Dedication. Argomento Istorico. Lettore. List of scenes. 3 ballets. st The dedication to Charles Montagu, 1 Duke of Manchester (c.1660-1722) is signed by Matteo Noris./ --p. 6.

Personaggi: MARZIO CORIOLANO. VETURIA. VOLUNIA. DOMIZIO. GALBA. TULIO. MILO. DUE FIGLIOLINI DI CORIOLANO. DONNE ROMANE. ESERCITO DI VOLSI. ESERCITO ROMANO.--p. 11. Teatro di S. Giovanni Grisostomo 1698 “BALLI/ Di Marinari./ Delle Plebe./ Di Soldati incendiarij.” [“DANCES Of Sailors. Of Commoners. Of Soldiers with incendiary weapons.”]--p. 12.

“Ballo di Marineri [sic].”--p. 30. End of I, ix (Scene x comes before this scene, xi follows scene ix.) “I Popoli continuano il loro ballo” [“The Populace continues its dance.”]--p. 41. End of II, iv. “Ballo di Soldati con facelle acese per incidiar i cadaueri.” [“Dance of Soldiers with lit torches to burn the bodies of the dead.”]-- p. 65. End of III, v. Allacci 513; Alm 452; Sartori 15044; Sonneck 736 Penned markings (“=“) and a few words are written in the margins (p.14-15, 29, 75). There are 2 pages of engravings facing each other before the title page, which is p. 1, and an additional cut-off leaf between p. 24 and p. 25, not affecting the incipits. There are a number of errors in the libretto. Scene numbers in Act I are written ix, x, ix, xi. There are 2 scenes labelled ix, the first with Volunia, Milo, Coriolano, and Tulio, the second one a speech/aria by Tulio alone. The incipits appear to be consistent but may be ambiguous when a scene starts on the next page. There is a flap of a blank leaf bound in before the first scene ix, while the second scene ix contains the Marinari ballet. Act III is missing scene vii, though incipits match. It also has two scenes marked xi; the first one is probably the x, which is missing. Some pages of this act are headed “secondo” instead of terzo, though incipits are consistent (pp. 61, 63, 67, 69). A Martio Coriolano had appeared in Venice in 1683 on a text by Silvanni with music by Perti. This new version of the subject by Noris was premiered during Carnival 1698. The contradiction between the date of the title page (1698) and the dedication (18 January 1697) is due to the fact that the latter is styled in more Veneto and should be interpreted as 18 January 1698. The libretto was dedicated by Noris to the English Ambassador in Venice. Although the composer is not mentioned, Allacci identifies him as “Carlo Francesco Pollaroli, Bresciano.” For more on this production, see Selfridge-Field, 230. The opera does not appear to have been revived. itp pam 00760

138 The Baroque Libretto

94. La chiesa trionfante

performed on Christmas eve of the Jubilee year 1700.

LA CHIESA/ TRIONFANTE./ Componimento per Musica/ Da cantarsi nel Palazzo Apostolico/ PER LA NOTTE/ DEL SANTISSIMO NATALE/ Nell’ingresso dell’Anno di GIVBILEO./

itp 00249

IN ROMA. MDCXCIX./ Nella Stamperia della Reu. Camera Apostolica./ Con licenza de’Superiori. CMP LBT [7] p., 20.5 cm.

95. David sponsæ restitutus DAVID/ SPONSÆ RESTITUTUS,/ DRAMA SACRUM/ AUCTORE/ FRANCISCO POSTERLA ROMANO,/ Musicis aptatum concentibus/ A NICOLAO FRANCISCO HAIM;/ Et decantandum in Oratorio Archiconfraternitatis/ SS. CRUCIFIXI/ Feria vi. post Dominicam primam Quadragesimæ/ Anni M DC XCIX./

1 part.

Interlocutori: LA CHIESA. LA RELIGIONE. LA FEDE. LA PENITENZA. IL TEBRO.--p. [2]. nel Palazzo Apostolico Del Santissimo Natale Nell’ingresso dell’Anno di Giubileo [24 December 1699] Franchi (I) 749; Sartori 5501 While I-Rn proposes Carlo Sigismondo Capece as the possible author of this libretto, according to Franchi the librettist is one Francesco Bambini. Apparently part of the revival in the seventeenth century of a tradition in which Christmas music with Italian words was presented followed by a banquet in the Apostolic Palace for the cardinals assisting at pontifical vespers, as well as matins and midnight mass on Christmas Eve. The entertainment was given after Vespers (Smither 1: 275). There are five allegorical characters with neither testo nor choruses. The entire work is a celebration of the current pope, Innocent XII. In spite of its modest dimensions (a mere six arias), the work was probably given a lavish production typical of the serenata, since it was

ROMÆ, Ex Typographia Joannis Francisci Buagni, 1699./ Superiorum permissu. CMP Haym, Nicola Francesco (1678-1729) LBT Posterla, Francesco [16] p., 19.5 cm. 2 parts. Argomento della prima Parte. Argomento della seconda Parte.

Interlocutores: MICOL. DAVID. SAUL. PHALTUS. CHORUS MILITUM.--p. [2]. in Oratorio Archiconfraternitatis SS. Crucifixi Feria VI post Dominicam primam Quadragesimæ Anni M DC XCIX (Lent, 1699) Franchi (I) 742-743; Sartori 7168 (C-Tu not listed) A two-part argomento written in Italian appears at the beginning of the oratorio and serves as a synopsis for Parts I and II. The sources for the text are listed at the end of the second Argomento: “al I. de’ Rè cap. 19. e 31. &/ al 2. libro al cap.3.” (p. [4]). A note at the bottom of p. 4 states that some arias (and some verse repetitions within arias) present in the text will be omitted in the

The Baroque Libretto 139 performance, “per non attediare con la longhezza.” [“not to annoy with length.”] Nicola Haym, who is known primarily for his literary achievements as a scholar and librettist, was the composer and not the librettist for this oratorio. Although Haym was later to serve as one of Handel’s opera librettists (or rather libretto adaptors), he was also a skilled cellist and composer. Franchi surmised the date of the first performance as 13 March 1699. lib pam 01415

96. Il Ruggiero IL RUGGIERO/ DRAMA MUSICALE/ Fatto rappresentare dall’A.S. di/ FRANCESCO PRIMO./ DUCA DI PARMA, &c./ Per festeggiar la comparsa delle/ ALTEZZE SERENISSIME DI/ RINALDO PRIMO,/ E/ CARLOTTA FELICITA/ DI BRANSVICH,/ Duca, e Duchessa di Modona./ COMPOSTO DA/ GIO: TAMAGNI/ GOVERNATORE DE SIGNORI PAGGI DI S.A.S./ Tra gli Arcadi Ammone Aconziano./--p. [3]. IN PARMA,/ Per Alberto Pazzoni, e Paolo Monti/ STAMPATORI DUCALI. MDCXCIX./ CON LICENZA DE’ SUPERIORI.--p. [3]. CMP Sabadini, Bernardo (d.1718) LBT Tamagni, Giovanni 61 p., 16.5 cm. “Inventore della Musica./ Sig. D. Bernardo Sabadini Mastro di Capella/ di S. A. S.”--p. 12. 3 acts. Coat of arms. Dedication. Amico Lettore. Argomento. List of scenes. 3 ballets. The dedication to Francesco Farnese, Duke of Parma and Piacenza (1678-1728) is signed by Giovanni Tamagni./ --p. 6.

Personaggi: RUGGIERO. BRADAMANTE. ADALINDA. PRASILDO. IROLDO.--p. 10. “Inventore delle Scene./ Sig. Ferdinando Bibiena Architetto di S. A./ Serenissima./ Inventore delle Macchine, e Voli./ Sig. Stefano Lollj servitore attuale di S. A. S.”--p. 12. “Inventore degli Abiti./ Sig. Cristoforo Frigeri servitore di S. A. S.”--p. 12. [1699] “Inventore de Balli./ Sig. Federico Crivelli Mastro di Ballo degli/ Illustrissimi Signori Paggi di S. A. S.”--p. 12. “Alla fine dell’ Atto Primo./ Ballo delle Furie.” [“At the end of the First Act. Dance of the Furies.”]-p. 10. Nota de’Cavalieri Paggi di S.A.S., che hanno operato nel primo Ballo delle Furie: Sig. Paolo Colletti da Udine; Sig. Giuseppe Tucci da Firenze; Sig. Mario Cansacchi d’Amelia; Sig. Pier Francesco Brà Veronese; Sig. Co: Claudio Bevilacqua Lazisi Veronese; Sig. Co: Gabrielle Bevilacqua Lazisi Veronese.--p. 11. “Alla fine dell’ Atto secondo./ Ballo degli Amori.” [“At the end of the Second Act. Dance of the figures of Love.”]--p. 10. Nel secondo Ballo degli Amori: Sig. March. Marcantonio della Torre Veronese; Sig. Gio: Battista Capra da Ravenna; Sig. Cesare Pallavicini Milanese; Sig. Cammillo Vimercati Milanese.--p. 11. “Alla fine dell’ Atto terzo./ Ballo degli Eroi.” [“At the end of the Third Act. Dance of the Heroes.”]-p. 10. Nel terzo Ballo degli Eroi: Sig. Co: Vincislao Anguissola Piacentino; Sig. Aletifilo Fumanelli Veronese; Sig. Paolo Colletti da Udine; Sig. Giuseppe Tucci da Firenze; Sig. Mario Cansacchi d’ Amelia; Sig. Pier Francesco Brà Veronese; Sig. Co: Claudio Bevilacqua Lazisi Veronese; Sig. Co: Gabrielle Bevilacqua Lazisi Veronese; Sig. Vitaliano Musatto Padoano.--p. 11. The first two ballets are described in stage directions where they occur, while the third one is simply named as following at the end of the scene.

140 The Baroque Libretto Sartori 20224

Franchi (I) 758; Sartori 6137

A coat of arms appears on p. [1].

Franchi suggests that the libretto may have been written by one of Cardinal Ottoboni’s favourite poets, Giovan Domenico Rosano (I, 758).

The writer of the argomento assumes that the reader is familiar with the origin of the story in Ariosto. Both the stage personnel and the dancers in this production seem to have been important, since they were named, whereas the singers were not. Perhaps the reason for singling out the dancers over the singers is the presence of several members of the aristocracy in the ballet (hence the designation “Sig. Co:”). Il Ruggiero was produced for the visit of the Duke and Duchess of Modena to the court of Parma, and was dedicated to their host, the Duke of Parma, by the author Giovanni Tamagni. Neither this nor the three other occasional works that Tamagni wrote for the Parmesan court at this time appear to have been revived. itp 00921

97. Componimento sagro a cinque voci

itp 00306

98. Le due auguste LE DUE AUGUSTE/ DRAMA PER MUSICA/ DA RAPPRESENTARSI/ su’l Teatro Formagliari/ l’ Anno 1700./ CONSECRATO/ All’ Illustriss. e Reverendiss. Monsig./ ANTONIO/ VIDMANI/ NOBILE VENETO,/ Protonotario Apostolico, del numero/ de’ Partecipanti, Refferendario/ dell’ una, e l’ altra Signatura,/ e Degnissimo/ VICELEGATO DI BOLOGNA./ IN BOLOGNA,/ Per l’ Erede di Vittorio Benacci./ Con licenza de’ Superiori.

COMPONIMENTO/ SAGRO/ A CINQUE VOCI/ SOPRA LA NASCITA/ DEL/ REDENTORE/ Da cantarsi nel Palazzo/ Apostolico./ L’ ANNO M.DCC./ IN ROMA, Nella Stamparia della Rev. Cam. Apost. 1700./ CON LICENZA DE’ SUPERIORI.

CMP Aldrovandini, Giuseppe (1671-1707) LBT Seta, Pietropaolo

CMP LBT

3 acts. Dedication. Argument. List of scenes. Imprimatur.

9 p., 21 cm.

The dedication to Antonio Vidmani is signed by Pietropaolo Seta./ --pre. p. [

MARIA VERGINE. S. GIOSEPPE. ANGELO. PRIMO PASTORE. SECONDO PASTORE.--p. 2. Palazzo Apostolico 1700

[12], 71 p., 15.5 cm. Date (ded.): “Bologna li 16. Agosto 1700.”--pre p. [6]. “armoniose lodi/ del Sig. Giuseppe Aldrovandini”--pre p. [7].

Interlocutori: IRENE. Sig. Angiola Geringh del Sereniss. di Mantova. TEODORA. Sig. Diamante Scarabelli del Seren. di Mant. COSTANTINO MONOMACO. Sig. Nicola Grimaldi di della Real Cap. di Nap.

The Baroque Libretto 141

TORCINIO. Sig. Francesca Venini del Sereniss. di Mant. EUDOSA. Sig. Cristina Sabattini del Sereniss. di Mant. LEONE SINCELLO. Sig. Margarita Prosdocima del Serenissimo di Mantova. TEOFILO. Sig. Giuseppe Marsigli del Sereniss. di Mant. ORASPE. Signora Teresa Borgonzoni. DELBO.--pre p. [10]. su’l Teatro Formagliari 1700 “Vidit D. Paulus Carminatus Cleric. Re-/ gul. S. Pauli, in Metropolit. Bonon/ Pænit. Rector, pro Eminentiss. & Re-/ verendiss. D. D. Iacobo Card. Bon/ compagno Archiepisc. & Principe.”-pre p. [12]. “IMPRIMATUR/ F. Io: Chrysostomus Ferrari Vicariu/ Gen. Sancti. Officii Bonon.”--pre p. [12].

POSTO IN MUSICA/ DA PIETRO PAOLO BENCINI./ DA CANTARSI/ Nella chiesa della Ven. Archiconfra-/ ternità della PIETA’ della/ Nazione de’Fiorentini/ in ROMA./ Per la seconda Domenica di Quaresima dell’ Anno/ DEL GIUBILEO, MDCC. IN ROMA. L’Anno del Giubileo, MDCC./ Nella Nuova Stamperia di Luca Antonio Chracas./ Presso la Gran Curia INNOCENZIANA./ CON LICENZA DE’ SUPERIORI. CMP Bencini, Pietro Paolo (c. 1670-1755) LBT Buonaccorsi, Giacomo 15 p., 21 cm.

Allacci 267; Sartori 8401

2 parts.

“alle ini-/ mitabil Apparenze di Scene del Sig. Ferdi-/ nando Galli Bibiena.” [“to the inimitable Appearance of the Scenes of Sig. Ferdinando Galli Bibiena.”]--pre p. [7].

Interlocutori: SAUL. GIONATA. MICHOL. DAVID.--p. [2].

In “Cortese Lettore”: “Ripor-/ tarono queste, anni sono, qualche/ aggradimento, quando sul Tea-/ tro Formagliari ti si fecero udire/ nel Giunio Bruto.” [“They were the cause of some gratification years ago, when they made themselves heard in the Giunio Bruto in the Formagliari Theatre.”]--pre p. [7]. The argomento (pre p. [9]) clearly distinguishes historical fact and dramatic action invented by the librettist, Seta, by adding the separate heading, “Si finge”, for the invented material.

Chiesa della Ven. Archiconfraternita della Pietà della Nazione de’ Fiorentini la seconda Domenica di Quaresima dell’ Anno 1700 Franchi (I) 751; Sartori 13341 First performed on 7 March 1700 (Franchi), this oratorio on the story of Saul and David was revived by the confraternity in Florence in 1703. itp 00100

itp pam 00005

100. Il trionfo di Maria Verg.e 99. L’innocenza protetta L’INNOCENZA/ PROTETTA/ ORATORIO/ A QUATTRO VOCI/ DELL’ ABBATE GIACOMO BUONACCORSI./

IL TRIONFO/ DI/ MARIA VERG.E/ ORATORIO/ PER MUSICA./ IN ROMA./ Per Domenico Antonio Ercole in Parione./ CON LICENZA DE’ SUPERIORI.

142 The Baroque Libretto CMP LBT [Pamphili, Benedetto (1653-1730)]

“Parole DI DOMENICO RENDA/ Accademico Infecondo,/ Musica DEL SIG. PIETRO PAOLO/ BENCINI.”--pre p. [4].

16 p., 28 cm. 3 acts. Half-title page. Preface. Imprimatur. 2 parts. Dedicated to Caterina Eleonaro of Lamberg.

Interlocutori: SPOSO, SPOSA, AMORE, ETERNITA’.--p.2 Franchi (II) 340; Sartori 242021 Franchi dates this oratorio 1700-1710, and attributes the libretto to Pamphili. He points out (II, 340) that Sartori is mistaken in the assertion that it is related to the Cantata per l’Assunzione della B. MA. Vergine (1703), whose text was attributed by Valesio to Pietro Ottoboni, and whose music was by Alessandro Scarlatti. See also item #196. itp 01092

Interlocutori: CILLANNO. Il Sig. Francesco Marianecci. ROSMINA. La Sig. Caterina Galerati. SILVERA. La Sig. Isabella de Piez. DAMETA. Il Sig. Vittorio Chiccheri. LICISCA. La Sig. Costanza Maccari. ADRASTO. Il Sig. Pasqualino Betti. RUSTENO. Il Sig. Silvestro Pittoni. RIVETTA. La Sig. Maria de Piez.--pre p. [10]. Nel Palazzo di Caterina Eleonora di Lamberg per il giorno natalizio dell’imperatrice regnante Eleonora Madalena Teresa [1702] Franchi (II) 10; Sartori 352

101. L’Adrasto L’ADRASTO/ FAVOLA BOSCERECCIA/ FATTA RAPPRESENTARE/ Dall’Illustriss.& Eccellentiss. Signora/ La Signora/ CATERINA ELEONORA/ DI LAMBERG &c./ Nata Contessa di Sprinzestein, Amba-/ sciatrice Cesarea./ Nel suo Palazzo per il giorno Natalitio/ Della Sacra Reale, e Cesarea Maestà/ DELL’IMPERATRICE/ ELEONORA MA-/ DALENA TERESA/ REGNANTE./--pre p. [3]. IN ROMA, PER LUCA ANTONIO CHRACAS/ PRESSO S. MARCO AL CORSO MDCCII./ CON LICENZA DE’ SUPERIORI.--pre p. [3]. CMP Bencini, Pietro Paolo (1675-c.1755) LBT Renda, Domenico [8], 64 p., 15 cm.

Half-title page: “L’ADRASTO/ FAVOLA/ BOSCHERECCIA.”--pre p. [1]. “Imprimatur,/ Si videbitur Reverendiss. P. Mag. Sac. Pal./ Apostolici./ Dominicus de Zaulis Episc. Ve-/ rulanus V. Gerens./ Imprimatur./ Fr. Cæsar Ludovicus Saminiati Magister,/ & Reverendiss. P. Sac. Pal. Apost. Mag./ Soc. Ord. Prædic.”--pre p. [9]. L’Adastro was first performed 8 January 1702 (Franchi II, 10). itp 00099

102. L’Analinda; ovvero, Le nozze col Nemico L’ANALINDA/ OVVERO/ LE NOZZE COL NEMICO/ DRAMA/ Per rappresentarsi in Firenze/ nel Teatro di Via del/ Cocomero/ NEL CARNEVALE/ DELL’ ANNO 1702./

The Baroque Libretto 143

IN FIRENZE. MDCCII./ Per Vincenzio Vangelisti. Con lic. de’ Sup. CMP [Scarlatti, Alessandro (1660-1725)] LBT

IN FIRENZE, MDCCII./ NELLA STAMPERIA DI SUA ALTEZZA REALE./ Appresso Pietro Antonio Brigonci./ Con Licenza de’ Superiori.

80 p., 15 cm.

CMP [Scarlatti, Alessandro (1660-1725)] LBT Noris, Matteo (d.1714)

3 acts. Argument.

[8], 64 p., 16 cm.

Personaggi: ANALINDA. Sig. Anna Maria Cecchi, detta la Beccarina. ADRASPE. Sig. Alessandra Scaccia di Mantova. ANAGILDA. Sig. Agata Vignali di Bologna. ORONTA. Sig. Maria Domenica Marini di Firenze. IDRENO. Sig. Giuseppe Scaccia di Mantova. OSMONDO. Sig. Giuliano Albertini di Firenze. NISO. Sig. Gio. Batista Calvi di Mantova. BLENA. Sig. Giovacchino Poggiali di Firenze.--p. 4.

“Egli è parto della già nota/ Penna del Signor Matteo Noris,” [“It is the fruit of the well-known Pen of Signor Matteo Noris,”]--p. [5].

Teatro di Via del Cocomero Nel Carnevale 1702 Sartori 16694 Malcolm Boyd’s NG article gives Alessandro Scarlatti credit for the music of this opera, but the librettist is unknown. This 1702 production is a revival of the 1695 original, given at the Teatro di S. Bartolomeo in Naples as Le nozze con l’inimico, o vero L’Analinda. It seems to have been known by many names: Sartori lists this libretto as “Le Nozze col nemico” (16694), and the argomento refers to it as “le NOZZE DEL NEMICO” (p. 3). Short sections of the libretto text are in italics (pp. 58, 62, 65), possibly cuts made for this production. itp pam 00013

103. Il Flavio Cuniberto FLAVIO/ CUNIBERTO/ DRAMA PER MUSICA/ RAPPRESENTATO/ NELLA VILLA/ DI/ PRATOLINO./

3 acts. Argument/Protesta. List of scenes.

Personaggi: FLAVIO CUNIBERTO. ERNELINDA. LOTARIO. UGONE. EMILIA. TEODATA. GUIDO. VITIGE. BLESO.–pre. p. [7]. Nella Villa di Pratolino Allacci 362; Sartori 10724; Sonneck 518 The librettist is identified in the argomento as Matteo Noris. However, the text was revised by an unnamed author, who changed the arias in order to introduce some variety into a well known story. The author of the argomento expresses the hope that Noris will not misconstrue the revisions as a criticism of his ability, since no such criticism is intended. There are small printed slips of paper pasted into libretto changing individual words or scene directions (18,23,28,34,44). Many of the handwritten notes throughout the libretto have been cut off. Sartori, Sonneck, and Allacci all give Giovanni Domenico Parteno (d. 1701) credit for the compostion of this opera, a restaging of its 1682 Venice original. Malcolm Boyd (NG), however, gives Scarlatti credit for this 1702 production, set to the same libretto by Noris. Weaver (192) also makes it clear that Scarlatti is the composer of this production. Manferrari (44) gives Partenio credit for the Venice original, but mistakenly gives the year as 1692, not 1682. itp 00980

144 The Baroque Libretto

104. Tullo Ostilio IL TULLO/ OSTILIO/ DRAMA PER MUSICA/ RAPPRESENTATIO IN SIENA/ L’ Anno 1702./ E dedicato all’ Illustrissimo Signore/ MASSIMILIANO ANTONIO/ Egidio Fugger/ Di Kirchberg, e Veissenhorn,/ Conte del S. R. Imperio, Signore di VVaffer-/ borg, Biberbach, VVelden, Gablingen,/ VVellenborg, Reinershaufen,/ Rettenbach, Guetenhau, e/ VValdben;/ Cavaliere della Chiave d’ oro di S. A. E./ di Baviera &c./ In SIENA nella Stamparia del Publico 1702./ Con Licenza de Superiori./ Fantini, e Gatti Stampatori.

Sartori 24110 (C-Tu not listed) Tullo Ostilio, with words by Adriano Morselli and music by Marc Antonio Ziani, was first produced at San Salvatore in Venice in 1685 (Sartori 24098). It was performed in Reggio Emilia in 1686, under the title Alba soggiogata da’ romani. In 1694, the libretto was revised by Silvio Stampiglia, and set by Govanni Maria Bononcini for Rome (Sartori 24106). A handwritten pencil notation inside the front cover of the present libretto suggests mistakenly that this is the Morselli/Ziani version. itp 01980

105. De inopia copia

3 acts. Dedication. Argument.

DE INOPIA/ COPIA./ IN ORATORIO/ ARCHICONFRATERNITATIS/ SANCTISS. CRUCIFIXI/ PER PETRUM PAULUM BENCINUM/ ROMANUM/ Ecclesiæ Beatæ MARIÆ de Anima/ inclitæ Nationis Germanicæ/ Chorostatam./ Feria sexta post tertiam Dominicam Quadragesima/ harmonice expressa.

The dedication to Massimiliano Antonio Egidio Fugger is signed by “Gl’ Interessati”/ --p. 5.

ROMÆ, MDCCIII./ Ex Typographia Ioannis Francisci Buagni./ Superiorum permissu.

Personaggi Di Roma: TULLO OSTILIO. Sig. Antonio Dameli. MARZIA. Signora Diamante Maria Scarabelli. VALERIO. Sig. Niccola Remolini. CELIO. Personaggio muto. IRENE. Sig. Francesco Passerini.--p. 7. Personaggi d’ Alba: SILVIO. Sig. Gio: Battista Tamburini. ASCANIO. Signora Caterina Galerati. SABINA. Signora Vittoria Costa. MILLO. Sig. Stefano Coralli. AMBASCIADOR. Sig. Marc’ Antonio Berti.--p. 7.

CMP Bencini, Pietro Paolo (c. 1670-1755) LBT Capistrelli, Filippo

CMP [Bononcini, Giovanni (1670-1747)] LBT [Stampiglia, Silvio (1664-1725) after Adriano Morselli (fl. 1676-91)] 68 p., 13.5 cm. Date (ded.): “Siena 12. Giugno 1702.”--p. 5.

L’Anno 1702

16 p., 20 cm. 2 parts. Argument.

Personæ: ABRAHAM. LAZARUS. EPULO. VAGAO FAMILIARIS EPULONI. IABEL MUSICUS. DOEMONES.--p. 4. In Oratorio Archiconfraternitatis Sanctiss. Crucifixi Feria sexta post tertiam Dominicam Quadragesimæ [1703] Franchi (II) 17; Sartori 7239

The Baroque Libretto 145 At the bottom of the last page is printed “PH. CAPISTRELLIUS.”

107. Gli imenei stabiliti dal caso

According to Franchi, the date of the performance was 16 March 1703.

GLI IMENEI/ STABILITI/ DAL CASO/ Drama per Musica/ Da rappresentarsi nell’Antichissimo/ Teatro Tron di S. CASCIANO./ L’ANNO 1703/ CONSAGRATO/ All’ Alta Eccellenza del/ Signor Principe/ ANNIBALE/ Del Sacro Romano Impero,/ Principe di Mitenburgh, Conte/ di Porzia, Brugnara, Spital &/ Ortemburgh, Signore di Rago-/ gna, Senesecha, Premb,/ Leu-/ tempoch &c.

lib pam 00286

106. Jacob et Rachelis amor pudicus IACOB, ET RACHELIS/ AMOR PUDICUS./ MELODRAMMA/ DOCTORIS PAULI GINI/ In Sacello Archiconfraternitatis/ SANCTISS. CRUCIFIXI/ Apud S. MARCELLUM Urbis/ concinendum./ MODULIS EXPRESSUM/ A DOMINICO PHILIPPO BOTTARIO/ LUCENSI./ Feria vj. Dominicæ Passionis./ ROMÆ, MDCCIII./ Ex Typographia Ioannis Francesci Buagni./ Superiorum permissu. CMP Bottario, Domenico Filippo LBT Gini, Paolo 15 p., 19.5 cm. 2 parts. Argument.

Interlocutores: IACOB. RACHEL. LIA. LABAN.--p. 4. In Sacello Archiconfraternitatis Sanctiss. Crvcifixi Franchi (II) 17; Sartori 13991 (C-Tu not listed) The argomento, written in Italian, lists the biblical source as “nella Sacra genesi al cap. 28. e 29.”-p. 3. First performed in Rome, 30 March 1703 (Franchi II, p.17). lib pam 00374

IN VENEZIA M.DCC.III./ Per li Heredi Nicolini./ Con Licenza de’ Sup. e Privilegio. CMP Gasparini, Francesco (1661-1727) LBT Silvani, Francesco (1660-1728/44) [2], 72 p., 14 cm. 3 acts. Frontispiece. Dedication. Argument. Preface. List of scenes. 2 ballets. Dedicated to Hannibal, Prince of Mittenburg./ -p. 4.

Attori: CLOTILDE. LINDORO. SIGISMONDO. OLINDO. LICIMENE. RICARDO. Teatro Tron di S. Casciano L’Anno 1703 Allacci 439; Alm 498; Sartori 12799; Sonneck 612 BALLI/ 1 Di Statue/ 2 Di Pazzi” [“DANCES 1 Of Statues 2 Of Madmen.”]–p. 12. The ballets do not do not appear in the libretto itself. There are a number of cuts indicated throughout by versi virgolati. The frontispiece contains the caption “TEMPORI APTARI DECET.” This same motto, from Seneca’s Medea, appears in #116, Armida al Campo (Venice, 1707).

146 The Baroque Libretto According to Selfridge-Field (253), it was first performed 26 December 1702.

(John Walter Hill, “Oratory Music in Florence, II”, Acta Musicologica 51 (1979): 246-267, 262).

itp 00445

itp 01825

108. La notte felice

109. Venceslao

LA NOTTE/ FELICE/ ORATORIO/ PASTORALE/ DA CANTARSI NELLA CHIESA DE’ PADRI/ DELLA CONGREGAZIONE/ DELL’ ORATORIO/ DI S. FILIPPO NERI/ DI FIRENZE./ POSTO IN MUSICA/ DAL SIG. ANTONFRANCESCO PIOMBI./

VENCESLAO/ DRAMA/ Da rappresentarsi per Musica/ Nel Teatro Grimani./ In S: Gio: Grisostomo/ A Sua Eccellenza/ Il Signore/ FILIPPO RANGONI/ Sig:re di Spilambert, Torre/ Gorzano/ Castelnovo/ Campiglio, Denzano,/ Villa Bianca, Rosolà/ e Tavernelle, Co: di Cord.no/ e S. Cassano, Bar:ne di Perm:er/ in Avignone, March./ di Montaldo nel piemo.te/ ec. March. di Rocca Bianca, Fontanelle, Telarolo, Stagno./

IN FIRENZE M.DC CIII/ Per Michele Nestenus, e Antonmaria Borghigiani./ Con licenza de’ Superiori. CMP Piombi, Anton Francesco (1680-1726) LBT [12] p., 20 cm. 2 parts.

Interlocutori: AMINTA. SILVIO. FILENO. CELINDO./--p. [2]. Nella Chiesa de’ Padri della Congregazione dell’Oratorio di S. Filippo Neri Sartori 16649 (C-Tu not listed) BDW Gionata assoluto. Anton Maria Palucci. (librettist unkown). 1716. Piombi’s only surviving oratorio is S. Teresa, produced in Florence the same year as La notte felice (1703). John Walter Hill derided this piece as “dreadfully inept,” though he remarked that its markings of “soli” and “tutti” are the only indication of Roman-style concerto-grosso orchestration in Florentine oratorios. Such orchestras rarely had more than four players

IN VENEZIA MDCCIII/ Appresso Girolamo Albrizzi/ Si Vende in Merce:a alla pace./ Con Lic. e Privil. CMP Pollarolo, Carlo Francesco (c.1653-1723) LBT Zeno, Apostolo (1668-1750) 72 p., 15.2 cm. “La Musica è del Signor Carlo Polaroli, ventesi-/ ma sua fatica in questo solo Teatro.” [“The Music is by Signor Carlo Polaroli, his twentieth work for this Theatre alone.”]--p. 11. “Si vende da Marino Rossetti,/ Alla Pace in Merceria.” [“Sold by Marino Rossetti, in Pace in Merceria.”]--p. 72. 5 acts. Dedication. Argument. Preface. List of scenes. 3 ballets. The dedication to Filippo Rangoni is signed by Apostolo Zeno./ --p. 6.

Attori: VENCESLAO. Il Signor Giovanni Buzzoleni. CASIMIRO. Il Signor Niccola Grimaldi. ALESSANDRO. Il Signor Pietro Moggi. LUCINDA. La Signora Diamante Maria Scarabelli. ERNANDO. Il Signor

The Baroque Libretto 147

Francesco de Grandis. ERENICE. La Signora Caterina Azzolini. GISMONDO. Il Signor Giambatista Tamburini./--p. 11. Nel Teatro Grimani in S. Gio: Grisostomo “Inventore delle Macchine e delle Scene è ‘l/ solito Signor Tommaso Bezzi.” [“The inventor of the Machines and the Scenes is as usual Signor Tommaso Bezzi.”]--p. 12. “Pittore il solito Signor Giuseppe Sartini.” [“The painter is, as usual, Signor Giuseppe Sartini.”]-p. 12. Allacci 805; Alm 501; Sartori 24454; Sonneck 1121 The ballets are an integral part of the opera as explained in the stage directions at p. 28, p. 52 and p. 72. The dedication suggests that the drama was privately performed for Filippo Rangoni and then presented at the Grimani Theatre (Sonneck). In the preface to the reader, the author explains that Mr. Rotrou was the first to deal with this subject, which was greatly appreciated in France. Then “Pier Cornelio” with his poem reached perfection; the “tragicommedia” was then translated into Italian by a “Cavaliere” whose name the author does not mention. Later the work was adapted for the stage. The production in question is therefore an adaptation with additions and changes that, according to the author, will be easily identified by the scholar (p. 8). The entire title page is an engraving, not type set, with elaborate border. The final scene contains four couplets for air (“L’ARIA”), fire (“IL FUOCO”), water (“L’ACQUA”), and earth (“LA TERRA”) before a final ballet (“Segue la danza di popoli sestaggianti con suono, e canto”) and then a final refrain (“Tutti. Vivi e regna fortunato &c.”) on p. 72. This setting was revived at the end of 1703 in Florence. For more details on the Venice productions, and on re-settings of the text, see Selfridge-Field, 256-257. itp pam 00764

110. Artaserse ARTASERSE./ Drama per Musica/ Da rappresentarsi nel Teatro/ di Sant’ Angelo l’anno/ M.DCCV./ CONSACRATO/ Alla Serenissima Altezza Elettorale/ DI/ GIORGIO/ LODOVICO/ Duca d’Hannover, Brunsuic,/ Luneburg, &c. IN VENEZIA, M.DCCV./ Appresso Marino Rossetti./ In Merceria, all’ Insegna della Pace. Con Licenza de’ Superiori, e Privilegio. CMP Giannettini, Antonio (1648-1721) LBT Zeno, Apostolo (1668-1750) and Pietro Pariati (1665-1733) 72 p., 14 cm. “La Musica è del Sig. Antonio Giannettini,/ Mastro di Cappella di S. A. S. di Modana.” [“The Music is by Sig. Antonio Giannettini, Maestro di Cappella of His Serene Highness of Modana.”]-p. [11]. “Venezia li 8. Gennajo 1705.”/ --p. [6]. 3 acts. Dedication. Argument. Preface. List of scenes. Dedicated to George I, King of Great Britain (1660-1727)./ --p. [6].

Attori: ARTASERSE. Il Signor Francesco Guicciardi, Modanese. AGAMIRA. La Signora Costanza Maccari, Romana. IDASPE. Il Signor Niccola Paris, detto di Brunsuic, Musico della Maestà Cattolica di Filippo V. nella Real Cappella di Napoli. SPIRIDATE. Il Signor Giuliano Albertini, Fiorentino, Musico di Sua Altezza Reverendissima il Signor Cardinal di Toscana. ASPASIA. La Signora Anna Maria Marchesini, Bolognese, Virtuosa di sua Altezza Reverendissima il Signor Cardinal di Toscana. BERENICE. La Signora Caterina Valsecchi, Veneziana. DARIO. Il

148 The Baroque Libretto

Signor Geminiano Raimondini, del Final di Modanna. LIDO. Il Signor Jacopo Trojani Romano./ --p. [11].

IN FIRENZE. MDCCV./ Per Vincenzio Vangelisti . Con licenza de’ Superiori.--pre p. [1].

Teatro di San’Angelo l’anno 1705

CMP Orlandini, Giuseppe Maria (1676-1760) LBT Colzi, Bernardo

Allacci 119; Alm 518; Sartori 2918; Sonneck 169

[2], 24 p., 20.5 cm.

The preface (A chi legge) contains a note indicating that the libretto was based on a play by Giulio Agosti: “L’Artaserse di Giulio Agosti Reggiano uscí dalle Stampe di Reggio fino l’anno 1700 [...] e siccome fu lavorato e con giudizio, e con forza, piacque a chi ha direzione del Teatro, in cui ora si rappresenta, che con la minor diversità che fosse possibile, venisse ridotto in un Drama Musicale proporzionato al luogo, ed alle persone, che debbono esserne gli Attori.” (p. [9]). [“Artaserse by Giulio Agosti of Reggio was published there in 1700...and since it was written with taste and skill, it pleased the director of the theatre where it is now being staged, and with as few changes as possible, was made into a musical drama suitable for the venue and the actors.”] The production had a strong Modenese connection, with the original drama by Agosti published in Reggio in Emilia and dedicated to the Duke of Modena and the composer and several of Modenese background. For more details on this production, see Selfridge-Field, 265-266.

“[...] m’ha reso ardito di far com-/ parire alla luce sotto l’ombra dell’Ec-/ celso nome di V.A.S. questo mio pic-/ colo Poetico Componimento; [...] Bernardo Colzi.” [“made me eager to bring to light under the shadow of the Excellent name of Your Serene Highness my small Poetic Composition; … Bernardo Colzi.”]--p. 1-2. “Ogni rincrescimento poi/ che poteste arrecarvi la lettura del componimento medesimo/ sarà compensato dalla dolcezza, e dallo spirito della Musica/ del Sig. Giuseppe Maria Orlandini.” [“The sense of annoyance you may feel in reading the content of the same will be compensated by the sweetness and spirit of the Music by Sig. Giuseppe Maria Orlandini.”]--p. 3.

itp 00467

2 parts. Dedication. Preface. The dedication to Cosimo III de’ Medici (16701723) is signed by Bernardo Colzi./ --p. 2.

Interlocutori: S. LUCIA. EUTICHIA. PASCASIO. FLAVIO./ --p. 4. Cori: DI ROMANI. DI SIRACUSANI. DI CRISTIANI./ --p. 4. Sartori 6846

111. La costanza trionfante nel Martirio di Santa Lucia LA COSTANZA/ TRIONFANTE/ NEL MARTIRIO/ DI SANTA LUCIA/ Rappresentazione Sacra/ DEDICATA/ ALL’ALTEZZA SEREN.MA/ DEL SIGNOR/ PRINCIPE/ DI TOSCANA./--pre p. [1].

Preface to the reader by the author, who acknowledges the contribution of the composer Giuseppe Maria Orlandini./ --p. 3. Performed at the Compagnia di San Jacopo (Hill 1986, 162). itp 01825

The Baroque Libretto 149

112. Statira STATIRA/ Drama per Musica/ Da Rappresentarsi nel Teatro/ Tron di S. Cassano/ Il Carnovale dell’Anno M.DCCV./ DEDICATO/ Alla Nobilissima Ecellenza di/ D. GIOVANNA/ CARACCIOLI/ Principessa di Santo-Buono, ec./ IN VENEZIA, M.DCCV./ Apresso Marino Rossetti./ In Merceria, all’Insegna della Pace./ Con Licenza de’ Superiori, e Privilegio./ --p. [1]. CMP Gasparini, Francesco (1661-1727) LBT Zeno, Apostolo (1668-1750) and Pietro Pariati (1665-1733) 60 p., 15 cm. 3 acts. Dedication. Argument. List of scenes. Dedicated to Giovanna Caraccioli, Princess of Santo Buono./ --p. 5

Attori: STATIRA. BARSINA. DARIO. ARSACE. ORIBASIO. ORONTE. IDRENO./ --p. 7. Teatro Tron di S. Cassano Il Carnovale dell’Anno 1705 Allaci 738; Alm 534; Sartori 22597; Sonneck 1034 The first performance of Statira was given on 3 February, 1706 (1705, Venetian style). Like the Taican libretto from 1707, the final page of the libretto is an advertisement for a variety of musical works and treatises available for purchase, “Opere Musicali stampate nuovamente da Antonio Bartoli in Venezia a Santa Maria Formosa in Calle Longa” (p. 60). This catalogue includes vocal works by Antonio Lotti, a cantata by Giovanni Battista Brevi, a solfege primer, and “Il Musico Testore”, a practical and theoretical work by “P. Zacc Tevo Min. Conv.”.

According to Selfridge-Field, this is the earliest opera for San Cassiano with a surviving text for comic intermezzi. Statira was revived (with revisions) in Florence in 1708 (see Weaver, 213). itp pam 00265

113. Venceslao VENCESLAO/ DRAMA/ Da rappresentarsi nel Regio Ducal/ Teatro di Milano l’anno 1705./ CONSECRATO/ ALL’ ALTEZZA SERENISSIMA/ DI/ SUSANNA/ ENRICHETTA/ DI LORENA/ PRINCIPESSA D’ELBEUF,/ DUCHESSA DI MANTOVA, &c. IN MILANO,/ Nella Reg. Duc. Corte, per Marc’ Antonio/ Pandolfo Malatesta Stampatore Reg. Cam./ Con licenza de’ Superiori. CMP Pollarollo, Carlo Francesco (1653-1723) LBT Zeno, Apostolo (1668-1750) [10], 69 p., 14.5 cm. 3 acts. Dedication. Argument. Preface. List of scenes. 3 ballets. The dedication to Susanna Enrichetta of LorenaElbeuf is signed by Antonio Piantanida./ --p. [4].

Attori: VENCESLAO. CASIMIRO. ALESSANDRO. LUCINDA. ERNANDO. ERENICE. GISMONDO.--p. [10]. Regio Ducal Teatro l’anno 1705 “Ballo di Popoli Polacchi, che festeggiano/ il Trionfo, e termina/ l’Atto Primo.” [“Dance of Polish People, who celebrate the Triumph and so ends the First Act.”]--p. 22. “Ballo di Scultori, che lavorano l’Urna,/ E termina l”Atto Secondo.” [“Dance of the Sculptors, who

150 The Baroque Libretto work on the Urn, and so ends the Second Act.”]-p. 46. “Ballo, che rappresenta i quattro/ Elementi, e termina/ il Drama.” [“Dance that represents the four elements and so ends the Drama.”]

CMP [Scarlatti, Alessandro (1660-1725)] LBT [Salvi, Antonio (1664-1724)] [8], 70 p., 17 cm. 3 acts. Preface. List of scenes.

Sartori 24456 The dedication is by Antonio Piantanida, a violinist who was probably responsible for directing the performance. The date of this dedication, 19 December, suggests that the opera was performed at the beginning of Carnival (i.e. 26 December) making the actual season, Carnival 1706. Zeno’s dramma per musica had originally been produced in Venice in 1703 (libretto in C-Tu; item #109) with music by Carl Francesco Pollarolo. Pollarolo’s music was undoubtedly employed in this production, albeit with certain changes. The preface concludes with a note that refers to the practice of “baggage arias” whereby singers would introduce favourite arias from other works into the current production: “Si sono douvte mutare alcune arie a pia-/ cere de’ Signori Attori, per le quali già/ avevano la Musica di lor genio, e queste/ non sono dell’ Autore” [“Some of the arias were changed to please the Actors, for which they already had Music to their liking, and these changes were not by the Author”] (p. [8]). The 1703 Venice production similarly contains a final scene depicting the four elements, but this earlier production contains sung couplets for each element (See entry #109). Zeno’s libretto is based on an earlier work by Rotrou and Corneille (Olga Termini, NG). itp pam 01543

Attori: TAMERLANO. BAIAZET. ASTERIA. ANDRONICO. LEONE. ROSSANE. TAMUR.--p. [6]. Nella Villa di Pratolino 1706 Sartori 12476 “Tut-/ to il resto, che si rappresenta nel/ Drama, parte è storico, parte è/ finto sul verisimile da Monsù Pra-/ don; di cui può dirsi tutto il Dra-/ ma; avendovi il solamente aggiunto/ il Personaggio di Rossane, e forma-/ tovi il secondo filo, per accomo-/ darmi a gli Attori, e per seguire/ il costume Italiano, solito introdur/ nella Scena almeno due Donne./ Per ritrovare quello, che vi è del/ mio, è necessario, che ti prenda la/ soddisfazione di leggere l’ Autor/ Franzese, e doppo avere ammira-/ ta l’ Opera di quello, compatire/ generosamente la mia;”--p. [4-5]. [“Part of what is represented in the text is historical and part is invented by Monsieur Pradon, who wrote the entire Drama; I have only added the Character of Roxane, and invented the second development, to please the Actors, and to follow the Italian custom, which usually introduces at least two women in the Scene. To find that which is mine it is necessary to read the French Author, and, after admiring his work, to generously pity mine.”]

114. Il Gran Tamerlano

The literary source indicated is Nicolas Pradon, Tamerlan ou la mort de Bajazet (1675).

IL GRAN/ TAMERLANO/ DRAMA PER MUSICA/ RAPPRESENTATO/ NELLA VILLA/ DI/ PRATOLINO./

Salvi is named as the librettist by Scarlatti in a letter to Ferdinando de’Medici, (reproduced in Mario Fabbri, Alessandro Scarlatti e il principe Ferdinando de’Medici, p. 82) and cited in Weaver (203). Typically for the Pratolino librettos, the performers are not listed, but Weaver cites further correspondence (Fabbri, 71) which gives Vittoria Tarquini as Asteria, and Giuseppe Canavese as Baiazet. A strip pasted

IN FIRENZE. MDCCVI./ Nella Stamperia di SUA ALTEZZA REALE/ Per Anton Maria Albizzini./ Con Lic. de’ Sup.

The Baroque Libretto 151 in the end of the preface, the protesta, expands what read [e vivi felice] to: “considerandole in bocca di Person-/ naggi infedeli; e vivi felice” [“considering them as spoken by characters outside the faith; and live happily”] (pre. p.[5]).

Bonetti. RAMBALDO. Il Sig. Andrea Colago. FILOMACO.--p. 11.

itp pam 00906

Alm 548; Sartori 2718

115. Armida abbandonata ARMIDA/ ABBANDONATA/ Drama per Musica/ Da rappresentarsi nel Teatro di/ Sant’Angelo L’Autunno/ dell’Anno 1707./ DEDICATO/ Agl’Illustriss. ed Eccellentiss. Sposi/ il Signor/ NICOLO’ CORNARO/ Procurator di S. Marco,/ E la Signora/ FRANCESCA SORANZA/ Procuratessa Cornara./ IN VENEZIA, MDCCVII./ In Spadaria per il Zuccato./ Con Licenza de’ Superiori, e Privilegio. CMP Ruggieri, Giovanni Maria (fl. c.1689-1720) LBT [Silvani, Francesco (1660-1728/44)] 60 p., 14 cm. Date (ded.): “Venezia li. 8. Novembre 1707.”--p. 6.

Nel Teatro di Sant’Angelo L’Autunno dell’Anno 1707

In the preface “LO/ STAMPATORE/ A chi Legge” it is stated that the drama is based on Torquato Tasso’s Gerusalemme liberata, and that often the same verses are used: “Vedrai ricamato il Dra-/ ma in più luoghi co’ versi medesimi del/ glorioso Poeta. Anzi nell’ultima Sce-/ na, in cui termina l’attione, egli si è te-/ nuto al più possibile religiosamente, à/ ciò che si legge nell’ammirabile Libro.” [“you will see the Drama embroidered in various places with the same verses of the glorious Poet. In the last Scene, where the action ends, the author has scrupulously kept as close as possible to what can be read in that admirable Book.”] The author wanted the “Repubblica de’ Letterati” to know that in the previous 20 years he had always presented his own works, therefore he considers it legitimate to take advantage, for once, of Tasso’s masterpiece. The publisher also acknowledges the contribution made by the composer and by the impresario, who had to overcome the “angustia del Teatro.” (p.7-10). Some lines are marked with versi virgolati. According to Selfridge-Field (279), the production opened 10 November 1707. itp 00917

“... dalle armoniche Note del Si-/ gnor Gio; Maria Ruggeri Maestro della/ Musica,...”--p. 9. 3 acts. Dedication. Preface. List of scenes. Dedicated to Nicolò Cornaro and Francesca Soranzo./ --p. 6.

Attori: ARMIDA. La Sig. Maria Anna Garberini Benti detta la Romanina. RINALDO. Il Signor Gioseppe Berti. TANCREDI. Il Sig. Francesco Bernardi detto il Sanesino. ERMINIA. La Signora Maria Cerè. UBALDO. La Sig. Lucia

116. Armida al campo ARMIDA/ AL CAMPO/ Drama per Musica/ Da rappresentarsi nel Teatro di/ Sant’ Angelo il Carnovale/ dell’ Anno 1707. M. V./ CONSAGRATO/ All’ Illustriss. & Eccellentiss. Sig. il Sig./ MARCHESE/ SCIPIONE SACRATI/ GIRALDI/ Marchese di S. Valentino, Cà di Reggio,/ e sue pertinenze. Nobile Romano,/ Ferrarese, e Modonese./--p. [3].

152 The Baroque Libretto

IN VENEZIA, MDCCVII./ In Spadaria per il Zuccato./ Con Licenza de’ Superiori, e Privilegio.--p. [3]. CMP Boniventi, Giuseppe (1660-1727) LBT [Silvani, Francesco (1660-1728/44)] 72 p., 14.5 cm. “Il Sig./ Gioseppe Boniventi Mastro di Cappella/ della Camera di S. A. Sereniss. di Man-/ tova è’ l Compositore della Musica.” [“Sig. Gioseppe Boniventi, Maestro di Cappella of the Chamber of His Serene Highness of Mantova is the composer of the Music.”]--p. 12. Date (ded.): “Veneziali 19. Gennaro 1707.”/ --p. 11. 3 acts. Frontispiece. Dedication. Preface. List of scenes. List of published musical works. Antiporta. Dedicated to Scipione Sacrati Giraldi./ --p. 11.

Attori: ARMIDA. La Sig Maria Anna Garberini Benti, detta la Romanina. RINALDO. Il Sig. Francesco Bernardi detto il Sanefino. GOFFREDO. Il Sig. Gioseppe Bigonzi. CLORINDA. La Sig. Gerolima Morena detta la Palermina’, Virtuosa di S. A. S. di Mantova. TANCREDI. Il Sig. Gioseppe Berti, Virtuoso di S. A. S. di Mantova. ARGANTE. La Sig. Lucia Bonetti. GERNANDO. Il Sig. D. Tomaso Fabris, Virtuoso della Capella Ducal di S. Marco.--p. 13. Nel Teatro di Sant’Angelo il Carnovale dell’Anno 1707 Allacci 112; Alm 555; Sartori 2754; Sonneck 151 There is a reference to a trumpet sounding, for a battle scene --p. 51. A list of nine Publications is titled “Opere Musicali fin’ ora Stampate in/ Venezia da Antonio Bortoli a/ S. Maria Formosa in/ Calle Longa.”--p. 70. The list includes instrumental sonatas and vocal works (madrigals and cantate

morali) by Carlo Marini, Antonio Lotti, Gio. Battista Brevi, Giorgio Gentili, Giovanni de Zotti, Luigi Taglietti, Giulio Taglietti. There is also a theoretical work by P. Zaccaria Tevo Min. Convent., and an easy solfeggi primer. Inside the back cover are two lists of characters and voice types, written in ink in eighteenthcentury script: “Armida Soprana/ Clorinda soprana/ Argante sopran m/ Rinaldo Sopran m/ Tancredi Contralto/ Gofredo Contralto/ Gernando Basso”/ [Ink line]/ “Armida Contralto/ Clorinda soprana m/ Argante Basso c. [?] Contralto/ Gofredo Basso/ Tancredi Sopran m/ Gernando Contralto/ Rinaldo Sopran”. Armida al Campo opened on 26 January 1708 (Selfridge-Field, 283). It was produced again in 1711, in Mantua, and under Boniventi’s own direction while he was maestro di capella for Carlo Guglielmo in Baden-Durlach. It was one of the few Italian-language operas produced there (Harris S. Saunders, NG). The Verso of the title page contains the quotation “Tempori aptari decet/ Sen. in Medea” (p. [4]). See also entry #107, Gli Imenei Stabiliti (Venice, 1703), which contains the same quotation. itp pam 00056

117. Jacob et Rachelis amor delusus IACOB, ET RACHELIS/ AMOR DELUSUS/ MELODRAMMA/ DOCTORIS PAULI GINI/ IN SACELLO ARCHICONFRATERNITATIS/ SANCTISSIMI/ CRUCIFIXI/ APUD S MARCELLUM URBIS/ CONCINENDUM/ Modulis expressum/ A DOMENICO PHILIPPO/ BOTTARIO LUCENSI/ ROMÆ, Typis Io: Francisci Buagni. MDCCVII./ In Viâ Catenarum propè Sapientiam/ Superiorum permiss u. CMP Bottario, Domenico Filippo LBT Gini, Paolo

The Baroque Libretto 153 16 p., 19.5 cm.

Nella Ven. Compagnia della Purificazione di Maria Vergine e di San Zanobi detta di S. Marco

2 parts. Argument. Sartori 20488

Interlocutores: IACOB. RACHEL. LIA. LABAN.--p. 4. In Sacello Archiconfraternitatis Sanctissimi Crvcifixi

According to Sartori, this is a re-working of Francesco De Lemene’s La Carità. See also Hill 1986, 164. itp pam 00908

Franchi (II) 50; Sartori 13990 (C-Tu not listed) Reference in argument: “Cap. 29. della/ Genesi.” [“Chapter 29 of Genesis.”]--p. 3. First performed in Rome, 8 April 1707 (Franchi II, p.50). lib pam 00373

118. San Filippo Neri S. FILIPPO NERI/ Oratorio a quattro Voci/ DA CANTARSI NELLA VEN. COMPAGNIA/ DELLA PURIFICAZIONE/ DI MARIA VERGINE/ E DI SAN ZANOBI/ DETTA DI S. MARCO./ MUSICA/ DEL SIG. ALESSANDRO SCARLATTI./ IN FIRENZE. MDCCVII./ Per Vincenzio Vangelisti. Con licenza de’ Superiori. CMP Scarlatti, Alessandro (1660-1725) LBT [12] p., 20.5 cm. “MUSICA/ DEL SIG. ALESSANDRO SCARLATTI.”--p. [1]. 2 parts.

Interlocutori: FEDE. SPERANZA. CARITA. S. FILIPPO.--p. [2].

119. Il selvaggio eroe IL/ SELVAGGIO/ EROE/ TRAGICOMEDIA/ EROICOPASTORALE/ Da rappresentarsi in Musica/ Nel famosissimo Teatro Grima-/ no di S. Gio: Grisostomo/ l’ Anno 1707./ IN VENEZIA/ Per Marino Rossetti in Merceria/ Insegna della Pace./ Con Licenza de’ Superiori CMP Caldara, Antonio (c.1670-1736) LBT Frigimelica Roberti, Count Girolamo 72 p., 14.7 cm. “La Musica è del Sig. Antonio Caldara Mae-/ stro di Cappella al Ser. di Mantova.”--p. 11. 5 acts. Publisher’s note. Preface. Argument. Place/Time/Action. List of scenes. 5 Ballets.

Le persone che parlano: GARGORE. Il Sig. Antonio Francesco Carli Virtuoso del Ser. Gran Principe di Toscan. GELINDA. La Sig. Santa Stella Virt. del Ser. di Mant. RAMIRO. Sig. Francesco Bruno. ALARDA. La Sig. Diamante Maria Scarabelli Virtuosa del Serenissimo di Mantova. ABIDE. Il S. K. Nicola Grimaldi. SERRANA. La Sig. Livia Nasini detta la Polacchina. BILBILI. Il Sig. Antonio Cottini Virtuoso del Seren. di Modena.--p. 12.

154 The Baroque Libretto Nel Teatro Grimani di S. Gio: Grisostomo l’Anno 1707

120. Stratonica

“I Balli sono invenzione di Monsieur l’Eveque/ ballarino di S.A.S. di Mantova.” [“The Dances are inventions of Monsieur l’Eveque, dancer of His Serene Highness of Mantova.”]--p. 11. “I BALLI/ Di Selvaggi dopo la Caccia./ Di Dame, e Cavalieri negli Appartamenti del Rè./ De’ Villani condotti alla Corte./ Di Varie Nazioni, ch’erano al servigio del Rè./ Di Corteggiani, e Selvaggi uniti a festaggia-/ re le Nozze del Selvaggio eroe con la Prin-/ cipessa Aldara.” [“THE DANCES of Savages after the Hunt. Of Ladies and Knights in the Apartments of the King. Of Villains led to the Court. Of Various Nations that were in service to the King. Of Courtiers and Savages united in celebrating the Marriage of the Savage hero with Princess Aldara.”]--p.[14].

STRATONICA/ DRAMA PER MUSICA/ Rappresentato/ IN FIRENZE/ NELL’ AUTUNNO/ Dell’ Anno 1707./ SOTTO LA PROTEZIONE./ DEL SERENISSIMO/ GRAN PRINCIPE/ DI TOSCANA./

Alm 551; Sartori 21475

Personaggi: SELEUCO. Sig. Giuliano Albertini di Firenze. ANTIOCO. Sig. Giulio Cavalletti di Roma. STRATONICA. Sig. Maria Anna Garberini Benti detta la Romanina. ARSINOE. Sig. Giovanna Albertini detta la Reggiana. TIGRANE. Sig. Antonio Pasi di Bologna. CLEONE. Sig. Alessandro del Ricco di Firenze. DORISBE. Sig. Antonio Pedreri di Bologna. LESBO. Sig. Pietro Paolo Pezzoni di Piacenza.--p. 5.

In the preface, the author explains that this drama is a “tragicomedia” because its characters are comic and tragic, and that it is heroic and pastoral at the same time because of the status of the characters: “Questo Drama è Tragicomedia,/ perché le persone operanti son parte Co-/ miche, parte Tragiche. È poi Eroico-/ pastorale, perchè le stesse persone, alcu-/ ne sono di condizione Eroica, ed altre/ di Pastorale. Come si dà il misto nelle/ prime, chi me le vuol negare nelle se-/ conde?” [“This Drama is a Tragicomedy, because the characters are comic and tragic. It is Heroic-pastoral because some of these same characters are heroes while others are shepherds. Since a mixture of characters is allowed in the first category, who can deny me the right to mix them in the second?”] He also explains that this mixture of comic and tragic, of heroic and pastoral, represents an innovation. He then discusses the plot with reference to Aristotelian principles (pp. 4-9). There is also a discussion of Aristotelian unities in the plot (p. 13). The list of scenes includes a list of scenes for the ballets, presumably integrated into the drama (p. 14). The opera was first performed 20 November 1707 (Selfridge-Field, 280). itp pam 00069

IN FIRENZE. MDCCVII./ Per Vincenzio Vangelisti. Con licenza de’ Superiori. CMP LBT Salvi, Antonio (1664-1724) 70 p., 14.8 cm. 3 acts. Preface. List of scenes.

nell’autunno dell’anno 1707 Sartori 22662 A revised version of this libretto formed the basis for a production in Naples in 1727 (Francesco Giuntini, “Modelli teatrali nei drammi per musica di Antonio Salvi” Revista de Musicología 16/1 (1993): 335-47). The protesta states “L’opera nel suo Idioma Francese ha già recevuto suoi Applausi. Nella traduzione no sò, se averà questa fortuna, tanto più, che dovendo servire alla Musica, ed alla brevità, è convenuto restingere, e lasciare molti di quei bellissimi sentimenti de’quali l’ha vestita l’Autore.” [“This work has already received Applause in its French Idiom. I do not know if it will have the same good fortune in translation, especially since it was necessary to adapt it to music and

The Baroque Libretto 155 shorten it for brevity, leaving out many of those beautiful sentiments that the Author dressed it with.”] (p. 4). The protesta explains that texts marked with versi virgolati are optional and to be used at the discretion of the performer (p. 4). itp pam 00925

121. Taican, re della Cina TAICAN/ RE’ DELLA/ CINA./ Tragedia per Musica/ Da rappresentarsi nel Teatro/ Tron di S. Cassano/ l’Anno 1707. IN VENEZIA, M.DCCVII./ Appresso Marino Rossetti./ In Merceria, all’Insegna della Pace./ Con Licenza de’ Superiori, e Privilegio. CMP [Gasparini, Francesco (1661-1727)] LBT [Rizzi, Urbano] [2], 82 p., 13.5 cm. “La Musica è del Sig. Francesco Gasparini.” [“Music by Sig. Francesco Gasparini.”]--p. 11. 5 acts. Frontispiece. Argument. Preface. List of scenes. 3 ballets.

Attori: TAICANO. La Sig. Francesca Vanini Boschi. VANLIO. Il Sig. Giambattista Roberti, Virtuoso del Sereniss. di Modanna. GEMIRA. La Sig. Santa Stella, Virtuosa del Ser. di Mantova. AGLATIDE. La Sig. Aurelia Marcello. ELMIRENA. La Sig. Maria Domenica Pini, detta la Tilla, Virtuosa del Sereniss. Gran Principe di Toscana. ZELIANO. Il Sig Francesco de Grandis, Virtuoso del Seren. di Modana. RUTENO. Il Sig. Giuseppe Maria Boschi. MITRANE. Il Sig. Don Nicola Pasini. SUNONE. Il Sig. Domenico Tollini, Virtuoso di S. M. Cesarea.--p. 9.

Teatro Tron di S. Cassiano 1707 “Le Decorazioni sono fatte dal Sig. Zenone./ Angelo Rosis Fiorentino.”--p. 11. “Di Ballo./ .../ Sono invenzione di Monsieur l’Eveque Balla-/ rino di S. A. S. di Mantova” [“Of Dance. … are the inventions of Monsieur l’Eveque, Dancer of His Serene Highness of Mantova”]--p. 12. Allacci 747; Alm 540; Sartori 22773; Sonneck 1047 The frontispiece features stylized Chinese sets and costumes. The publisher’s note refers to the use of vergole to show which lines were not performed, suggesting that passages were omitted to make time for the ballets and intermezzi (Liselta e Astrobolo): “Per lasciar tempo à gl’ in-/ tramezzi ridicoli, & a’/ balli, si taceranno nel-/ la Musica tutti li ver- si, che vedrai segnati/ nel margine.” [“To leave time for the comic intermezzi and the dances, the verses that are marked in the margin will not be performed in the Music.”] (p. 8). Taican was first performed on 4 January 1707. As in the Venetian Statira libretto from 1705 (#112), the final page of this libretto is an advertisement for a variety of musical works and treatises available for purchase, “Opere Musicali stampate nuovamente da Antonio/ Bartoli in Venezia a Santa Maria/ Formosa in Calle Longa” (p. 82). This catalogue includes vocal works by Antonio Lotti, a cantata by Giovanni Battista Brevi, a solfegge primer, “Il Musico Testore”, a practical and theoretical work by “P. Zacc Tevo Min. Conv.”, a trio sonata by Giorgio Gentili, a sonata for violin and cello by Giovanni de Zotti (op. 1), and a sonata for violin, cello, and continuo by Luigi Taglietti (op. 4). itp pam 00266

122. Teuzzone TEUZZONE/ DRAMA/ Da rappresentarsi per Musica/ Nel Teatro Tron di S. Cassano,/

156 The Baroque Libretto

Il Carnovale dell’ Anno MDCCVII./ DI A. Z. IN VENEZIA,/ Per Marino Rossetti in Merceria, all’/ Insegna della Pace./ Con Licenza de’ Superiori, e Privilegio. CMP Lotti, Antonio (1667-1740) LBT Zeno, Apostolo (1668-1750)

Clemente Monari. The two productions have in common the same stage designer. This Venice production featured the intermezzo Catulla e Lardone. Lotti’s version was the first in a long series of adaptations and re-settings, including L’inganno vinto dalla ragione by Giuseppe Vignola (Naples, 1708). Some cuts are made in this libretto, indicated by versi virgolati. itp pam 00420

60 p., 14.8 cm. “La Musica è del Sig. Antonio/ Lotti, primo Organista della/ Ducal Cappella di S. Marco.”--p. 6. 3 acts. Argument. List of scenes.

Interlocutori: TRONCONE. Sig. Don Niccola Pasini, Virtuoso dell Ducal Cappella di S. Marco. TEUZZONE. Il Sig. Domenico Cecchi, detto Cortona. ZIDIANA. La Sig. Francesca Vanini Boschi, Virtuosa del Serenissimo di Mantova. ZELINDA. La Signora Maria Domenica Pini, detta la Tilla, Virtuosa del Sereniss. Gran Principe di Toscana. CINO. Il Sig. Antonio Pasi. SIVENIO. Il Sig. Giuseppe Maria Boschi. ARGONTE. Il Sig. Antonio Tosi, Virtuoso di S.A. Elettorale Palatina. EGARO. Il Sig. Giuseppe Zani.--p. 5. nel Teatro Tron di S. Cassano Il Carnovale dell’Anno 1707 “Le Scene de’ Signori Domenico e/ Figliuoli Mauri.”--p. 6. “Gl’intermezzi saranno rappresentati dalla/ Signora Santa Marchesini Bolognese, e dal/ Sig. Giambatista Cavana.” [“The Intermezzi will be staged by Signora Santa Marchesini, from Bologna, and Sig. Giambatista Cavana.”]--p.5. Allacci 763; Alm 554; Sartori 23099; Sonneck 1066 The first setting of Zeno’s libretto was produced in Milan in 1706 with music by Paoli Magni and

123. Il trionfo della libertà IL TRIONFO/ DELLA/ LIBERTA’/ Tragedia per Musica./ Da rappresentarsi nel Famosissi-/ mo Teatro Grimano di S./ Gio: Grisostomo./ L’ Anno 1707./ IN VENEZIA, M.DCCVII./ Appresso Marino Rossetti./ In Merceria, all’ Insegna della Pace./ Con Licenza de’ Superiori, e Privilegio. CMP Scarlatti, Alessandro (1660-1725) LBT Frigimelica Roberti, Count Girolamo (16531732) 84 p., 14.5 cm. “La Musica è Virtuosa fatica del sempre Fa-/ moso Sig. Alessandro Scarlatti attual Mae-/ stro di Cappella di Sua Eminenza il Sig./ Cardinal Ottoboni.” [“The Music is the Virtuous labour of the ever Famous Sig. Alessandro Scarlatti, Maestro di Cappella of His Eminence the Cardinal Ottoboni.”]--p. 17. 5 acts. Preface. Synopsis. Sources of story. [Argument]. List of scenes and machinery.

Persone: LUCIO GIUNIO BRUTO. LUCIO TARQUINIO COLLATINO. TITO GIUNIO. TIBERIO GIUNIO. ARUNTE TARQUINIO. GELIA. TARQUINIA. ACQUILIA.--pp. 16-17. Persone Mute: LUCREZIA. TARQUINIO. DUE GELII. DUE ACQUILII. MAMILIO.-

The Baroque Libretto 157

-p. 17. Balli: SEGUACI DI TARQUINIA. GIARDINIERI. FURIE E SPIRITI. SEGUACI DI MARTE.--p. 24.

IN VENEZIA, MDCCVIII./ Appresso Marino Rossetti./ In Merceria, all’ Insegna della Pace./ Con Licenza de’ Superiori, e Privilegio.

nel Teatro Grimano di S. Gio: Grisostomo L’anno 1707

CMP Albinoni, Tommaso (1671-1750) LBT [Zeno, Apostolo (1668-1750) and Pietro Pariati (1665-1733)]

Allacci 787; Alm 545; Sartori 23863; Sonneck 1097 The libretto features extensive and detailed prefatory materials, reflecting the academic aspirations of the author. The argomento consists of two sections: Notizia Istorica and Notizia Poetica. The literary sources are identified as Dionysius of Halicarnassus, Livy, Valerius Maximus, and others (p. 12). There are three extensive quotations in Latin from an unidentified source (pp. 9-10). The cast list, to which have been added handwritten annotations, is followed by an analysis of the plot (pp. 18-22). The lists of scenes and machines are followed by a list showing four ballets (pp. 23-24). This tragedia per musica was one of a series of five-act operas produced in Venice around the turn of the century. itp pam 00909

124. Astarto ASTARTO/ Drama per Musica/ Da rappresentarsi nel Teatro/ Tron di S. Cassano/ L’ Autunno dell’ anno MDCCVIII./ A Sua Eccellenza/ IL SIGNOR/ FILIPPO/ ERCOLANI,/ Principe del S. R. I. Marchese di Florimonte,/ Intimo Consigliere di Stato di Sua Mae-/ stà Cesarea, e Suo Ambasciadore/ Ordinario appresso la Sere-/ nissima Repubblica di/ Venezia ec./

[12], 60 p., 16 cm. “La Musica è del Sig. Tommaso Albinoni.”--pre p. [11]. 3 acts. Frontispiece. Dedication. Argument. List of Scenes. Dedicated to Filippo Ercolani./ --pre p. [6].

Attori: ELISA. La Signora Santa Stella. ASTARTO. La Sig. Giovanna Albertini, detta la Reggiana. SIDONIA. La Sig. MariaAnna Garberini, detta la Romanina. FENICIO. Il Sig. Domenieo Cecchi, detto Cortona. NINO. Il Sig. Francesco Bernardi, detto il sanefino. AGENORE. Il Sig. Andrea Pacini. GERONZIO. Il Sig. Antonio Ristorini.--pre p. [11]. Nel Teatro Tron di S. Cassano L’Autunno dell’ anno 1708 “Gl’ Intermezzi saranno rappresentati dal Si-/ gnor Giambattista Cavana, e dalla Signora/ Santa Marchesini.” [“The Intermezzi will be staged by Sig. Giambatista Cavana and Signora Santa Marchesini.”]--pre p. [11]. “Le Scene sono del Sig. Antonio Lombardo.” [“Scenes by Sig. Antonio Lombardo.”]--pre p. [11]. Alm 562; Sartori 3234; Sonneck 175 Frontispiece: “L’/ ASTARTO.” --pre p. [1]. The libretto has a frontispiece (pre. p.[1]) and is contained within a beige cover, with “ZENO/ L’ Astarto/ VII/ ANON/ L’ Astarto/ 1709.” penned on the front. Opposite the title page is the quotation “Ridetur, chorda qui sem-/ per oberrat eadem.”

158 The Baroque Libretto (pre p. [2]), taken from Horace’s Ars Poetica. [“Laughable is he who always plays the same chord.”] This libretto formed the basis for Paolo Antonio Rolli’s adaptation, set by Giovanni Bononcini, first in Rome in 1715, and subsequently in London in 1720 (Lowell Lindgren, NG). It also formed the basis for a re-working by Domenico Lalli, set by Baldassare Galuppi and performed as Elisa, Regina di Tiro at Teatro san Angelo in 1736 (Alm 880). itp 00014

125. Dina Vindicata DINA/ VINDICATA/ Melodrama/ IO: FRANCISCI CECCONI/ Musicis adaptatum modulis/ A GREGORIO COLA ROMANO/ Concentus Moderatore/ In Ecclesiis Sanctæ MARIÆ de Plantu/ ac SS. Redemptoris &c./ Canendum/ In Sacello Archiconfraternitatis/ SANCTISSIMI/ CRUCIFIXI/ Feria IV. post Dominicam primam Quadrigesima./ ROMÆ, Typis Io: Francisci Buagni. MDCCVIII./ Superiorum Facultate. CMP Cola, Gregorio LBT Cecconi, Giovanni Francesco 16 p., 19.5 cm. 2 parts. Argument.

Intelocutores: DINA. SIMEON. SICHEM. HEMOR.--p. 2. Sanctæ Mariæ de Plantu Feria IV. post Dominicam primam Quadragesima. Franchi (II) 57; Sartori 7890 (C-Tu not listed)

Dina Vindicata is taken from Genesis 34, the story of Jacob’s sons’ revenge upon Shechem and his village for the rape of their sister, Dinah. It was first performed on 2 March 1708 in Rome (Franchi II, p.57). The argument is in Italian. lib pam 00616

126. Il figliuol prodigo IL/ FIGLIUOL/ PRODIGO/ ORATORIO/ Posto in Musica/ DAL SIGNOR/ CARLO FRANCESCO CESARINI./ IN ROMA, nella Stamperia del Bernabò. MDCCVIII./ CON LICENZA DE’ SUPERIORI. CMP Cesarini, Carlo Francesco (1666-after 1741) LBT [Pamphili, Benedetto (1653-1730)] [30] p., 19 cm. 2 parts.

Interlocutori: IL PADRE. LA MADRE. IL FIGLIUOL PRODIGO. IL FRATELLO. UN MUSICO nel fine.--p. [3]. Franchi (II) 48; Sartori 10217 The first performance of Il figliuol prodigo took place 27 March 1707 at the Chiesa Nuova in Rome (Lowell Lindgren, NG). According to Franchi (II, 48) no libretto was printed for this performance. This libretto was printed for the 1 April 1708 performance at the same venue. The oratorio was revived again in 1712 at the Seminario Romano, during Lent (See Sartori 10221). itp 00217

The Baroque Libretto 159

127. Il fratricida innocente IL/ FRATRICIDA/ INNOCENTE/ DRAMA EROICO PER MUSICA/ Da rappresentarsi in BOLOGNA/ nel Teatro MALVEZZI/ L’ANNO MDCCVIII. IN BOLOGNA/ Per Costantino Pisarri, sotto le Scuole all’Insegna/ di S. Michele. Con licenza de’ Superiori. CMP [Perti, Giacomo Antonio (1661-1756)] LBT [Zeno, Apostolo (1668-1750)] 72 p., 16.5 cm. 3 acts. Argomento. List of scenes. Imprimatur.

Attori: VENCESLAO. Sig. Anton Francesco Carli, Virtuoso del Ser. Gran Principe di Toscana. CASIMIRO. Sig. Matteo Sassani. ALESSANDRO. Sig. Francesco Vitali. LUCINDA. Sig. Diamante Scarabelli, Virt. del Ser. di Mant. ERNANDO. Sig. Giovanna Albertini, detta la Reggiana. ERENICE. Sig. Maria Domenica Pini, detta la Tilla, Virtuosa del Ser. Gran Principe di Toscana./ GISMONDO. Sig. Giuseppe Marsigli.--p. 6 Nelli Balli: Madmoselle Courcel; Madmoselle Querilis; Madmoselle la Saveur; Monsieur Filebois; Monsiuer la Mamye; Monsieur Olanier.--p. 6. nel Teatro Malvezzi L’Anno 1708 Sartori 11030; Sonneck 533 Imprimatur: “Vid. D. Sebastianus Giribaldi Clericus Regularis/ Sancti Pauli, & in Ecclesia Metropolitana Bono-/ niae Poenitentiarius, pro Eminentissimo, & Re-/ verendissimo Domino D. Cardinali Iacobo Bon-/ compagno Archiepiscopo, & Principe./ Imprimatur./ Fr. Andreas Realis Vicarius Generalis S. Officii/

Bononiae.”--p. [72]. Il Fratricida innocente is an arrangement of Zeno’s Venceslao which first appeared in 1703 in Venice with music by Carlo Pollarolo (C-Tu contains the libretto (#113) to the Milanese revival of 1705). In one source (I-Bc) the music to the Bolognese production of 1708 is attributed to Perti, the principal Bolognese composer of the early 18th century. Sonneck’s attribution to Luca Antonio Predieri refers to a production in Foligno in 1713. itp pam 00743

128. Agrippina AGRIPPINA/ DRAMA/ Per Musica./ Da Rappresentarsi nel Famosis-/ simo Teatro Grimani di/ S. Gio:Grisostomo/ L’Anno M.DCCIX./ IN VENEZIA, M.DCCIX./ Appresso Marino Rossetti in Merceria,/ all’Insegna della Pace./ Con Licenza de’ Superiori, e Privilegio. CMP [Handel, George Frideric (1685-1759)] LBT [Grimani, Vincenzo (1652/1655-1710)] 60, [1] p., 14 cm. 3 acts. Argument. List of scenes. 4 Ballets.

Interlocutori: CLAUDIO. Il Sig. Antonio Francesco Carli. AGRIPPINA. La Sig. Margherita Durastanti. NERONE. Il Sig. Veleriano Pelegrini. POPEA. La Sig. Diamante Maria Scarabelli. OTONE. La Sig. Francesca Vanini Boschi. PALLANTE. Il Sig. Gioseppe Maria Boschi. NARCISO. Il Sig. Giuliano Albertini. LESBO. Il Sig. D. Nicola Pasini.--p. 5. Nel Teatro Grimani di S. Gio. Grisostomo L’Anno 1709

160 The Baroque Libretto Allacci 18; Alm 577; Sartori 508; Sonneck 44 The list of scenes includes a section for the ballets: “BALLI./ Di Tedeschi./ Di Giardinieri./ Di Cavalieri, e Dame.” [“DANCES. Of Germans. Of Gardeners. Of Knights and Ladies.”]--p. 6. At the end of the third act there is a ballet: “Segue il Ballo di Deità seguaci di Giunone.” [“The Dance of Deities, followers of Juno, follows.”]--p. 60. In the following page there is a title with no other indication: “L’IDEA/ DEL VALORE/ E DELLA/ COSTANZA.”--p. 61. Agrippina was first performed on 26 December 1709. Mainwaring’s famous claim that it was performed for 27 successive nights (Memoirs, 52) should be viewed in light of Selfrdige-Field’s note that the customary religious and civic holidays would likely have been observed (293). Agrippina was revised in Naples in 1713, with 11 new arias by Mancini. itp pam 00388

129. Camilla, regina de’ volsci CAMILLA/ REGINA DE VOLSCI/ DRAMMA PER MUSICA/ DEL SIGNORE/ SILVIO STAMPIGLIA/ Da recitarsi nel Teatro di Rimini./ L’ANNO MDCCX./ Dedicata al’Emo, e Remo Sig. Card./ TOMMASO RUFFO/ LEGATO DI ROMAGNA./

Personaggi: CAMILLA. LATINO. TURNO. LAVINIA. PRENESTO. MEZIO. TULLIA. LINCO./ --p. 7. “I Versi virgolati in margine si lasciano per brevita.” [“The Verses quoted in the margins are left out for brevity.”]--p. 8. 1710 Not in Sartori. Stampiglia and Bononcini’s original production premiered in Naples in December of 1696. The opera was set many times by many composers throughout the first half of the eighteenth century. There is no indication in the libretto that Bononcini is the composer, but his was the only score in use until Fiore’s setting in 1713. The dedication alludes to its success: “La Camilla nata già/ alle Scene di Napoli,/ a queste nostre rina-/ sce, nè punto decade/ dalla prima sua tanta altezza,/ poiché hà la forte di portare in/ fronte il glorioso Nome di V.E.” [“Camilla, born on the Stages of Naples, is now reborn on ours, nor does it fall from its previous height, because it is made strong by the glorious name of Your Excellency which it bears on its front.”] (p. 3). The final leaf (pp. 83-84) contains short additions in recitative to act I, scene v; act I, scene xiv; act II scene vi; act II, scene x; act III, scena ultima. The lengthy libretto contains many sections marked with versi virgolati. itp smb 00232

In Rimini, per il Ferraris Stamp. Vesc./ Con licenza dei Superiori./ --p. [1].

130. La madre de’ Maccabei

CMP [Bononcini, Giovanni (1670-1747)] LBT Stampiglia, Silvio (1664-1725)

LA MADRE DE MACCABEI/ ORATORIO/ Del Sig. Girolamo Gigli/ POSTO IN MUSICA/ DAL SIG. FELICE MERGURIALJ/ Organista della Chiesa Nova/ Da Cantarsi nell’Oratorio delli R.R. P.P. di/ S. FILIPPO NERJ/ DEDICATO/ All’Eminentiss. e Reverendiss. Signore il Sig. Cardinale/ LEANDRO/

84 p., 13 cm. 3 Acts. Dedication. Argomento. Protesta. List of Scenes. Aggiunte. Th dedication to Tommaso Ruffo (1663-1753) is signed by “Gli Uniti.”/ --p. 5.

The Baroque Libretto 161

COLLOREDO,/ SOMMO PENITENTIERE.

131. Astrobolo, e Lisetta

IN ROMA nella Stamperia del Monaldi. Con lic. de’ Superiori.

ASTROBOLO, E LISETTA/ INTERMEDJ/ IN MUSICA/ Nel fine di ciaschedun’ Atto della Tragedia./

CMP Merguriali, Felice LBT Gigli, Gerolamo (1660-1722) 12 p., 21 cm. 2 parts. Argument. Dedicated to Leandro Colloredo (1639-1709).

Interlocutori: MADRE. Sig. Girolamo Bigelli. FIGLIUOLO. Sig. Francesco Besci. ANTIOCO. Sig. Gioseppe Antonio Guerrieri. CONSIGLIERE. Sig Bernardino Bianchi.--p. 2. Oratorio S. Filippo Nerj Franchi (II) 337; Sartori 14585 The title page contains an engraving of a cherub holding a banner bearing “SOLI DEO HONOR ET GLORIA” (p. [1]). Franchi suggests this libretto dates from before 1709 (II, 337), although no dates can be given for any performance. Gigli’s text was first set to music by Giuseppe Fabbrini in 1688 in his hometown Siena. The oratorio was revived in Florence in 1694. During the early 18th century, Gigli’s text was given several new musical settings: by Attilio Ariosti in Vienna in 1704, by Giovanni Aldobrandini in Urbino in 1705, by Domenico Palafuti in Florence in 1714, and by Angelo Massarotti in Jesi in 1719. itp pam 00494

CMP [Caldara, Antonio (1670-1736)] LBT [Silvanni, Francesco (c.1660-1728/44)] 14 p., 17 cm. “POESIA DEL SIGNOR N. N.”--p. [1]. 4 Intermedi.

[Personaggi]: ASTROBOLO. Il Sig. Gio. Battista Cavana Mantovano. LISETTA. Il Signor Annibale Fabbri Bolognese.--p. [1]. [palazzo Cerveteri] [1711] Sartori 2455 This copy is not an independent publication, but fascicle A of an unidentified book. The fourth intermezzo is incomplete. Performed between the acts of Pradon’s L’Attilio Regolo, a “Tragedia (in prosa) da Franzese” [“Tragedy (in prose) from the French”] translated by Girolamo Gigili, produced at the palace of the Prince of Cerveteri in Rome during Carnival 1711. The music is attributed to Francesco Gasparini in I-Vgc. Gasparini undoubtedly composed the music to the original intermezzi, Lisetta e Astrobolo, which, according to Manferrari appeared in 1707, probably between the acts of Gasparini’s Amor generoso and Flavio Anicio Olibrio (the former a five-act opera, hence the four intermezzi). Although Manferrari gives the author as Francesco Silvanni, it is possible that “Signor N. N.” is Pietro Pariati, since these operas were composed in collaboration with Zeno and Pariati. The intermezzo was revived in 1714 in Modena alongside an anonymous Radamisto and in Parma alongside Orlandini’s Carlo re d’ Alemagna and in 1717 in Vienna alongside Caldara’s La verita’ nell’ inganno. No composer is mentioned. Robert Freeman includes it among

162 The Baroque Libretto Caldara’s works in NG; Caldara produced an opera and intermezzo in collaboration with Gigli at the Palazzo Cerveteri that same year and when the intermezzo was revived in Vienna, it appeared between the acts of a Caldara opera. Whether Caldara composed new music for the Roman production of 1711 or adapted Gasparini’s, the principal creator of this intermezzo was undoubtedly Giovanni Battista Cavana, who appeared in the original Gasparini production and in all the subsequent revivals, with the possible exception of the one in Vienna. Brian Pritchard (NG) gives first Lisetta ed Astrobolo, attributed to Caldara as included in Silvani’s Il Tiridate, overa La verità nell’inganno in Vienna, 11 November 1717. itp pam 00067

132. La Costanza fra gl’inganni LA COSTANZA/ FRA GL’ INGANNI/ DRAMA PER MUSICA/ Da Rappresentarsi/ IN FIRENZE/ NEL PRESENTE CARNOVALE/ Dell’ Anno 1711./ SOTTO LA PROTEZIONE/ DEL SERENISSIMO/ PRINCIPE/ DI TOSCANA./ IN FIRENZE MDCCXI./ Nella Stamperia di Cæsare Bindi. Con licenza de’ Sup./ Ad Instanza di Domenico Ambrogio Verdi. CMP LBT [Zeno, Apostolo (1668-1750)]

SIVENIO. Il Sig. Francesco Bernasconi di Bologna. ARGONTE. La Sig. Rosalba Giardi di Firenze. EGARO. Il Sig Luca Mengoni Virtuoso del Serenissimo Principe di Toscana.--p. 6. Nel presente Carnovale dell’Anno 1711 Sartori 6798 BDW Merope. Francesco Gasparini. Apostolo Zeno. 1713. / Il comando non inteso, ed ubbidito. Francesco Gasparini. Francesco Silvani. 1715. / Lucio Papirio. Francesco Gasparini. Antonio Salvi. 1716. / Griselda. (composer unknown). Apostolo Zeno. 1719. / Partenope. Luca Antonio Predieri. Silvio Stampiglia. 1719. / Lo speziale di villa. (composer unknown). Cosimo Giovanni Villifranchi. 1719. / La serva nobile. (composer unknown). Giovanni Andrea Moniglia. 1720. According to Sartori, this is a version of Il Teuzzone. Weaver (222) speculates that Giuseppe Maria Orlandini (1676-1760) is the composer as he wrote the score to the Teuzzone, according to Tagliavini, produced in Ferrara in the spring of the same year. Antonio Lotti also set this text in Venice in 1707. Zeno can be confirmed as the author as this text is reprinted in the Poesie III, pp. 89ff. The libretto contains an additional leaf with substitute aria texts and page references to pages 15, 19, 26, 31, 52, and 61. Page 48 is followed by page 51, however no text appears to be missing. itp 01826

66, [2] p., 15 cm. 3 acts. Argument. Preface. List of scenes.

Interlocutori: TEUZZONE. Il Sig. Gaetano Bernstatt di Firenze. ZIDIANA. La Sig. Francesca Borghesi Virtuosa della Real Casa di Toscana. ZELINDA. La Sig. Rosaura Mazzanti di Firenze Virtuosa del Serenissimo Principe di Toscana. GINO. La Sig. Chiara Stella Cenachi di Bologna.

133. L’enigma disciolto L’ENIGMA/ DISCIOLTO/ TRATTENIMENTO PASTORALE/ PER MUSICA/ Da Rappresentarsi/ IN LUGO/ L’Anno 1711./ DEDICATO/ Al Merito sempre grande dell’Illustrissimo/ Sig. CAVALIERE/ FRA’ MARIO CANSACCHI.

The Baroque Libretto 163

In Bologna per Costantino Pisarri sotto le/ Scuole. Con licenza de’ Superiori.

of act II. Page 45, part of act III, is mistakenly headed “PRIMO”.

CMP Arresti, Floriano (c. 1660-1719) LBT Neri, Giovanni Battista (d. 1726)

itp smb 00232

44, [1] p., 14.2 cm. 3 acts. Dedication. Protesta. Imprimatur The dedication to Mario Cansacchi is signed by Floriano Arresti./ --p. 4.

Interlocutori: EURILLA. La Sig. Agata Landi. TIRSI. La Sig. Silvia Lodi detta la Spagnola. FILLI. La Sig. Anna Maria Buganzi. SELVAGGIO. La Sig. Antonia Merighi. SATIRO. Il Sig. Carlo Amaini. l’Anno 1711

134. Porsenna PORSENA/ DRAMA PER MUSICA/ Da rappresentarsi/ NEL FAMOSISSIMO TEATRO/ GRIMANI/ DI SAN GIO: GRISOSTOMO/ Il Carnovale dell’ Anno 1712. IN VENEZIA./ Apresso Marino Rossetti in Merceria/ all’Insegna della Pace./ CON LIC. DE’ SUP. E PRIVIL.

Sartori 8941 (C-Tu not listed)

CMP [Lotti, Antonio (c.1667-1740)] LBT [Piovene, Agostino (1671-after 1721)]

Dedication dated: “Bologna li 9. Agosto.”--p. 4.

72 p., 15.4 cm.

“Vidi D. Seraphinus Rotarius/ Cler. Reg. S. Pauli Rector/ Poenitentiarius pro Eminentissimo, ac Reverendissimo/ Domino D. Jacobo Cardi/ nali Boncompagno Archie-/ biscopo Bononiae, ac Prin-/ cipe/ Reimprimatur./ F. Th. Maria Caneti Provica-/ rius S. Officii Bononiae”--p. [44].

3 acts. Preface. List of scenes. 2 ballets.

This pastorale by Giovanni Battista Neri first appeared in Reggio Emilia in 1698 as an introduction to a ballet with music by Carlo Francesco Pollarollo (Sartori 8933). It achieved a certain popularity, making the rounds of the smaller theatres in North Central Italy during the first two decades of the 18th century. It was produced in Bologna in 1710 with music, according to Allacci (289), by Floriano Arresti. The dedication to this production in Lugo is signed and dated by Floriano Arresti in Bologna and makes reference to the work as having been “[...] l’An-/ no passato rappresentato in Bolo-/ gna con applauso universale.” [“... last year it was staged in Bologna to universal applause.”] Pages 29 and 33 are mistakenly printed with the header, “TERZO”. Both these pages are part

Interlocutori: Toscani: PORSENA. Il Signor Giovanni Paita. MESENZIO. Il Signor Francesco Vitali. SACERDOTE. CORO DI TOSCANI. Romani: VALERIO. Il Signor Gaetano Mossi. CLELIA. La Signora Diamante Scarabelli. MUZIO. La Signora Margherita Durastanti. ORAZIO. Il Signor Bartolommeo Bortoli. CORO DI ROMANI. Albani: CAMMILLA. La Signora Giovanna Albertini detta la Reggiana.--p. [7]. Teatro Grimani di San Gio: Grisostomo Il Carnovale dell’Anno 1712 Alm 613; Sartori 18970 Just above the imprint is the following note in a very neat eighteenth-century hand: “La Musica è del M.o Lotti Antonio.” The premiere of Lotti and Piovene’s Porsena took place on 4 February 1713. During this same year it was produced in

164 The Baroque Libretto Naples under the direction of Alessandro Scarlatti.

SPAGNUOLI, PARTE CON LUCIO, PARTE CON INDIBILE./--p. 10.

itp pam 00419

Nel Teatro Grimani di S. Gio. Grisostomo Nel Carnovale dell’Anno 1712

135. Publio Cornelio Scipione PUBLIO CORNELIO/ SCIPIONE/ DRAMA PER MUSICA/ Da rappresentarsi nel famoso Teatro/ Grimani/ DI S. GIO: GRISOSTOMO/ Nel Carnovale dell’anno 1712./ CONSAGRATO/ ALLA NOBILTA’/ VENETA./ IN VENEZIA/ Per Marino Rossetti, in Merceria,/ all’Insegna della pace/ CON LIC. DE’ SUPERIORI. CMP [Pollarolo, Carlo Francesco (c.1653-1723)] LBT [Piovene, Agostino (1671-after 1721)] 79 p., 15.2 cm. 5 acts. Dedication. Argument. List of scenes. 3 ballets. Dedicated to the nobility of Venice./ --p. [3].

Interlocutori: ROMANI: PUBLIO CORNELIO SCIPIONE. Il Signor Francesco Vitali. QUINTI PLEMINIO. Il Sig. Gaetano Mossi. CARTAGINESI: ANALGIDA. La Signora Santa Stella. ANNONE. Il Signor Anton Francesco Carli. SPAGNUOLI: ERIFILLE. La Signora Diamante Maria Scarabelli. LUCEIO. La Sig. Margarita Durastante. INDIBILE. Il Sig. Francesco de Grandis./--p. Personaggi muti: LELIO. MARZIO. FLAMINIO.--p. 7. Cori: DI SCHIAVE. DI GLADIATORI./--p. 10. Guardie: DI ROMANI CON SCIPIONE. DI

“BALLI/ Di Sacerdoti di Bacco, e di Baccanti nell’/ Atrio del tempio di Bacco; nel fine dell’/ Atto primo./ Di serventi, che dispongono con bell’ordine/ i tesori intorno alla mensa di Scipione; nell’/ Atto terzo./ I Ministri del Tempio di Nettuno nel fine.” [“DANCES of the Priests of Bacchus and the Bacchantes in the Atrium of the temple of Bacchus; at the end of the First Act. Of servants, who arrange the treasures in good order at Scipione’s table; in the Third Act. The Ministers of the Temple of Neptune in the end.”] Allacci 703 and 919; Alm 603; Sartori 19290; Sonneck 905 The dedication is a sonnet. The ballets are an integral part of the opera as indicated in the stage directions at p. 18 and p. 41. Allacci identifies the poet and composer. According to Selfridge-Field, this work was performed privately during Carnival 1713, with a different cast and the intermezzi Dorrilla e Brenno (308). In 1722, this libretto was set in Naples by Leonardo Vinci as his first seria opera. itp pam 00763

136. Il comando non inteso ed ubbidito IL/ COMANDO/ NON INTESO,/ ET UBBIDITO,/ DRAMA/ Da rappresentarsi nel Regio Ducal/ Teatro di Milano l’anno 1713./ CONSAGRATO/ ALL’ ALTEZZA SERENISSIMA/ DEL SIGNOR/ PRINCIPE/ EUGENIO/ DI SAVOJA,/ E PIEMONTE,/ Marchese di Saluzzo, Consigliere di Stato, Presi-/ dente del Supremo Consiglio Aulico di Guer-/ ra, Generale Luogo Tenente, Maresciallo di/ Campo, Collonello d’un

The Baroque Libretto 165

Reggimento/ di Dragoni, Cavaliere dell’ Insigne/ Ordine del Tosone d’Oro, Gover-/ natore, e Capitano Generale/ dello Stato di Milano &c. IN MILANO,/ Per Gio. Battista Ghisolfi. CMP [Lotti, Antonio (c.1667-1740)] LBT [Silvani, Francesco (c.1660-1728/44)] [12], 57 p., 13.6 cm. Date (ded.): “Milano li 31 Genaro 1713”/ --p. 3. 3 acts. Dedication. Argomento. Protesta. Imprimatur. List of scenes. The dedication to Eugene, Prince of Savoy (1663-1736) is signed by Stefano Banfi and Paolo Conversi./ --p. 3.

137. Ifigenia in Aulide IFIGENIA/ IN AULIDE/ DRAMMA PER MUSICA/ Da rappresentarsi nel Teatro Domestico/ DELLA MAESTA’/ DI MARIA CASIMIRA/ REGINA VEDOVA DI POLLONIA/ COMPOSTO, E DEDICATO/ ALLA MAESTA’ SUA/ DA CARLO SIGISMONDO CAPECI/ Suo Segretario/ Fra gli Arcadi METISTO OLBIANO,/ E posto in Musica/ DAL SIG. DOMENICO SCARLATTI,/ Maestro di Cappella di SUA MAESTA’./ IN ROMA, Per Antonio de’ Rossi/ alla Chiavica del Bufalo. 1713./ Con Licenza de’ Superiori.

Attori: ZOE. ISACIO. TEODORA. ARGIRO. COSTANTINO. MANIACE. LEONE.

CMP Scarlatti, Domenico (1685-1757) LBT Capece, Carlo Sigismondo (1652-1728)

Regio Ducal Teatro 1713 [Carnival]

“E posto in Musica/ DAL SIG. DOMENICO SCARLATTI,/ Maestro di Cappella di SUA MAESTA’.”--p. [1]. “COMPOSTO, E DEDICATO/ ALLA MAESTA’ SUA/ DA CARLO SIGISMONDO CAPECI/ Suo Segretario/ Fra gli Arcadi METISTO OLBIANO,” [“COMPOSED AND DEDICATED TO YOUR MAJESTY BY CARLO SIGISMONDO CAPECI Your Secretary, Among the Arcadians, METISTO OLBIANO,”]--p. [1].

Sartori 5929 Imprimatur: “IV. Kal. Februarii MDCCXIII.// IMPRIMATUR./ Fr. Joseph Maria Ferrarini Ord. Pred./ Sac. Theol. Profess., ac Commiss./ S. Officii Mediol./ Dominicus Crispus Paroch. SS. Vic-/ tor., & 40. Martyrum pro Illustriss./ & Reuerendiss. D. D. Archiepisco-/ po/ Angelus Maria Maddius pro Excellen-/ tissimo Senatu.”– pre p. [10]. According to Sartori, this was a revival of Lotti’s setting of Silvani’s I comando non inteso, which was originally produced in Venice in 1709 (Allacci 205). itp pam 00417

64 p., 15 cm.

3 acts. Argomento. Imprimatur. List of scenes. The dedication to Queen Kazimiera of Poland (1641-1716) is signed by Carlo Sigismondo Capeci./ --p. [1].

Personaggi: AGAMENNONE. CLITENNESTRA. IFIGENIA. ACCHILLE. ULISSE. PILADE.--p. 5. nel Teatro Domestico di Maria Casimira Franchi (II) 98; Sartori 12717

166 The Baroque Libretto “Così ne termina la sua Tragedia/ Euripide, portata nel nostro idioma dal/ P. Ortensio Scamacca, e da me seguito nel/ presente Dramma,” [“So ends the Tragedy of Euripides, brought to our language by P. Ortensio Scamacca, and followed by me in the present Drama,”]--p. 4. “Imprimatur./ Si videbitur Reverendissimo Patri Magistro Sac. Pal./ Apostolici./ N. Caracciolus Archepisc. Capuanus Vicesg./ Imprimatur./ Fr. Jo. Nicolaus Reverendiss. P. Gregorii Selleri Sac./ Pal. Apost. Magistri Socius Ord. Præd.”--p. 5.

The intermezzi libretto has a separate title page and different pagination from the opera libretto. The quality of the publication is considerably better than that of the average libretto, an indication no doubt that it was meant to be more than a simple aid to the reception of the performance. The book was probably published and distributed independently of the performance some time before opening night.

First performed 11 January 1713 (Franchi II, 98), it was one of seven operatic collaborations between Capece and Scarlatti for the exiled Maria Kazimiera of Poland. They were performed in her private theatre at the Palazzo Zuccari.

139. Merope

itp pam 00912

138. Intermezzi musicali INTERMEZZI/ MUSICALI/ DA RECITARSI/ IN MODONA/ NEL TEATRO RANGONI/ Il Carnovale 1713./ IN MODONA MDCCXIII./ Per Bartolomeo Soliani Stampatore Ducale./ Con Licenza de’ Superiori. CMP LBT 16 p., 17.5 cm. 3 intermezzi. Nel Teatro Rangoni Il Carnovale 1713 Sartori 19124 Bound with the opera libretto Il principe selvaggio (entry 140), in conjunction with which it was produced in the carnival season of 1713.

itp 00949

MEROPE/ DRAMA PER MUSICA/ RAPPRESENTATO/ IN FIRENZE/ Nel Carnevale del 1713./ SOTTO LA PROTEZZIONE/ DEL SERENISSIMO/ FERDINANDO/ PRINCIPE/ DI TOSCANA./ IN FIRENZE. MDCCXIII./ Nella Stamperia di S. A R. Per Jacopo Guiducci,/ e Santi Franchi. Con licenza de’ Superiori. CMP [Gasparini, Francesco (1661-1727)] LBT Zeno, Apostolo (1668-1750) 90 p., 15.5 cm. 3 acts. Argument. Note. Protesta. List of scenes. 3 intermezzi.

Attori: POLIFONTE. Il Sig. Lorenzo Porciatti di Firenze, Virtuoso della Serenissima Principessa di Toscana. MEROPE. La Sig. Anna Marchesini di Bologna. EPITIDE. Il Sig. Antonio Bernacchi di Bologna. ARGIA. La Sig. Maria Caterina Goslerin di Firenze, Virtuosa della Serenissima Principessa di Toscana. LICISCO. Il Sig. Pietro Sbaragli di Pescia, Virtuoso della Serenissima Principessa di Toscana. TRASIMEDE. Il Sig. Carlo Antonio Mazza di Bologna.

The Baroque Libretto 167

ANASSANDRO. Il Sig. Alessandro del Ricco di Firenze./--p. 7. Per gl’intermezzi: PARPAGNACCO. Il Sig. Filippo Rossi di Firenze, Musico di Camera della Sereniss. Principessa Eleonora di Toscana. POLLASTRELLA. La Sig. Anna Maria Bianchi di Firenze, Virtuosa della Serenissima Principessa di Toscana.--p. 7.

suggests Giuseppe Maria Orlandini (1676-1760) wrote some of the arias incorporated in the Gasparini version of 1717 in Bologna. The argomento for this libretto states that some arias were changed to suit the singers and for the sake of brevity. It is unclear, however, if indeed this is Gasparini version (Zeno’s text was set some 28 times over 75 years), and who may have tailored the music for this production. Several cuts are indicated by versi virgolati.

Nel Carnevale del 1713.

itp 01826

Sartori 15499 BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711.

140. Il Principe selvaggio

“INTERMEZZO PRIMO./ Parpagnacco da Astrologo, e Pollastrella/ giovinetta.” [“FIRST INTERMEZZO. Parpagnacco as an Astrologer, and young Pollastrella.”]--pp. 77-81. “INTERMEZZO SECONDO./ Parpagnacco, e Pollastrella.” [“SECOND INTERMEZZO. Parpagnacco and Pollastrella.”]--pp. 82-86. “INTERMEZZO TERZO./ Pollastrella, e poi Parpagnacco da Parigino/ spropositato.” [“THIRD INTERMEZZO. Pollastrella, and then Parpagnacco, as a Parisian out of sorts.”]--pp. 87-90.

IL PRINCIPE/ SELVAGGIO/ DRAMA PER MUSICA,/ Da rappresentarsi in Modona/ NEL TEATRO RANGONI/ Il Carnovale dell’ Anno 1713./ All’ Altezza Serenissima della/ SIGNORA DUCHESSA/ DI BRUNSVICH,/ LUNEBURGO &c./

Note: “E’ convenuto levare molti versi, e mutare/ molte Arie dall’Originale non per dar regola/ all’Autoe, ma per servire alla brevità, e ac-/ comodarsi all’abilità degl’Attori, e al genio del/ Teatro.”/--p. 6. [Note: “It was necessary to remove many verses, and change many Arias from their original state not to correct the Author, but to serve brevity, and accommodate the abilities of the Actors and the wishes of the Theatre.”] “PROTESTA./ Le Voci, Fato, Numi, e simili intendile/ per vaghezze della Poesia, non per senti-/ menti dell’Autore, che professa con tutto lo/ spirito la Vera Fede Cattolica, e vivi felice.”-p. 6. [“The Characters, Fate, and the like are intended as graces of Poetry, not as expressions of the sentiments of the Author, who professes with all his spirit the True Catholic Faith. Live happily.”] Merope was first set for the Venetian carnival of 1712 by Francesco Gasparini. Weaver (224)

In MODONA, Per Bartolomeo Soliani Stamp. Duc./ Con Licenza de’ Superiori. CMP LBT [Silvani, Francesco (c. 1660-1728/44)] 72 p., 17.5 cm. Date (ded.): “Modona li 4. febbrajo 1713.”--p. 4. 3 acts. Dedication. Argument. List of scenes. The dedication to Electress Sophia, consort of Ernest Augustus, Elector of Hanover (16301714) is signed by Niccolò Maria Molza./ --p. 4.

Interlocutori: ALFONSO. Sig. Lucca Mengoni Virtuoso del Serenissimo Gran Principe di Toscana. CLIMENE. Signora Anna d’Ambreville Virtuosa di S. A. S. IRENE. Signora Teresa Muzzi. ORMONDO. Sig. Gio: Battista Franceschini Virtuoso di S. A. S. ARMINDO. Signora Rosa d’Ambreville. NESSO. Sig. Lucrezio

168 The Baroque Libretto

Borsari Virtuoso dell’Arciducale Cappella di Mantova./--p. 6.

The dedication to Francesco Bartolini is signed by Domenico Canavese./ --pre p. [2]

Nel Teatro Rangoni Il Carnovale dell’Anno 1713

Personaggi: ADAMO. EVA. CAINO. ABELE./--p. 1.

Sartori 13433

Sartori 19090

Bound with the separately paginated libretto of Intermezzi musicali (item n. 132) produced in conjunction with it in the Teatro Rangoni.

BDW Isacco figura del redentore. Niccola Rinieri Redi. Pietro Metastasio. 1741. / Giuseppe riconosciutto. Niccola Rinieri Redi. Pietro Metastasio. 1735. / Sant’Elena al calvario. Leonardo Leo. Pietro Metastasio. 1743. / La Betullia liberata. Niccola Rinieri Redi. Pietro Metastasio. 1753. / Gioas, re di Giuda. Niccola Rinieri Redi. Pietro Metastasio. 1737. / La morte d’Abelle. Leonardo Leo. Pietro Metastasio. 1738. / Il primo figlio malvaggio, ovvero Caino. (several authors). Francesco Bartolini. 1714. / La costanza trionfante nel martirio di Santa Lucia. Giuseppe Maria Orlandini. B. Colzi. 1705. / Il sagrifizio di Abel. Alessandro Melani. Benedetto Pamphili. 1693.

The original 1696 production was set by Michelangelo Gasparini (c. 1670-c. 1732). Silvani announced in the preface to L’innocenza giustificata (1698) that he would affix his name only to title pages of librettos that were entirely his own creation. According to Harris S. Saunders (NG), this libretto was created with “the advice and assistance of others” and therefore does not bear his name on the title page. itp 00949

141. Il primo figlio malvagio ovvero Caino IL PRIMO FIGLIO MALVAGIO/ OVVERO/ CAINO/ ORATORIO/ A quattro Voci/ DEDICATO/ ALL’ ILLUSTRISS. SIG. CONTE CAVALIERE/ FRANCESCO BARTOLINI/ POESIA/ DI DOMENICO CANAVESE./ Musica di diversi./--pre p. [1]. IN FIRENZE. MDCCXIV./ Per Michele Nestenus, e Anton-Maria Borghigiani./ Con Licenza de’ Superiori.--pre p. 1. CMP (Several authors) LBT Canavese, Domenico

The composer of each aria is found in print in the margin next to the text. Antonio Caldara (c. 1670-1736) contributed the most at eight, and one “Pallucci” contributed four. Fiorè, Ubaldi, Clari, Martini, Zipoli, Gasparini, Canuti, Scarlatti, Palasuti, and Landi all contributed one aria apiece. Domenico Canavese was also the librettist of the 1708 pasticcio oratorio, Sara in Egitto, produced in Florence. This production featured arias by Caldara, Casini, Cesarini, Gasparini, Mancini, Alessandro Scarlatti, Verancini, Zipoli, and a young Paolo Pollarolo. itp 01825

142. Ambleto AMBLETO/ DRAMA/ Per Musica/ DA RAPPRESENTARSI/ Nella Sala de’ Signori Capranica/ nel Carnevale dell’ Anno/ MDCCXV./

[2], 16 p., 20.5 cm. 2 parts. Dedication.

Si vendono a Pasquino nella Libraria di Pietro/ Leone all’ Insegna di S. Giovanni di

The Baroque Libretto 169

Dio./ IN ROMA, per il Bernabò, l’ Anno 1715./ CON LICENZA DE’ SUPERIORI. CMP Scarlatti, Domenico (1685-1757) LBT Zeno, Apostolo (1668-1750) and Pietro Pariati (1665-1733) 74 p., 15.5 cm. “Musica del Sig. Domenico Scarlatti.”--p. 7. 3 acts. Argument. Imprimatur. List of scenes.

Attori: AMBLETO. Il Sig. Domenico Tempesti. VEREMONDA. Il Sig. Domenico Genovesi. GEDONE. Il Sig. Giovanni Paita. GERILDA. Il Sig. Innocenza Baldini. ILDEGARDE. Il Sig. Abtonio Natilii. VALDEMARO. Il Sig. Gio. Antonio Archi, detto Cortoncino. SIFFRIDO. Il Sig. Francesco Vitali.--p. 7. Nella Sala de’ Signori Capranica nel Carnevale dell’ Anno 1715 “Ingegniero, e Pittore delle Scene./ Il Sig. Pompeo Aldobrandini.” [“Engineer and Painter of Scenes. Sig. Pompeo Aldobrandini.”]--p. 8. Franchi (II) 115; Sartori 1215 (C-Tu not listed) “IMPRIMATUR,/ Si videbitur Reverendissimo P. Magistro Sae/ Palatii Apostolici./ N. Archiepiscopus Capuæ Vicesgerens./ IMPRIMATUR./ Fr. Nicolaus Selleri S. Theolog. Magister Sac./ Pal. Apost. Mag. Socius, Ord. Præd.”--p. 6. Ambleto is based on the same libretto set by Gasparini in Venice in 1705. Some of the arias have been changed. There are asterisks in the texts of arias on pp. 17, 32, 33, 47 and 62. Ambleto was originally intended to be performed with the intermezzo La Dirindina, o Il maestro di capella (Sartori 7936), a farzetta by Girolamo Gigli (1660-1722) and music by Domenico Scarlatti. This intermezzo was not performed either because of its lascivious subject matter or because of Gigli’s use of vocabolario cateriniaro (Sienese dialect). It was replaced by a pastoral intermezzo (Sartori 13383) performed by

Domenico Fontana (as Elpina), and Michele Selvatici (as Silvano). The blacking out of the personnel on page 7 represents the removal of the original intermezzo roles from the libretto. What is still visible reveals the original cast for La Dirindina: DIRINDINA. Domenico Fontana. D. CARISSIMO. Michele Salvatici. LISCIONE. Tommasso Bizzarri Sanese. (p.7). Sartori lists a second edition (Lucca 1715, 7936) and a third edition (Lucca 1716, 7937) of La Dirindina. It subsequently became a popular work in its own right, receiving performances in 1729, 1733, and 1756. itp pam 00911

143. Il comando non inteso ed ubbidito IL COMANDO/ NON INTESO,/ ED UBBIDITO/ DRAMA PER MUSICA/ DA RAPPRESENTARSI IN FIRENZE/ Nel Teatro di Via del Cocomero/ Nell’ Autunno dell’ Anno 1715./ SOTTO LA PROTEZIONE/ DELL’ ALTEZZA REALE/ DEL SERENISSIMO/ GRAN PRINCIPE/ DI TOSCANA. IN FIRENZE, M.DCC.XV. Da Antonmaria Albizzini. Con Lic. de’ Super./ Adistanza di Domenico Ambrogio Verdi. CMP Gasparini, Francesco (1661-1727) LBT [Silvani, Francesco (1660-1728/44)] 71 p., 15 cm. “La Musica è del Sig. Francesco Guasparrini.”-p. 5. 3 acts. Argument. List of scenes.

Attori: ZOE. La Sig. Aurelia Marcello. ISACIO. La Sig. Antonia Margherita Merighi di Bologna. TEODORA. La Sig. Anna Vicenzia Dotti. ARGIRO. Il Sig. Gio:

170 The Baroque Libretto

Battista Minelli. COSTANTINO. Il Sig. Matteo Berscelli. MANIACE. Il Sig. Domenico Tempesti. LEONE. Il Sig. Lorenzo Porciatti, Virtuoso della Serenissima Violante Gran Principessa di Toscana.--p. 5 Teatro Via Cocomero Nell’Autunno dell’Anno 1715. Sartori 5931 BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711. This libretto is bound with a several others that were set to music in Florence during the years 1711-20. According to Weaver (227), the first performance of this opera, with music by Antonio Lotti, took place in Venice in 1710. Gasparini’s setting had its premiere in Milan in 1713. It was later revived as Zoe, ovvero il comando non inteso ed ubbidito (Rome, 1721).

2 parts. Dedication.

Interlocutori: ACHINOE. GIONATA. SAULLE. ABNER. CORO DI SOLDATI.-p. [2]. Nella Ven. Comp. Dell’Arcangelo Raffaello, detta La Scala Sartori 11997 (unique copy) BDW La notte felice. Anton Francesco Piombi. (librettist unknown). 1703. / Geremia in Egitto. Gaetano Maria Schiassi. (librettist unknown). 1727. / Gioasso. Niccola Ranieri Redi. (librettist unknown). 1719. / Matatia, overo i Maccabei. Niccola Rinieri Redi. (manuscript copy). / Il martirio di S. Bartolomeo. (manuscript copy). Zeno was to take up this subject again for his oratorio Gionata (1728). itp 01825

itp 01826

145. Ircano innamorato 144. Gionata assoluta

IRCANO/ INNAMORATO/ INTERMEZZI.

GIONATA/ ASSOLUTO/ Oratorio a quattro Voci/ DA CANTARSI NELLA VEN. COMP./ DELL’ ARCANGELO RAFFAELLO,/ DETTA LA SCALA./ MUSICA/ Del Sig. Anton Maria Palucci/ E dedicato dal medesimo/ ALL’ ILLUSTRISSIMO SIGNORE/ FRANCESC’ANTONIO/ DA BAGNANO.

In Bologna per Costantino Pisarri sotto le/ Scuole. 1716. Con licenza de’ Superiori.

IN FIRENZE,/ Nella Stamperia di Anton Maria Albizzini, 1716./ Con Licenza de’ Superiori. CMP Palucci, Anton Maria (1686-1753) LBT 20 p., 20 cm.

CMP [Chelleri, Fortunato (1686/90-1757)] LBT [Valeriani, Dott. Belisario] 18 p., [2]. 3 Parts. Intermezzi.

LIDIA. IRCANO. Imprimatur: “Fr. Jo: Victorius Massa Vicarius Gereralis/ Sancti Oficii Bononiae.” –p. [19]. Allacci 470; Sartori 13635 This pastoral intermezzo in three parts was bound with #148 Il Sogno avverato, although it is paginated separately. It has its own title page,

The Baroque Libretto 171 but there is no other prefatory material. The publisher and date are identical to those of Il Sogno, here appearing at the end, on p. [19]. The performers were likely those mentioned in p.7 of Il Sogno. The attribution of the libretto to Valeriano orginiates in Allacci. For the suggestion that Chelleri was the composer, see Mamczarz, 425. First performed in Ferrara in 1715 (Sartori 13634), Ircano innamorato became very popular. itp 01001

146. Lucio Papirio LUCIO/ PAPIRIO/ DRAMA PER MUSICA/ DA RAPPRESENTARSI IN FIRENZE/ Nel Teatro di Via del Cocomero/ Nel Carnovale dell’ Anno 1716./ SOTTO LA PROTEZIONE/ Dell’ Altezza Reale del Sereniss./ GRAN PRINCIPE/ DI TOSCA NA. IN FIRENZE, M.DCC.XVI./ Da Anton Maria Albizzini. Con lic. Super./ Ad istanza di Domenico Ambrogio Verdi. CMP Gasparini, Francesco (1661-1727) LBT Salvi, Antonio (1664-1724) 63 p., 15 cm. “Musica del Sig. Francesco Gasparini.”--p. 5. 3 acts. Argument. List of scenes.

Attori: LUCIO PAPIRIO. Il Sig. Domenico Tempesti di Firenze. MARCO FABIO. Il Sig. Pietro Paolo Laurenti di Bologna, Virtuoso del Sereniss. Principe Antonio di Parma. QUINTO FABIO. Il Sig. Gio: Battista Minelli di Bologna. EMILIA. La Sig. Aurelia Marcello. CLAUDIO PAPIRIO. La Sig. Antonia Margherita

Merighi di Bologna. SABINA. La Sig. Anna Dotti di Bologna. APPIO. Il Sig. Lorenzo Porciatti di Firenze, Virtuoso della Sereniss. Violante Gran Principessa di Toscana. Teatro di Via Cocomero Nel Carnovale dell’anno 1716 Sartori 14441 BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711. This libretto is from a revival of the Florentine production of 1714. (See Weaver, 228.) Gasparini and Salvi’s opera premiered that same year in Rome, at the Capranica. It is bound with other libretti set in Florence during the years 1711-20. itp 01826

147. Sesostri, re’ di Egitto SESOSTRI/ RE’ DI EGITTO./ DRAMA/ Da rappresentarsi nel Regio Ducal/ Teatro di Milano l’ Anno 1716./ CONSAGRATO/ ALL’ ALTEZZA SERENISSIMA/ DEL SIGNOR/ PRINCIPE/ EUGENIO/ DI SAVOIA/ E PIEMONTE,/ Marchese di Saluzzo, Consigliere di Stato,/ Presidente del Supremo Consiglio Aulico di/ Guerra, Luogotenente Generale del Sacro/ Romano Impero, Maresciallo di Cam-/ po, Colonnello d’ un Reggimento de/ Dragoni, Cavaliere dell’ Insigne/ Ordine del Tosone d’ Oro,/ Governatore, e Capitano Generale/ dello Stato di Milano./ In Milano, nella R. D. C., per Marc’ Antonio/ Pandolfo Malatesta Stampatore Reg. Cam./ Con licenza de’ Superiori. CMP Bononcini, Antonio Maria (1677-1726) LBT [Pariati, Pietro (1665-1733)]

172 The Baroque Libretto [12], 61 p., 14 cm.

3 acts. Dedication. Argument. Preface. List of scenes. Substitute aria texts.

MARSIGLJ ROSSI/ IL CARNOVALE MDCCXVII./ Consegrato al Merito/ Dell’ Eminentissimo, e Reverendissimo/ Sig. CARDINALE/ AGOSTINO/ CUSANO/ Dignissimo LEGATO di Bologna.

The dedication to Eugene, Prince of Savoy (1663-1736) is signed by “Stefano Banfi, e Paolo Conversi.”/ --pre. p. [5].

In BOLOGNA per Constantino Pisarri sotto le/ Scuole. 1716. Con licenza de’ Superiori.

Attori: SESOSTRI. AMASI. ARTENICE. NITOCRI. FANETE. ORGONTE. CANOPO.--pre p. [12]. Coro: GUARDIE. SOLDATI.--p. [11].

CMP LBT

“Milano li 2. Febraro 1716.”--pre p. [5].

Nel Regio Ducal Teatro l’anno 1716 “Gl’ Intermedii sono rappre-/ sentati dalla Signora Antonia/ Maccari, e dal Sig. Gio. Batista/ Cavana.” [“The Intermezzos are performed by Signora Antonia Maccari, and Sig. Giovanni Batista Cavana.”]--pre. p. [9]. Sartori 21894 First set by Gasparini (Venice, 1710), this libretto was previously thought to be a joint work of Pariati and Zeno (see Rebecca Green’s article on Sesostri in NG). The argomento identifies the literary sources as Herodotus (bk. 2) and a French tragedy by “Signor de la Grange” (pre. p. [8]). Although the preface includes the names of the intermezzi cast, the text is not included. This libretto contains substitute aria texts for I,v (Canopo) and the end of Act II (Artenice), bound in at p. 61. The intermezzi are mentioned in the preface, but not included in the libretto. itp pam 00057

148. Il Sogno avverato IL SOGNO/ AVVERATO/ Drama per Musica/ Da rappresentarsi nel TEATRO/

60, 19 p., 14.5 cm. “Bologna li 23. Dicembre 1716”./ --p. 4. 3 acts. Dedication. Argument. Imprimatur. List of scenes. 3 Intermezzos. The dedication to Agostino Cusano is signed “Gl’ Interessati nell’Opera.”/ --p. 4.

Attori: EGINA. Sig. Gioanna Rozani. MITILDE. Sig. Anna Buganzi. ADAORDO. Sig. Silvia Lodi, detta la Spagnuola. Sig. Vittoria Tesi Firentina, del Serenissimo Principe Antonio di Parma. VALASCO. Sig. Domenico Manzi da Fano. ARIDEO. Sig. Anna Guielmini. VOCE di ALVIDA. Sig. Paola Besenzi.--p. 7. nel Teatro Marsiglj Rossi Il Carnovale 1717 “Negl’Intermezzi./ Il medesimo Sig. Domenico Manzi/ La stessa Sig. Paola Besenzi.” [“In the Intermezzos. The same Sig. Domenico Manzi and Signora Paola Besenzi.”]--p. 7.

Allacci 728; Sartori 22209 Imprimatur: “Vid. D. Sebastianus Giribaldi Cleri-/ cus Reg. S. Pauli in Eccelesia Me-/ tropolitana Bononiae Poententia-/ rius pro Eminentiss., & Reve-/ rendiss. Domino D. Jacobo Cardi-/ nali Boncompagno Archiepiscopo,/ & Principe S.R.I./ Imprimatur./ Fr. Th. Maria Caneti Provicarius/ S. Officii Bononiæ.”--p. 6.

The Baroque Libretto 173 BDW Ircano Innamorato. Intermezzi. The theatre was a converted warehouse, which had been adapted for operatic performances in 1709 by Marchese Silvio A. Marsigli-RossiLombardi. It opened in 1710 with Partenope composed by Luca Antonio Predieri. Il Sogno was published together with the pastoral intermezzo Ircano Innamorato (item #145). itp 01001

Genevesi, Virtuoso dell’Eccellentiss. Sig. Ambasciador Cesareo. ERNANDO. Il Sig. Matteo Berscelli. GERILDA. Il Sig. Andrea Franci. GILDO. Il Sig. Florido Matteucci./-p. 5. “La Musica è... di-/ retta dal Sig. Francesco Gasparini...”--p.5. “INGEGNERE DELLE SCENE:/ Il Signor Francesco Bibiena.”--p.6. Nella Sala de’ Signori Capranica nel Carnevale dell’Anno 1716

149. Vincislao

Franchi (II) 122; Sartori 24460

IL/ VINCISLAO/ DRAMA/ Per Musica/ DA RAPPRESENTARSI/ Nella Sala de’ Signori Capranica/ nel Carnevale dell’Anno/ MDCCXVI.

“IMPRIMATUR,/ Si videbitur Reverendissimo Patri Magi-/ stro Sacri Palatii Apostolici./ N. Card. Caracciolus Pro-Vicarius./ IMPRIMATUR,/ Fr. Gregorius Selleri Sac. Apost. Palatii/ Magister, Ordinis Prædicatorum.”--p. 4.

Si vendono a Pasquino nella Libraria di Pie-/ tro Leoni all’Insegna di S. Gio. di Dio./ In ROMA, per il Bernabò, l’Anno 1716./ Con licenza de’ Superiori.

Eighteen arias from this 1716 February production in Rome are retained from Mancini’s original, produced in Naples in 1714. These are indicated by an asterisk (*) which appears in the margin next to the aria text. Francesco Gasparini (1661-1727) provided the remaining music. Franchi suggests Paolo Rolli may similarly have modified Zeno’s original libretto (II, 122). A comic scene involving the servants was moved to follow a dramatic solo aria by Erenice, as indicated by the performance directions (p. 69). The ballets are directly connected to the text, as the stage directions at the end of act 1 and 2 clearly indicate.

CMP Mancini, Francesco (1679-1739) LBT [Zeno, Apostolo (1668-1750)] 81 p., 15.5 cm. “La Musica è del Sign. Francesco Mancini, di-/ retta dal Sig. Francesco Gasparini con molte/ Arie dell’istesso, quali saranno contrasegna-/ te con questo segno *” [“Music by Sig. Francesco Mancini, directed by Sig. Francesco Gasparini with many Arias by the same, which will be marked with this symbol *”]--p. 5.

itp pam 00423

3 acts. Argument. Imprimatur. List of scenes. 2 ballets.

150. Alessandro Severo

Interlocutori: VINCISLAO. Il Sign. Gio. Francesco Costantizi Virtuoso della Real Cappella di Napoli. CASIMIRO. Il Sig. Francesco Vitali. ALESSANDRO. Il Sig. Innocenzo Baldini. ERENICE. Il Sig. Giovanni Ossi: Allievo del Sign. Francesco Gasparini. LUCINDA. Il Sig. Domenico

ALESSANDRO/ SEVERO/ Drama per Musica,/ Da rappresentarsi nel famosissimo/ Teatro Grimani di S. Giovanni/ Grisostomo./ A Sua Eccellenza/ IL SIGNOR CARLO/ Conte di Peterborow, e di Monmouth, Vi-/ sconte di Mordaunt, de’Aveland, Ba-/ rone di Mordaunt, di Turvey, e di/ Rygat, e

174 The Baroque Libretto

Cavaliere dell’Ordine nobi-/ lissimo della Jartiere, ec.

more on the production, see Selfridge-Field, 331-332. Some cuts are indicated with versi virgolati.

IN VENEZIA, MDCCXVII./ Appresso Marino Rossetti in Merceria,/ all’insegna della Pace./ Con Licenza de’ Superiori, e Privilegio.

itp 00681

CMP Lotti, Antonio (c.1667-1740) LBT Zeno, Apostolo (1668-1750) 60 p., 14.3 cm. “la Musica è del celebre Maestro il/ Signor Antonio Lotti.” [“Music by the celebrated Maestro Sig. Antonio Lotti.”]--p. [7]. 3 acts. Dedication. Argument. List of Scenes. 2 ballets. The dedication to Charles Mordaunt, Earl of Peterborough (1658-1735) is signed by Apostolo Zeno./ --p. [5].

Attori: GIULIA. ALESSANDRO. SALLUSTIA. ALBINA. CLAUDIO. MARZIANO. I Virtuosi, i quali rappresenteranno nel Drama, sono i seguenti: La Signora Marianna Benti Bulgarelli, detta la Romanina. La Signora Faustina Bordoni, Serva attuale, e Virtuosa di Camera del Serenissimo Elettor Palatino. La Signora Diana Vico. Il Signor Francesco de’ Grandi, Virtuoso di S.A.S. di Modana. Il Signor Francesco Guicciardi, Virtuoso di S.A.S. di Mondana. Il Signor Antonio Passi.--p. [7]. Teatro Grimani di S. Giovanni Grisostomo “BALLI./ Di Sollazzieri./ Di Romaneschi.”--p.[8]. Allacci 29; Alm 649; Sartori 855; Sonneck 63 This was the first setting of Zeno’s libretto, and the last collaboration between Zeno and Lotti, prior to Zeno’s appointment to the Viennese court and Lotti’s visit to the Saxon court. For

151. Le amazzoni vinte da Ercole LE AMAZONI/ VINTE/ DA ERCOLE./ DRAMA PER MUSICA/ Da rappresentarsi nel Teatro dell’Illustrissimo/ Pubblico di Reggio in occasione della/ Fiera l’Anno MDCCXVIII./ Dedicato all’Altezza Serenissima/ DI/ RINALDO I/ DUCA di Reggio, Modona,/ Mirandola &c./ In Reggio, per Ippolito Vedrotti 1718./ Con Licenza de’ Superiori. CMP Orlandini, Giuseppe Maria (1676-1760) LBT Salvi, Antonio (1664-1724) 78, [1] p., 16 cm. Date (ded.): “Reggio li 30. Aprile 1718.”--p. 4. “La Musica è del Sig. Giuseppe Orlan-/ dini, Mastro di Capella del Sereniss./ Gran Prencipe di Toscana.” [“Music by Sig. Giuseppe Orlandini, Maestro di Cappella of the Serene Grand Prince of Tuscany.”]--p. 7. 3 acts. Dedication. Argument. List of scenes. Additional aria. Note. The dedication to Rinaldo I d’Este (1655-1737) is signed by “Gl’Interessati nel drama”/ --p. 4.

Attrici Amazoni: ANTIOPE & IPPOLITA. Sig. Mariana Benti Bulgarelli, detta la Romanina; Sig. Eleonora Borosini, Virtuosa di Camera del Sereniss. Elettore Palatino. ORIZIA. Sig. Diana Vico. MARTESIA. Sig. Francesca Cuzzoni Parmigiana, Virtuosa della Sereniss. Gran Principessa di

The Baroque Libretto 175

Toscana.--p. 6 Attori Greci: ERCOLE. Sig. Andrea Pacini. TESEO. Sig. Antonio Pasi. ALCESTE. Sig. Antonio Bernachi, Virtuoso del Sereniss. Sig. Prencipe Antonio di Parma. TELAMONE. Sig. Gaetano Mossi./--p. 7. Comparse: SOLDATI D’ERCOLE VESTITI DI PELLI DI FIERE CON LE CLAVE. SOLDATI DI TESEO VESTITI DI SCAGLIE, CON ARCHI, E FARETRE. SOLDATI D’ALCESTE VESTITI DI FERRO CON ASTE. SOLDATI DI TELAMONE CON MAZZA FERRATA. AMAZONI CACCIATRICI CON DARDI, ED ARCHI. AMAZONI GUARDIE CON ASTE. AMAZONI DAMIGELLE SENZ’ARMI. AMAZONI GUERRIERE CON SCIABLE, E SCUDI. AMAZONI SACERDOTESSE CON ATTREZZI PEL SACRIFIZIO.--p. 8. Nel Teatro dell’Illustrissimo Pubblico Fiera l’Anno 1718 “Le Scene, ed altre Apparenze saran-/ no tutte di nuova Invenzione del Sig. Tommaso Bezzi, Architetto, ed Ingegnere di S. A. S. di Modona.” [“Scenes and other visual effects are all new Inventions of Sig. Tommaso Bezzi, Architect and Engineer of His Serene Highness of Modona.”]-p. 10. Sartori 1186. (C-Tu not listed). The first production of this work dates from Florence 1715 (see Allacci 45: 1715). This revival presents some modifications as stated in the note: “Questo Dramma è parto d’un feli-/ cissimo ingegno; ma non è egli in/ tutto, e per tutto tal, quale è uscito di ma-/ no al Poeta. Per accomodarsi al Teatro,/ ed a’ Sig. Virtuosi è covenuto variar qual-/ che cosa, e particolarmente nelle Arie,/ alcune mutandone, ed alcune accrescen-/ done. Quello, che percio, s’è dovuto mu-/ tare, ò accrescere, s’è fatto senza alterar/ punto la fina condotta del nobile Compo-/ nimento; e con tutto quel rispetto, che/ professa alla celebre Penna dell’ingegno-/ sissimo Autore chi per la lontananza di/ lui, e per

la strettezza del tempo ci ha/ poste le mani.” [“This Drama is the product of a great intellect, but it did not in its entirety come from the Hand of the Poet. To accommodate the Theatre and the Virtuosi it was necessary to vary some things, and particularly in the Arias, some of which were modified while others were augmented. However, changes and integrations were made without altering in any way the fine line of the noble Composition, and with all the respect for the celebrated Pen of the ingenious Author that can be professed by one who, working in his absence and with constraints of time, had to intervene in the text.”] (p. [79]). There is an additional aria in act 1, VII: Orizia “Mi và dicendo al cor/ Il lusinghiero Amor [...]” (p. [78]). itp 00802

152. Alessandro Severo ALESSANDRO/ SEVERO/ DRAMA PER MUSICA/ Da rappresentarsi nel Teatro dell’/ Illustriss. Accademia di Brescia/ Il Carnovale 1719./ A SUA ECCELLENZA/ LA SIGNORA/ MARINA ZUSTIGNAN LOLIN/ GRIMANI./ IN BRESCIA/ Per Gio: Maria Rizzardi,/ CON LICENZA DE SUPE. CMP Chelleri, Fortunato (1686/90-1757) LBT [Zeno, Apostolo (1668-1750)] 60 p., 16 cm. “La Musica è tutta nova del Sig. Fortu-/ nato Cheleri, Maestro della Capella/ di Camera dell’ A. S. E. Palatino.” [“The Music is all new by Sign. Fortunato Cheleri, Maestro di Cappella of the Chamber of His Serene Highness the Palatine Elector.”]--p. 6. 3 acts. Dedication. Argument. List of scenes. Dedicated to Maria Grimani. /--p. 3.

176 The Baroque Libretto

Attori: GIULIA. La Sig. Antonia Maria Laurenti detta la Coralli. ALESSANDRO. Il Sig. Giovanni Rapaccioli. SALLUSTIA. La Sig. Antonia Gavazzi. ALBINA. La Sig. Anna Giuglielmini. CLAUDIO. Il Sig. Francesco Braganti. MARZIANO. Il Sig. Antonio Denzio./ --p. 5. nel Teatro dell’ Illustriss. Accademia di Brescia Il Carnovale 1719 Sartori 859 The dedication is in the form of a poem. Direction in final scene: “Precede gran Sinfonia, ed in tanto si avanzano i/ soldati, e popoli Romani, di poi Alessandro/ con Giulia, poi Sallustia, Marziano;/ poi Albina, e Claudio.” [“A great Symphony precedes, and in the meantime soldiers advance, and the Roman people, and Alexander with Giulia, then Sallustia, Martianus; then Albina and Claudius.”]--p. 57. Antonio Lotti’s setting of Zeno’s Alessandro Severo from 1717 was never performed again in its entirety, according to Harris S. Saunders (NG). This setting by Chelleri is “tutta nova” (entirely new). itp pam 00092

153. Ambleto AMBLETO/ DRAMA/ Da rappresentarsi nel Regio Ducal/ Teatro di Milano/ In occasione di celebrarsi il Giorno Natalizio / della Cesarea Cattolica Maestà/ DI/ ELISABETTA/ CRISTINA/ IMPERADRICE,/ REGINA DELLE SPAGNE &c./ SOTTO GLI AUSPICJ DI S. E. IL SIGNOR/ GIROLAMO/ DEL SACRO ROMANO IMPERO/ CONTE COLLOREDO,/ Libero Barone di Waldsee, Visconte di Mels,/ Signore di Oppoczna, Tloskau, Staaz &c./ Cavaliere della Chiave d’Oro,/ Intimo Consigliere di Stato di S. M.

C. M. C.,/ Governatore, e Capitano Generale/ dello Stato di Milano &c. IN MILANO, MDCCXIX./ Nella R. D. C., per Giuseppe Richino Malatesta/ Stampatore Regio Camerale./ Con licenza de’ Superiori. CMP Vignati, Giuseppe (d.1768), Carlo Baliani (c.1680-1747) and Giacomo Cozzi LBT Zeno, Apostolo (1668-1750) and Pietro Pariati (1665-1733) [12], 65 p., 14 cm. “Nella/ composizione della Musica, hanno se-/ gnalato il primo Atto il Sig. Giuseppe/ Vignati Maestro di Cappella del Reggio/ Ducal Palazzo, il secondo il Sig. Car-/ lo Bagliani della Metropolitana, ed il/ terzo il Sig. Giacomo Cozzi della Real/ Cappella della Scala.”--p. [10]. [“In the composition of the Music the following are acknowledged: Sig. Giuseppe Vignat, Maestro di Cappella of the Ducal Palace, for the first Act; and for the second Sig. Carlo Bagliani of the Metropolitan, and the third Sig. Giacomo Cozzi of the Royal Chapel of La Scala.”] Date (ded.): “Milano 24 Agosto 1719”/ --p. [4]. 3 acts. Dedication. Argument. Preface. List of scenes. The dedication to Girolamo Colloredo is signed by Donato Savini./ --p. [4].

Attori del Drama: AMBLETO. Il Sig. Antonio Bernachi Virtuoso di S.A.S. il Sig. Prencipe Antonio di Parma. VEREMONDA. La Signora Faustina Bordoni Virtuosa di Camera di S.A. Elett. Palatina. FENGONE. Il Sig. Anibale Fabri di Bologna. GERILDA. La Signora Francesca Cozzoni Virtuosa di S.A.S. la Gran Principessa Violante Governatrice di Siena. ILDEGARDE. La Signora Rosa d’Ambrevil di Modena. VALDEMARO. Il Sig. Andrea Paccini di Luca. SIFFRIDO. Il Sig. Antonio Fiamenghino di Milano.--p. [11].

The Baroque Libretto 177 nel Regio Ducal Teatro [August, 1719] “Bizarra è l’in-/ venzione delle Scene de’ Signori Bar-/ bieri, e Medici, e non dissimile quella/ de’ Balli, opra del Sig. Antonio Cri-/ velli Milanese.”-p. [10]. Sartori 1216 Although the opera was performed in celebration of the Empress Elizabeth’s birthday, the libretto is dedicated to the Viceroy, Girolamo Colloredo, by Donato Savini. Before listing the composers, stage designers and choreographer, the preface praises the singers of this star cast: “Eccoti l’Ambleto sù queste Sce-/ ne, portatovi da’ più celebri/ Cigni, che passeggin quelle/ d’Europa. Se sarai testimo-/ nio d’udito, vedrai che, anche con tut-/ ta la lode, che potrei darli, non darei/ tutta la giustizia, che si deve alla loro/ virtù. Vieni, e sentirai prodigi” [“Here is Ambleto on this Stage, brought to you by the most celebrated Swans that wander throughout Europe. If you will be an auditory witness, you will also see that even with all the praise I could lavish on them, I would not do them the justice deserved by their virtue. Come, and you will hear prodigies”]--p. [10]. This libretto represents a new, collaborative setting of Zeno’s and Pariati’s drama on the Hamlet story. Vignati set Act I, Baliani Act II, and Cozzi Act III. Needless to say the text has nothing to do with Shakespeare; in his argomento Zeno mentions the histories of Sassone Gramatico (Saxo Grammaticus) and Pontano and Meursio. Ambleto had originally been set to music by Francesco Gasparini in Venice in 1705 and had been recently re-set by Domenico Scarlatti in 1715 (see item #141). This libretto names Vignati as maestro di cappella of S. Gottardo; however, Sven Hansell (NG) states that documents reveal he was rather Paolo Magni’s assistant there from 1718 until 4 March 1737. itp pam 00961

154. Don Chisciotte in Sierra Morena DON/ CHISCIOTTE/ IN/ SIERRA MORENA./ TRAGICOMMEDIA/ PER MUSICA,/ DA/ RAPPRESENTARSI/ NELLA/ CESAREA CORTE/ PER COMANDO/ AUGUSTISSIMO/ NEL/ CARNEVALE/ Dell’ Anno M DCC XIX./ La Musica è del Sig. Francesco Conti, Tiorbista, e Com-/ positore di Camera di S. M. Ces. e Cattol. VIENNA d’ AUSTRIA/ Appresso Gio. Van Ghelen, Stampatore di Corte di/ Sua M. Ces. e Cattolica. CMP Conti, Francesco Bartolomeo (1681-1732) LBT Zeno, Apostolo (1668-1750) and Pietro Pariati (1655-1733) 8, 92 p., 15.5 cm. 5 acts. Argomento. List of scenes. 3 ballets.

Attori: DON CHISCIOTTE. DOROTEA. LUCINDA. FERNANDO. CARDENIO. LOPE. ORDOGNO. SANCIO. MENDO. MARITORNE. RIGO.--pre p. 5. Comparse: PAGGI. CORTEGGIO. SOLDATI. SERVI. ESECUTORI DELLA GIUSTIZIA.--pre p. 6. Nel Carnevale dell’ anno 1719 “Il tutto rara Invenzione del Sig. Giuseppe Galli/ Bibiena secondo Ingegnere Teatrale di Sua Maestà/ Ces. e C.” [“All is the rare Invention of Sig. Giuseppe Galli Bibiena, second Theatrical Engineer of His Imperial and Catholic Majesty.”]-pre p. 7. “Il primo, e l’ ultimo Ballo furono vagamente con/ certati dal Sig. Alessandro Philebois, Maestro di/ Ballo di S. Maestà Ces. e Cattolica./ Quello de’ Bagatellieri fu vagamente concertato dal/ Sig. Pietro Simone Levassori de la Motta, Maestro/ di Ballo di S. Maestà Ces. & Cattolica./

178 The Baroque Libretto Con le Arie Per li detti Balli del Sig. Nicola Matteis/ Direttore della Musica Instrumentale di S. Maestà/ Ces. e Cattolica.” [“The first and last dances were prepared by Sig. Alessandro Philebois, Dance Master of His Imperial and Catholic Majesty. That of the Fools was done by Sig. Pietro Simone Levassori de la Motta, Master of Dance of His Imperial and Catholic Majesty. With the Arias for the Dances by Sig. Nicola Matteis, Director of Instrumental Music of His Imperial and Catholic Majesty.”]--pre p. 8. Allacci 395; Sartori 8143 (C-Tu not listed); Sonneck 395 Conti’s work was immensely popular, appearing more than 25 times on the stage between 1720 and 1737. His skill in writing buffo bass arias no doubt suited this material, which features leading roles for a baritone and two basses (Hermine W. Williams, NG). The three ballets are indicated by stage directions in the libretto text. The music for these was provided by Nicola Matteis (late 1670s-1737), the English-born violinist who provided a great deal of ballet music for use in the operas of the Vienna court composers, including Fux, Caldara, Predieri, Ziani and Conti. On the back of the frontispiece is written in pencil: “Poesia di Apostolo Zeno e Pietro Pariati/ ed. originale/ poi Venezia, Domenico Lonia [?], 1719 12º.” [“Poetry by Apostolo Zeno and Pietro Pariati in the original edition, then in Venice by Domenico Lonia, 1719 12.”] The title page has handwritten notes in ink, including the date 1757. itp 00312

155. Gioasso GIOASSO/ ORATORIO A QUATTRO VOCI./ Da cantarsi nella Ven. Compagnia/ dell’Arcangiolo Raffaello detta/ la Scala./ POSTO IN MUSICA, E DEDICATO/ ALL’ALTEZZA REALE DELLA SERENISS./ VIOLANTE BEATRICE/ DI BAVIERA/ GRAN PRINCIPESSA DI TOSCANA,/ E GOVERNATRICE, DELLA

CITTA’ E STATO DI SIENA/ DAL REVERENDO/ GIO: NICCOLA RANIERI REDI./ Cappellano d’Onore, e Maestro di Cappella di/ Camera della medesima A. R./ IN FIRENZE )( MDCCXIX./ Nella Stamperia di Domenico Ambrogio Verdi./ Con licenza de’ Superiori. CMP Redi, Giovanni Nicola Ranieri (1685-1769) LBT 24 p., 20 cm. 2 parts. Dedication. The dedication to Violante Beatrix of Bavaria (1673-1731) signed by Giovanni Nicola Ranieri Redi./ --p. 4.

Intelocutori: GIOASSO. ATALIA. GIOADA. AZARIA. CORO DI SOLDATI, E POPOLO.--p. [2]. nella Ven. Compagnia dell’Arcangiolo Raffaello detta la Scala [1719] Sartori 11935 BDW Gionata assoluto. Anton Maria Palucci. (librettist unkown). 1716. Performed under the composer’s direction. See Hill 1986, 168. itp 01825

156. Griselda GRISELDA/ DRAMMA PER MUSICA/ DA RAPPRESENTARSI IN FIRENZE/ nel Teatro di Via del Cocomero/ Nel Carnovale dell’ Anno 1719./ SOTTO LA PROTEZIONE/ Dell’ Altezza Reale del

The Baroque Libretto 179

Serenissimo/ GRAN PRINCIPE/ DI TOSCANA./ IN FIRENZE/ Nella Stamp. di Domen. Ambrogio Verdi sulla/ Piazza di S. Apollinare. Con Lic. de’ Sup. CMP LBT [Zeno, Apostolo (1668-1750)] 72 p., 15 cm. 3 acts. Argomento/Protesta. List of scenes. Substitute aria texts.

Personaggi: GUALTIERO. Il Sig. Giuseppe Bigonzi. GRISELDA. La Sig. Antonia Pellizari di Venezia. COSTANZA. La Sig. Cecilia Belisani di Bologna. CORRADO. Il Sig. Marco Antonio Berti di Firenze, Virtuoso dell’Eccell. il Sig. Princ. Pio di Savoia. ROBERTO. La Sig. Giovanna Fontani di Bologna. OTONE. Il Sig. Paolo Mariani d’Urbino Virtuoso dell’Eccellenza il Sig. Duca di Mar. ELPINO. Il Sig. Francesco Belisani di Ferrara. PERNELLA. La Sig. Lucia Bonetti di Bologna. EVERARDO, BAMBINO, CHE NON PARLA.--p. 5. nel Teatro di Via del Cocomero Nel Carnovale dell’Anno 1719 Sartori 12526 BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711. The protesta is the last paragraph of the argument: “Si avvertisce ancora il Lettore, che le Voci, Fato, De-/ stino, Numi, e simili, che per entro quest’Opera sono/ sparse, deve crederle adornamenti di penna Poetica, e/ non sentimenti di chi professa di vivere, e morire nel grem-/ bo della Santa Romana Chiesa Cattolica.” [“The Reader is once again reminded that the Characters of Fate, Destiny, and similar which are found throughout this work are to be believed as ornaments of a Poetic pen, and not

the sentiments of he who professes to live and die in the womb of the Holy Roman Catholic Church.”]--p. 4. Substitute aria texts: “A carte 1. in vece di dire Vado amar/ un Labro, deve dire./ Gual. Con più vago splendor/ Già mi rapirò il Cor...”; “A carte 30. in vece di dire Lascia d’amar/ chi t’ama, deve dire./ Cor. Lasciar d’amar chi t’ama/ Sarebbe crudeltà...”--p. 72. Zeno’s libretto was originally set by Antonio Pollarolo in 1701. Weaver and Weaver (236) speculate that the music may have been by Giuseppe Maria Orlandini. itp 01826

157. Ifigenia in Tauride IFIGENIA/ IN TAURIDE./ TRAGEDIA DA CANTARSI/ NEL CELEBRE TEATRO GRIMANI/ Nella via di San Gio: Grisostomo/ Nelle notti Carnevalesche dell’Anno/ M.DCC.XIX./ Offerita/ A Sua Eccellenza il Sig./ VINCENZO GRIMANI/ Figliuolo del già Eccell. Sig./ GIO: CARLO/ DA MERINDO FESANIO PAST. ARC./ Della Colonia de’ SS. Animosi di Venezia./ IN VENEZIA, M.DCCXIX./ Appresso Marino Rossetti in Merceria,/ all’ Insegna della Pace./ CON LICENZA DE’ SUPERIORI. CMP Orlandini, Giuseppe Maria (1676-1760) LBT Pasqualigo, Benedetto (fl. 1706-34) [2], 80 p., 18.5 cm. Dedication: “A SUA ECCELLENZA IL SIGNOR/ VINCENZO GRIMANI/ MERINDO FESANIO PAST. ARC./ Della Colonia de’ S.S. Animosi di Venezia, fondata/ nel Paterno Palagio di S. Eccellenza.” [“TO HIS EXCELLENCY SIGNOR CINVENZO FRIMANO MERINDO FESANIO ARCADIAN SHEPHERD Of the Colony of the Animosi of Venice, founded in the Paternal

180 The Baroque Libretto Palace of His Excellency.”]--p. 3. “Il Sig. Giuseppe Maria Orlandini Maestro/ di Cappella del Ser. Gran Principe/ di Toscana è il Compositore/ della Musica.” [“Sig. Giuseppe Maria Orlandini, Maestro di Cappella of the Serene Grand Prince of Tuscany, is the composer of the Music.”]--p. 7. 5 acts. Frontispiece. Quotations. Dedication. Preface. List of scenes. Synopsis. The dedication to Vincenzo Grimani is signed by Benedetto Pasqualigo./ --p. 3.

Persone, che cantano: IFIGENIA. La Signora Faustina Bordoni, virtuosa di Camera del Serenissimo Elettor Palatino. TOANTE. Il Signor Gio: Francesco Costanzi, virtuoso della Real Cappella di Napoli. TEONOE. La Sig. Francesca Cuzzoni, virtuosa di Camera della Serenissima Gran Principessa Violante di Toscana. PILADE. Il Sig. Bartolommeo Bartoli, virtuoso della Serenissima Casa di Baviera. ORESTE. Il Sig. Antonio Bernacchi, virtuoso del Serenissimo Principe Antonio di Parma. ALMIRENO. Il Sig. Agostino Galli virtuoso di Camera di S. M. C. C./--p. 8. Nel Celebre Teatro Grimani Nelle notti Carnevalesche dell’Anno 1719

noteworthy reference to Martello, who treated the subject “con novità di Ritmo/ nel di lui Teatro”... [“with novelty in Rhythm in his Teatro”]. The author discusses the difficulties he had to face: “nel framischiare la Dignità/ della Mitologia, la puntualità della Poetica, e l’Eccel-/ lenza dell’Esemplare, con la delicatezza dell’armonia,/ con le ripugnanze del Teatro, dell’uso, e del Carnovale/ senza una mostruosa deformità./ Pare, che Ovidio nella Terza Elegia da ponto, ab-/ bia apposto l’Argomento à questa Tragedia dà me varia-/ ta e negli episodi, e nel fine. Per notizia però della F a-/ vola, trattata con li malvagi costumi dell’antica super-/ stizione, basterà agli Uditori il litterale volgarizzamen-/ to della stessa Elegia.” [“in mixing the Dignity of Mythology, the scrupulousness of Poetry, and the Excellence of the Specimen, with the delicacy of harmony, with the baseness of the Theatre, and Carnival celebrations without creating a monstrosity. It seems that Ovid, in the Third Elegy ex Ponto had provided the Argument for this Tragedy, which I changed in the episodes and in the ending. As for knowledge of the background, and of the evil customs of ancient superstition with which it is filled, a literal translation of the same Elegy will be enough for the Listeners.”] It is important to point out that even Martello had used the same elegy to introduce his tragedy, although in Latin. The libretto has been printed with an unusual format: italics with large characters. Each act is also curiously preceded by a synopsis. Page [2] contains Latin quotations from Aristotle’s Poetics and Horace’s Ars poetica.

“SCENE MUTABILI/ d’invenzione del Sig. Romualdo Mauri.” [“CHANGEABLE SCENES invented by Sig. Romualdo Mauri.”]--p. 9.

itp pam 00626

Alm 678; Sartori 12748 (C-Tu not listed)

158. Marco Attilio Regolo

The dedication is a sonnet by Merindo Fesanio, Arcadian name of the librettist Pasqualigo. In the preface to the “UDITORI” Pasqualigo mentions those who have written about the same subject, including the original tragedy by Euripides “Fu Trattato l’Argomento in Aulide ad imitazione del/ Grande Originale, nei tempi moderni dal Sig. Racine” [“The Argument in Aulis is an imitation of the great modern original by Racine”] and other Italian and French authors, like M. Ludovico Dolce and Apostolo Zeno. There is a

M. ATTILIO/ REGOLO/ Drama per Musica/ DA RAPPRESENTARSI/ Nella Sala dell’ Illimo Sig. Federico Ca-/ pranica nel Carnovale dell’ anno 1719./ DEDICATO/ All’ Ill.mo, ed Ecc.mo Prencipe/ D. CARLO/ ALBANI/ NIPOTE DI N. S./ CLEMENTE XI./

The Baroque Libretto 181

Si vendono a Pasquino nella Libreria di Pietro Leone/ all’ Insegna di S. Gio. di Dio./ IN ROMA, nella Stamperia del Bernabo, 1719./ CON LICENZA DE’ SUPERIORI. CMP Scarlatti, Alessandro (1660-1725) LBT [Noris, Matteo (d. 1714)]

Villa di Pratolino in Florence, set by Giovanni Maria Pagliardi in 1693. itp pam 00907

159. Partenope

87 p., 15 cm. “La Musica è del Sig. Cavaliere Alessan-/ dro Scarlatti Primo Maestro della/ Real Cappella di Napoli.” [“The Music is by the Sig. Cavaliere Alessandro Scarlatti, first Maestro di Cappella of the Royal Chapel of Naples.”]--p. 7. 3 acts. Dedication. Argomento. Protesta. Imprimatur. List of scenes. The dedication to Carlo Albani is signed by Bernardo Robatti./ --p. 4.

Interlocutori: MARCO ATTILIO REGOLO. Il Sig. Stefano Romani, detto Pignattino. FAUSTA. Il Sign. Domenico Tollini Virtuoso di S. M. C. C.. EMILIA. Il Sig. Carlo Scalzi Virtuoso del Sig. Marchese Gio. Battista Mari Centurioni. AMILCARE. Il Sig. Gio. Battista Carboni. ERACLEA. Il Sig. Innocenzo Baldini. SANTIPPO. Il Sig. Annibale Pio Fabri. LEONZIO. Il Sig. Pietro Mozzi. EURILLA. Il Sig. Nicola Brugia.--p. 7. Nella Sala dell’Illmo Sig. Federico Capranica nel Carnovale dell’ anno 1719 Franchi (II) 54; Sartori 14766 “Imprimatur,/ Si videbitur Reverendiss. Patri Magistro/ Sacri Palatii Apostolici./ T. Cervinius Episc. Hæracleæ Vicesg./ Imprimatur./ Fr. Gregorius Selleri Ordinis Prædicato-/ rum, Sac. Palatii Apostolici Magister.”--p. 6. Sartori gives Noris as librettist, however there is no evidence of this in the libretto, and Franchi (II, 54) and Malcolm Boyd (NG) give no librettist at all. Noris did write an Attilio Regolo for the

PARTENOPE/ DRAMMA PER MUSICA/ Da rappresentarsi nel Teatro di Via/ del Cocomero/ Nel Carnevale dell’ Anno 1719./ SOTTO LA PROTEZIONE/ DELL’ ALTEZZA REALE/ DELL’ SERENISSIMO/ GRAN PRINCIPE/ DI TOSCANA./ IN FIRENZE/ Nella Stamp. di Domen. Ambrogio Verdi./ CON LICENZA DE’ SUPER. CMP Predieri, Luca Antonio (1688-1767) LBT Stampiglia, Silvio (1664-1725) 56 p., 15 cm. “La Musica è del Sig. Luca Antonio Predieri Mae-/ stro di Cappella di Bologna, e Accade-/ mico Filarmonico.” [“The Music is by Sig. Luca Antonio Predieri, Maestro di Cappella of Bologna and Philharmonic Academician.”]--p. 56. 3 acts. Argument. Note. List of scenes.

Personaggi: PARTENOPE. La Sig. Cecilia Belisani di Bologna. ROSMIRA. La Sig. Antonia Pellizzari di Venezia. ARSACE. Il Sig. Paolo Mariani d’Urbino Virtuoso dell’Eccellenza il Sig. Duca di Mar. ARMINDO. Il Sig. Giuseppe Bigonzi. EMILIO. Il Sig. Marco Antonio Berti di Firenze, Virtuoso di Camera di S. A. S. il Principe d’Armstat. ORMONTE. La Signora Giovanna Fontani di Bologna.--p. 3. Nel Teatro di Via del Cocomero Nel Carnevale dell’Anno 1719

182 The Baroque Libretto Sartori 17827

LBT [Gasparri, Francesco Maria (1680-1735)]

BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711.

[20] p., 20.5 cm.

“LE voci fato, Deità, Destino, e simili,/ che per entro questo Drama troverai,/ son messe per ischerzo poetico, e non/ per sentimento vero, credendo sempre in tut-/ to quello, che crede, e comanda Santa Ma-/ dre Chiesa.”--p. 2. [“THE characters of Fate, Deity, Destiny, and others like them that you will find in this Drama are used as a form of poetic diversion and not as an expression of real sentiment, for the author professes his belief in all that the Holy Mother Church believes and commands.”] The argomento details the source of the story as Chapter II “del primo libro dell’Istoria della Città, e Regno di Napoli di Gio Antonio Summonto” [“of the first book of the History of the City, and the Kingdom of Naples of Giovanni Antonio Summonto”] (p. 2). Stampiglia’s libretto had been set by Mancia in 1699, and again by a host of others including Caldara, Zumaya, Quintavalle, Sarro, Vinci, Handel, Vivaldi, G. Scarlatti, and lastly by Cocchi in 1753. This production is a revival of the 1710 setting, which inaugurated the Teatro Marsigli-Rossi in Bologna that year. It is the earliest known opera by Predieri (Anne Schnoebelen, NG). It was also revived that same year (1719) in Bologna (Weaver, 235).

“Posto in Musica nel Oratorio/ DAL SIG. CARLO CESARINI.”--p. [1]. 2 parts. L’ ANGELO. ABRAMO. ISACCO.--p. 3. Franchi (II) 156; Sartori 20338 L’ ANGELO. Sig. Pasqualino Betti. ABRAMO. Sig. B. Virginio Cimapani. ISACCO. Sig. Francesco.--p. 3. Actors’ names are handwritten. Franchi (II, 156) gives Gasparri as librettist, but states that the only evidence for this is a copy in the Bibliotheca Vaticana (RG Misc. B52 14:13) which contains the handwritten note “Del Sig Dottor Gasparri” (p.156, n. 235). Lowell Lindgren’s works list for Cesarini in NG lists “Gasparri” as well. This libretto contains a number of additions by hand in ink. “nel oratorio” is added after “Posto in Musica” on the title page (p. [1]), in addition to extensions to the printed crest which appears in the middle of the page. Cast members’ names were also added by hand after their printed character names. The note, “filo B S S ns” is added in ink on p. 17 itp 00218

itp 01826

160. Il sagrifizio d’Isacco IL/ SAGRIFIZIO/ D’ ISACCO/ ORATORIO/ Posto in Musica/ DAL SIG. CARLO CESARINI./ IN ROMA, per il Bernabo, l’Anno MDCCXIX./ CON LICENZA DE’ SUPERIORI. CMP Cesarini, Carlo Francesco (1666-after 1741)

161. Lo Speziale di villa LO SPEZIALE/ DI VILLA/ DRAMA PER MUSICA/ Da rappresentarsi nel Teatro di Via/ del Cocomero/ Nel Carnevale dell’ Anno 1719./ SOTTO LA PROTEZIONE/ DELL’ ALTEZZA REALE/ DEL SERENISSIMO/ GRAN PRINCIPE/ DI TOSCANA./ IN FIRENZE/ Nella Stamp. di Domen. Ambrogio Verdi./ CON LICENZA DE’ SUPER.

The Baroque Libretto 183 CMP LBT [Villifranchi, Cosimo Giovanni (1664-1699)] 62 p., 14.5 cm. 3 acts. List of scenes. Protesta.

Interlocutori: CARTOCCIO. ROSAVRA. FILARCO. DELMIRA. DAMONE. TRANELLA.--p. 2. nel Teatro di Via del Cocomero Nel Carnevale dell’Anno 1719 Sartori 22382 BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711. The Protesta is found on the last page (p. 62). Weaver cites Maffei (27-47) for the attribution to Villifranchi (Weaver, 237, 154). itp 01826

162. Il Tamerlano IL TAMERLANO/ DRAMA PER MUSICA/ DA RAPPRESENTARSI/ IN LIVORNO/ Nel Carnevale dell’ Anno 1719./ SOTTO LA PROTEZIONE/ DELL’ ALTEZZA REALE/ DELL’ SERENISSIMO/ GRAN PRINCIPE/ DI TOSCANA./ IN FIRENZE/ Nella Stamp. di Domen. Ambrogio Verdi./ CON LICENZA DE’ SUPER. CMP [Gasparini, Francesco (1661-1727)] LBT [Piovene, Agostin (1671-1721)] 68 p., 14 cm. 3 acts. Preface/Protesta. List of scenes. Additional scene/aria.

Attori: TAMERLANO. Il Sig. Angelo Zanoni di Venezia, Virtuoso di Camera di S. A. S. il Principe d’ Armstat. BAIAZET. Il Sig. Gaetano Mossi Virtuoso di Camera dell’ A, R. la Sereniss. Violante Gran Principessa di Toscana, e Governatrice della Città, e Stato di Siena. ASTERIA. La Sig. Rosavra Mazzanti di Firenze. IRENE. La Sig. Maria Teresa Cott detta la Francese. ANDRONICO. Il Sig. Gio. Antonio Archi detto Cortoncino. LEONE. La Sig. Silvia di Bologna, detta la Spagnola. ZAIDA. La Sig. Maria Maddalena Pieri di Firenze. --p. 5. NE’ BALLI OPERANO. Il Sig. Francesco Aquilanti di Firenze; La Sig. Maria Regale Favilli di Firenze.--p. 5. Nel Carnevale dell’Anno 1719 Sartori 22819 An extra printed scene is bound into the libretto, at the end. “A carte 27. dopo l’ Aria d’ Asteria segue/ la presente Scena./ SCENA XIII.” [“On page 27, Asteria’s aria is followed by the present Scene. SCENE XIII.”]--p. 67. Refers to Nicolas Pradon’s Tamerlan ou la mort de Bajazet (1675) as the literary source of the ideas for the story (p. 4). One of Gasparini’s three settings of this libretto. Harris S. Saunders (NG) states that the first “may have formed the basis” for this revival. Sartori lists only one other exemplar. itp pam 00926

163. Il trionfo della castita di Santo Alessio IL/ TRIONFO/ DELLA CASTITA’/ DI/ SANTO ALESSIO/ DRAMA SACRO/ DI NICOLA CORVO/ Dedicato all’ Eminentissimo/ SIGNOR CARDINALE/ WOLFANGO/ ANNIBALE/ DI

184 The Baroque Libretto

SCRATTENBACH/ Del Titolo di S. Marcello, Principe, e Vescovo/ di Olmutz, Duca, e Principe del S. R. I., del/ Consiglio di S. M. Ces., e Catt. Vicere,/ Luogotenente, e Capitan Generale/ in questo Regno./ SECONDA IMPRESSIONE/ Per rappresentarsi nuovamente nel Regal Conserva-/ torio detto de’ Turchini in quest’ anno 1719./ Con Musica del Sig. Lionardo Leo in tempo,/ ch’egli era figliuolo dello stesso Conserva-/ torio. In Nap. Per Secondino Porsile Reg. Stamp. CMP Leo, Leonardo (1694-1744) LBT Corvo, Nicolò 108 p., 15.9 cm. 3 acts. Dedication. List of scenes. Imprimatur. The dedication to Wolfgang Hannibal Graf von Schrattenbach (1660-1738) is signed by the board of governors of the conservatory./ --p. 4.

Personaggi: LUCIFERO. ASTAROT. LEVIETAN. ASMODEO. ANGEL. ALESSIO DA PEREGRINO. EUSEMIANO. AGLESIA. ERSILIA. MASULLO NAPOLETANO SERVO. CALISTA VECCHIA. CECCHINO PAGGIO. VALERI. GIAMPIETRO CALABRESE SERVO.--p. [5].

abbiam non-/ dimeno a bello studio determinanto la rap-/ presentazion di questo nel presente anno/ far replicare, e col glorioso nome di V Em./ nella nuova stampa farlo comparir: alla/ credenza affidati, di doverle a grado,/ per l’avvisata cagione, riuscire;”/ --p. [4]. [“Though many other representations in music have been done, among them the Triumph of Chastity of Santo Alessio, we have nevertheless endeavored to repeat the production of this work in the present year, and to issue it in a new printing under the glorious name of Your Eminence, trusting that it will turn out to your satisfaction, for the reasons given.”] The libretto is bound in pink and green silk brocade, undoubtedly one of the copies for the entourage of the prince. This is a type of sacred opera that was produced at the conservatories in Naples to provide the students with practical operatic experience. Although the subject matter is sacred, there is a strong element of comedy supplied by the servants, several of whom speak in Neapolitan dialect. In fact the librettist, Nicola Corvo, was one of the originators of the Neapolitan commedia per musica. This is the second edition of this libretto. The first was for the original production in 1713 when Leo was still a student. This was presumably Leo’s graduation piece since he obtained his first professional position, as organist at the Capella Real, in April of 1713. Apparently the opera was successful enough that it was considered worthy of a revival in 1719. Some lines, particularly those of the servant roles, are marked with “--,” a variation on the typical versi virgolati. itp 00665

Regal Conservatorio detto de’ Turchini 1719 Sartori 23757 (C-Tu is the only location listed)

164. La serva nobile

Imprimatur: “Si concede la licenza di rappresentarsi, e/ di ristamparsi il Drama sudetto. Napoli/ 29. Novembre 1719./ D. Pietro Marco Gizzio Can. Dep.,” [“We give license to stage and to reprint the following Drama. Naples ...”]--p. [6]. The dedication is signed by the board of governors of the Conservatory: “molte altre rappresentazioni in musica fat-/ te si siano, fra le quali, il Trionfo del-/ la Castità di Santo Alessio,

LA/ SERVA NOBILE/ DRAMA PER MUSICA/ DA RAPPRESENTARSI IN FIRENZE/ Nel Teatro di Via del Cocomero,/ nel Carnevale dell’ Anno 1720./ SOTTO LA PROTEZIONE/ DELL’ ALTEZZA REALE DEL SEREN./ GRAN PRINCIPE/ DI TOSCANA./

The Baroque Libretto 185

IN FIRENZE, M.DCC.XX./ Da AntonMaria Albizzini: da S. Maria in Campo./ Con licenza de’ Superiori.

Conti di Galveas, Comentatore dell’ Ordine/ de Cristo, del Consiglio del Rè di Porto-/ gallo, e suo Ambasciatore in Roma./

CMP LBT Moniglia, Giovanni Andrea (1624-1700)

Si vendono a Pasquino nella Libraria di Pietro Leone/ all’ Insegna di S. Giovanni di Dio./ IN NAPOLI, per Nicola Monaco. MDCCXXI/ Con licenza de’ Superiori.

88 p., 14.5 cm. 3 acts. Argument/Protesta. List of scenes.

Attori: ANSELMO. Il Sig. Alessandro del Ricco, di Firenze. LEONORA. La Sig. Anna Bianchi, di Firenze. ISABELLA. La Sig. Giustina Turcotti, di Firenze. BRUSCOLO. Il Sig. Antonio Lottini, Virtuoso di S. Ecc. il Sig. Duca Rospigliosi. DESSO. Il Sig. Giovanni Baldini, di Firenze. FERNANDO. Il Sig. Anton Francesco Carli, Virtuoso della Real Casa di Toscana.--p. 5. Teatro di Via del Cocomero nel Carnevale dell’Anno 1720 Sartori 21773 BDW La costanza fra gl’inganni. (composer unknown). Apostolo Zeno. 1711. Act II has a note at the end “E con l’ Abbattimento, termina l’ Atto Secondo.”--p. 63. This opera is based on Giovanni Andrea Moniglia’s original libretto from 1660. The composer remains unknown, however, and the music is lost (Weaver, 239).

CMP LBT 60 p., 15 cm. 3 acts. Dedication. Argument. Imprimatur. List of scenes. 2 ballets. The dedication to Andrea Mello di Castro is signed by Filippo Albritii./ --p. 4.

Interlocutori: CIRCE. PICO. DORILLO. ARGILLETTA. GILDO.--p. 7. Teatro vicino a S. Lucia della Tinta “IMPRIMATUR,/ Si videbitur Reverendissimo Patri/ Magistro Sacri Palatii Apostolici./ N. Card. Caracciolus Pro-Vicarius./ IMPRIMATUR,/ Fr. Gregorius Selleri Sac. Apostolici/ Palatii Magister, Ordiniis Præ-/ dicatorum.” --p. 6. Sartori 5653 This is the only copy of this libretto. itp pam 00162

itp 01826

165. La Circe in Italia LA CIRCE/ IN ITALIA/ DRAMA PER MUSICA/ Da recitarsi nel Teatro vicino a/ S. Lucia della Tinta./ DEDICATO/ A SUA ECCELLENZA/ IL SIGNOR/ D. ANDREA/ DI MELLO DI CASTRO/ De’

166. L’Ultima scena del mondo L’ULTIMA SCENA/ DEL MONDO/ Dramma Tragico, e Sacro/ PER MUSICA/ Opera dell’ Arciprete/ ANTONIO CUTRONA/ SIRACUSANO/ Dottore in Sacra Teologia, Accademico/ Fiorentino, e

186 The Baroque Libretto

Apatista./ E Cappellano d’ onore dell’ Aula Cesarea./ IN FIRENZE. 1721./ Nella Stamperia di S. A. R. Per i Tartini, e/ Franchi. Con licenza de’ Sup. CMP LBT Cutrona, Antonio [12], 25-74, 77-92 p.,14 cm. “L’ ULTIMA SCENA DEL/ MONDO, o vero L’ UNIVERSALE GIU-/ DIZIO, Drama Tragico dell’ Arciprete/ D. Antonio Cutrona Siracusano, Dotto-/ re in Sacra Teologia, Cappellano d’ o-/ nore della S. Cesarea Real Maestà” [“THE LAST SCENE OF THE WORLD, or THE UNIVERSAL JUDGMENT, Tragic Drama by the Archpriest D. Antonio Cutrona of Siracuse, Doctor of Sacred Theology, Chaplain of His Imperial Majesty”]--p. 90. 3 acts. Preface. List of scenes. Introduzione (prologue). 2 Intermezzi.

Personaggi: DIO PADRE. Baritono. CRISTO GIUDICE. Tenore. MARIA REGINA. Canto. S. MICHELE. Canto. S. RAFFAELE. Canto. ENOC. Bassso. ELIA. Alto. GIOVANNI EVANGELISTA. Tenore. ADAMO, EVA. Tenore, Canto. LUCIFERO. Basso. ANTICRISTO. Alto, o mezzo soprano. SOLDANO D’ EGITTO. Alto. ARBAELE. Tenore. MESSO PRIMO, SECONDO, TERZO, QUARTO. Che possono farsi da due soli.--p. [7]. [Cori]: ANGIOLI, E BEATI. Con sinfonia. DEMONIJ. Senza sinfonia. SOLDATI. BALLARINI. BANCHETTANTI.--p. [7]. [Comparse]: Sartori 24230 Approved by the Accademia Fiorentine, dated 12 September 1721 (p. 90). Imprimatur dated 13 September 1721 (p. 91). Pages 75-76 missing.

Based on Christus Iudex Tragoedia by Stefano Tucci (1540-1597) which had been translated by Antonio Cutrona as Cristo giudice (Rome: Giacomo Dragondelli, 1699), this libretto had not been set to music at the time of its publication. One reason for this may have been its complexity, since it includes 20 characters, 5 choruses, and numerous non-speaking parts. Its most distinguishing feature, however, is the spectacular staging that it calls for in the stage directions. Cutrona reissued his translation of the original play a few years later (Venice: Bartoli, 1727). itp 02005

167. L’Argippo L’ARGIPPO/ DRAMA PER MUSICA/ Da rappresentarsi nel Regio Ducal/ Teatro di Milano/ IN OCCASIONE/ Di celebrarsi il Giorno Natalizio/ della Cesarea Cattolica Maestà/ DI/ ELSABETTA/ CRISTINA/ IMPERATRICE,/ REGINA DELLE SPAGNE &c. &c. IM MILANO, MDCCXXII./ Nella R. D. C., per Giuseppe Richino Malatesta/ Stampatore Regio Camerale./ Con licenza de’ Superiori. CMP Fiorè, Andrea Stefano (1686-1732) LBT [Biancardi, Sebastiano detto Domenico Lalli (1679-1741); reworked by Claudio Nicola Stampa] [12], 44 p., 14 cm. “La musica è del Sig. Stefano Andrea Fiorè/ Maestro di Cappella all’ attual servizio di/ S. M. il Rè di Sardegna, e Duca di Savoja &c.” [“The music is by Sig. Stefano Andrea Fiorè, Maestro di Cappella in service to His Majesty the King of Sardinia and Duke of Savoy.”]--p. [11]. Dated (ded.) “Milano li 27. Agosto del 1722.”/ --p. [5]. 3 acts. Dedication. Preface. List of scenes.

The Baroque Libretto 187 The dedication to Girolamo Colloredo is signed by Giuseppe Ferdinando Brivio./ --p. [5].

della Pace./ Con Licenza de’ Superiori, e Privilegio.

Attori nel drama: ARGIPPO. Il Sig. Giuliano Albertini Virtuoso di Camera della Serenissima Gran Principessa Violante di Toscana. ZANAIDA. La Signora Vittoria Tesi Virtuosa del Serenissimo Principe Antonio di Parma. OSIRA. La Signora Anna Guglielmina Virtuosa della Serenissima Principessa Eleonora di Toscana. TISIFARO. Il Sig. Gio. Battista Pinacci Virtuoso di S. A. il Sig. Principe d’ Armestat. SILVERO. Il Sig. Carlo Scalzi. MESIO. La Signora Maria Antonina Tozzi di Firenze./ --p. [11].

CMP Capelli, Giovanni Maria (1648-1726) LBT Pasqualigo, Benedetto (fl. 1706-34)

Regio Ducal Teatro [1722] “Le Scene, Invenzione, e Pittura delli Signori/ Gio. Battista Medici, e Gio. Domenico/ Barbieri.”-p. [11]. “Per gl’Intermezzi saranno Balli composti da/ Mons. Scio Virtuoso di Ballo di S. A. Elet-/ torale Palatina.”--p. [11]. Sartori 2452 Lalli’s text was first set in 1717 in Venice by Giovanni Porta. itp pam 00252

168. Giulio Flavio Crispo GIUL: FLAVIO CRISPO/ TRAGEDIA DA CANTARSI/ Nel Celebre Teatro Grimani/ in S. Gio: Grisostomo/ Nelle Notti Carnovalesche/ MDCCXXII./ OFFERITA/ Ad/ ECCELLENTISSIMO SENATORE. IN VENEZIA, MDCCXXII./ Appresso Marino Rossetti, in Merzeria/ all’ Insegna

[10], 62 p., 16.5 cm. “Compositore de la Musica è il Sig. Ab. Giammaria/ Capello Maestro di Capella del Sereniss./ Principe Antonio di Parma.”--pre p. [7]. 5 acts. Dedication. Argument. List of scenes. Ballet. The dedication to Elisabeth Christine of Brunswick-Wolfenbüttel (1691-1750) is signed by Benedetto Pasqualigo./ pre p. [3].

Persone: ARSIMENE. La Sig. Francesca Cuzzoni. FAUSTA. La Sig. Vittoria Tesi. GIULIO FLAVIO CRISPO. Il Sig. Antonio Bernacchi. FLAVIO COSTANTINO. Il Sig. Gaetano Berenstadt. CLEARCO. Il Sig. Giovanni Ossi. COSTANZO. Il Sig. Annibale Pio Fabri. ARSACE. Il Sig. Antonio Barbieri.--pre p. [7]. Teatro Grimani in S. Gio: Grisostomo Nelle Notti Carnovalesche 1722 “D’Invenzione, e Pittura delli Signori/ Gioseffo, e Romoaldo Mauro.” [“Inventions and Paintings by Gioseffo and Romoaldo Mauro.”]--pre p. [8]. Alm 708; Sartori 12220 The dedicatory poem is signed by “Merindo Fesanio/ Past. Arc.”(pre p. [3]), the Arcadian pseudonym for Benedetto Pasqualigo, the aristocratic poet who also wrote the five-act tragedia Ifigenia in Tauride. The libretto is dedicated to an unnamed senator, presumably one who appreciated opera but did not wish to be associated with the theatre. The libretto makes clear the dramatic licences taken by dividing the argomento into “Storia di Giulio Flavio Crispo”, and “Favola Dramatica/ DI GIUL. FLAVIO CRISPO” (pre p. [4]). “Persone” lists “Persona Aggiunta” (pre p. [6]), and the libretto

188 The Baroque Libretto calls for “coro” throughout. “SCENA MUTABILI” also gives a description of “MACHINA” (pre p. [9]). An aria for the Imperadore (Act IV, ii) and two recitatives are marked with versi virgolati. According to Selfridge-Field (363), Giulio Flavio Crispo was premiered on 17 January 1722, and was well received. The cast list is unusual, because it includes voice types, such as Antonio Bernacchi, “contralto.”

[sic] by one Luigi Perini. The title page, in a different hand, bears the name Sebastiano Guicotti (or Guidotti). itp 01825

170. Il pentimento di Davidde

itp pam 01537

169. Matatia Matatia, overo i Maccabei/ Oratorio à quattro/ voci CMP Redi, Giovanni Nicola Ranieri (1685-1769) LBT 18? p., 20 cm. 2 parts. Dedication. BDW Isacco figura del Redentore. Giovanni Niccola Rinieri Redi. 1731. Manuscript title page. Dedication to “Altezza Reale” signed by the composer P. Gio: Niccola Rinieri Redi.--pp. 3-4.Handwritten corrections on pp. 5, 6 and 7. The title page is handwritten, and the text is incomplete. The libretto is bound as a single gathering, suggesting the outer folio is lost, containing the title page and the small remainder of the text that would appear on the last page. This libretto may be related to Sartori 15109 and 15110, Matatia in Modin. (Florence, 1722 and 1727. The 1722 performance is listed in Hill 1986, 169.) These are two editions of a work composed by Redi and featuring dedications by him. Our copy is bound with a collection of oratorios from the first half of the eighteenth century. The owner has written a Table of Contents on the last page. The last oratorio is a fully handwritten Il Martirio di S Bartolommeo

IL PENTIMENTO/ DI/ DAVIDDE/ COMPONIMENTO SAGRO/ DI ANDREA TRABUCCO/ Accademico ravvivato di Benevento, detto fra gli/ Arcadi di Roma ALBIRO MIRTUNZIANO; POSTO IN MUSICA DAL SIG./ FRANCESCO ANTONIO/ DI ALMEIDA PORTUGHESE,/ E da cantarsi nella seconda Domenica di Quaresima,/ nella Ven. Chiesa di S. Girolamo della Carità./ AL REVERENDISSIMO PADRE/ D. DIEGO CURADO/ Della Congregazione dell’ Oratorio, Consultore/ del Tribunale del S. Ufizio ne’ Regni/ di Portogallo &c./ IN ROMA, per Antonio de’ Rossi, nella strada del Seminario/ Romano, vicino alla Rotonda. 1722./ CON LICENZA DE’ SUPERIORI. CMP Almeida, Francisco António de (c.1702; fl. 1722-52) LBT Trabucco, Andrea 28 p., 20.5 cm. “POSTO IN MUSICA DAL SIG./ FRANCESCO ANTONIO/ DI ALMEIDA PORTUGHESE”--p. [1]. “Un Componimento Sagro del Sig. Abbate An-/ drea Trabucco, detto Albiro Mirtunziano, intitolato, Il Pentimento di/ Davidde”--p. 7. 2 parts. Dedication. Argument. Imprimatur. The dedication to Diego Curado is signed by Andrea Trabucco./ --p. 6.

The Baroque Libretto 189

[Characters]: DAVIDDE. NATAN. BERSABEA. ACAB.--p. 8. Ven. Chiesa di S. Girolamo della Carità nella seconda Domenica di Quaresima “IMPRIMATUR./ Si videbitur Reverendiss. Patri Mag. Sac. Palatii Apostolici./ N. Baccarius Episc. Boianen Vicesg.”--p. 7. “Fr. Gregorius Selleri Ord. Præd. Sac. Pal. Apostol. Magister.”--p. 7. Franchi (II) 187; Sartori 18397 Almeida is called “Giovine Composi-/ tor della Musica”--p. 6. This may help to clarify his dates, since this is 1722. “Noi Infrascritti specialmente deputati, avendo a tenor delle Leggi/ d’Arcadia riveduto un Componimento Sagro del Sig. Abbate An-/ drea Trabucco,/ detto Albiro Mirtunziano, intitolato, Il Pentimento di/ Davidde, giudichiamo, che l’ Autore nell’ impressione di esso, possa av-/ valersi del nome Pastorale, e dell’ Insegna del nostro Comune./ Arnaurio Epirio P. A. Deputato./ Semiro Acidonio P. A. Deputato./ Dolasco Pierio P. A. Deputato./ Attesa la predetta relazione in vigore della facoltà data dal/ Reverendissimo P. Maestro del Sacro Palazzo Apostolico / alla nostra Adunanza, si concede licenza al suddetto Al-/ biro Mirtunziano di valersi nell’ impressione del mentova-/ to Componimento del nome, e della Insegna predetta./ Dato in Collegio d’ Arcadia questo dì 24. Febbraio del/ 1722. al V. d’ Elafobolione stante, l’ anno I. dell’ Olimpiade DCXXV. Ab A. I. Olim. VIII. anno IV./ Alfesibeo Cario Custode Gen. d’ Arcadia./ Loco + del Sigillo Cust./ Zetino Elaita Sottocustode.”--p. 7. [“We the undersigned, having received the special commission to review, in conformity with the Laws of Arcadia, have reviewed a Sacred Composition of Sig. Abbate Andrea Trabucco, called Albiro Mirtunziano, entitled Il Pentimento di Davidde, judge that the Author in the printing of this work can call himself by his Pastoral name, and use the Insignia of our Community. Arnaurio Epirio Arcadian Shepherd Deputy. Semiro Acidonio Arcadian Shepherd Deputy. Dolasco Pierio Arcadian Shepherd Deputy. Having taken into account the aforementioned report of the approval granted to our Gathering

by the Most Reverend Father Master of the Sacred Apostolic Palace, we hereby give license to the above-mentioned Albiro Mirtunziano to use in the printing of said composition the name and insignia, Given in the Collegium of Arcadia on this day, the 24th of February 1722. On the 5th day of Elafabolion, the first year of the Olympiad DCXXV.”] itp pam 00012

171. L’enigma disciolto L’ ENIGMA/ DISCIOLTO/ Trattenimento Pastorale/ PER MUSICA/ DA RAPPRESENTARSI/ NEL TEATRO/ Di CITTADELLA di Reggio/ L’ Autunno dell’ Anno 1723./ SOTTO LA PROTEZIONE/ DI/ SUA ALTEZZA SERENISSIMA/ La Signora/ PRINCIPESSA/ DI MODONA./ In Reggio, per li Vedrotti. 1723. Con lic. de’ Sup. CMP Tonelli, Antonio (1686-1765) LBT 47 p., 17 cm. “La Musica è diretta dal Sig. Antonio Tonelli,/ Virtuoso delle Altezze Sue de’ Sig. Pren-/ cipe, e Principessa di Modona,/ E dal Sig. D. Allegro Allegri Mastro di Cap-/ pella, e Organista di S. Bonifacio. L’ arie/ parte sono di questi, parte d’ altri Vir-/ tuosi.” [“The Music is directed by Sig. Antonio Tonelli, Virtuoso of Their Highnesses the Prince and Princess of Modena, and by Sig. D. Allegro Allegri Maestro di Cappella and Organist of S. Boniface. Some of the arias are theirs, some of other Virtuosi.”]--p. 4. 3 acts. Scenario. Substitute aria text.

Interlocutori: SELVAGGIO. Sig. Giovanna Fontana Bolognese. TIRSI. Sig. Francesca Staffetta. EVRILLA. Sig. Francesca Muzzi Modonese. FILLI. Sig. Cammilla Zoboli

190 The Baroque Libretto

Modonese. SATIRO. Sig. Francesco Bellisani Bolognese.--p. 4.

The dedication to Fabrizio Paulucci is singed by Fabio Loccatelli./ --p. 5.

Nel Teatro di Cittadella L’Autunno dell Anno 1723

Interlocutori: CESARE. ASINIO POLLIONE. AUTORIGE. ROSCIO--p. 10.

Sartori 8945

In Casa Loccatelli Li 20 Agosto 1725

There is a substitute aria bound into the libretto. “Pagina 16./ Tirsi in vece delle parole dell’ Aria/ Se vuoi gioire, &c./ Si Correge” (p. 47). There seem to be plays on words or riddles in the libretto, emphasized by capital letters (Act III). The libretto states that the music for this production is “diretta dal” Tonelli (p. 4), but also by D. Allegro Allegri and arias are by these two and “altri Virtuosi” (p. 4). The libretto is perhaps by Giambattista Neri (d.1726). A L’enigma disciolto of his became his most famous work, being staged at least 18 times between 1698 and 1723 (NG). itp pam 00938

172. Cesare al Rubicone CESARE AL RUBICONE/ MELODRAMMA PER MUSICA/ Dedicato all’ Eminentissimo e Reverendissimo Signore/ CARD. FABRIZIO/ PAULUCCI/ E CANTATO IN CESENA/ IN CASA LOCCATELLI/ In occasione di aver SUA EMINENZA/ levato al sacro Fonte/ IL SIG. CONTE GIUSEPPE/ Li 20 Agosto 1725./ OPERETTA/ DEL SIG. CO. VINCENZIO MASINI. IN FAENZA MDCCXXV./ Nella Stamperia di GIOSEFFANTONIO ARCHI/ Impress. Cam. e del S. Uf. Con lic. de’ Sup. CMP Masini, Vincenzo conte LBT 32 p., 19.5 cm. 2 parts. Dedication. Preface. Argument.

Sartori 5384; Sonneck 273 Dedication signed by Fabio Loccatelli, “Cesena il Mese di Agosto MDCCXXV.”--p. 5. Albert Schatz’s attribution of the libretto to Fabio Loccatelli (Sonneck) seems to derive solely from the dedication. itp pam 00439

173. Alessandro ALESSANDRO./ DRAMA./ Da Rappresentarsi/ Nel REGIO TEATRO/ di HAY-MARKET;/ PER/ La Reale Accademia di Musica./ LONDON:/ Printed, and Sold at the King’s Theatre/ in the Hay-Market. M.DCC.XXVI. CMP Handel, George Frideric (1685-1759) LBT Rolli, Paolo (1687-1765) [4], 63 p., 17.5 cm. “La Musica è del Signor Giorgio Federico/ Handel.”--p. 4. 3 acts. Argument

Personaggi: ALESSANDRO. Signor Senesino. TASSILE. Signor Baldi. CLITO. Signor Boschi. CLEONE. Signora Dotti. LEONATO. Signor Antinori. ROSSANE. Signora Faustina Bordoni. LISAURA. Signora Francesca Cuzzoni./--p. 4

The Baroque Libretto 191 Nel Regio Teatro di Hay-Market Sartori 678 Bilingual libretto: English and Italian. The bottom part of the last page is missing. Ortensio Mauro’s (1632/3-1725) 1690 libretto, La superbia d’Alessandro, produced in Hanover with music by Agostino Steffani (1654-1728), forms the basis for Rolli’s story. Rolli modified the text significantly in order to achieve complete parity for the roles of Rossane and Lisaura, sung by the temperamental stars Faustina Bordoni and Francesca Cuzzoni (Anthony Hicks, NG). See the discussion in our Introduction. itp 01973

174. Alessandro ALESSANDRO/ DRAMA,/ DI/ PAOLO ROLLI./ LONDRA:/ By THOMAS EDLIN, at the Prince’s/ Arms, over-against ExeterExchange/ in the Strand. 1726.

The verso side of the title page contains a quotation in classical Greek from Plato’s Republic, III. “Τὸ ενθμον Τεχα αρρνθμςν Τὸμεν/ Τᾒχαλἢλς”...and so on. See the discussion in our introduction. itp 01973

175. L’Armida al campo L’/ ARMIDA/ AL CAMPO/ DRAMA IN MUSICA/ Da rappresentarsi in Ravenna/ NEL TEATRO DELL’INDUSTRIA/ DEL SIG. PIETRO GIO: BRUNI/ Pel Carnovale dell’Anno 1726./ Dedicata all’Illmo, e Revmo/ MONSIGNORE/ FILIPPO ACCIAJOLI/ VICE-LEGATO DELL’EMILIA./ In RAVENNA, Per il Landi./ Con Lic. de’ Super./ --p. [1]. CMP Vivaldi, Antonio (1678-1741) LBT Palazzi, Giovanni (fl. 1718-1749) 47 p., [+ 48 - 71 p. of intermezzos] 13 cm.

CMP Handel, George Frideric (1685-1759) LBT Rolli, Paolo (1687-1765) 52 p., 15 cm. “Il celebre Signor Giorgio Federico/ Handel ne compose la Musica.”--p. 8.

“La Musica sarà del Sig. D. Antonio Vivaldi,/ con aggiunte del Sig. Antonio Monteventi/ Bolognese.” [“The Music is by Sig. D. Antonio Vivaldi, with additions by Sig. Antonio Monteventi of Bologna.”]--p. 6.

3 acts. Dedication. Argomento.

3 Acts. Dedication. Preface. List of Scenes. Aggiunta. 3 Intermezzi.

The dedication to Queen Caroline, consort of George II, is signed by Paolo Rolli./--p. 6.

The dedication to Filippo Acciaioli (1700-1766) is signed by Pier Giovanni Bruni./ --p. 4

Interlocutori: ALESSANDRO MAGNO. TASSILE. CLITO. LEONATO. CLEONE. ROSSANE. LISAURA./--p. 8.

Personaggi: CALIFFO. Il Sig. Francesco Benzoni Verucchiese. ARMIDA. La Signora Angiola Govoni Ferrarese. ERMINIA. La Signora Margherita Costa Bolognese. EMIRENO. La Signora Rosa Monari Bolognese. PAGGIO./ --p. 6.

Sartori 677 (C-Tu not listed)

192 The Baroque Libretto “Gl’Intermezzi saranno rappresentati dalla/ Signori Rosa Nelli Benazzi, e Dome-/ nico Cricchi, ambi Bolognesi.” [“The Intermezzos will be performed by Rosa Nelli Benazzi and Domenico Cricchi, both from Bologna.”]--p. 6. “Vidit Joannes Maria Tosini J, U.D. &/ Adv. Ravenn., ac prò Illmo, & Rmo/ D. D Hieronymo Crispo Archiepisc./ Ravennæ, & Principe Deputatus, &c./ Attenta revisione ut supra,/ Imprimatur./ J. Thomas Roselli Vic. Gen./ Imprimatur./ Fr. Petrus Martyr Natta Ord. Predicator./ Vic. S. Officij Ravennæ.”/ --p. 8. Dedication signed: “Di V. S. Illma, e Rma./ Di Ravena agli 8. Febbrajo dell’Ano 1726./ U.mo, Dv.mo, ed Osseq.mo Servidor/ Pier-Giovanni Bruni”/ --p. 4.

176. L’Atalanta L’/ ATALANTA/ DRAMA IN MUSICA/ Da rappresentarsi/ IN RAVENNA/ NEL TEATRO DELL’ INDUSTRIA/ DEL SIG. PIETRO GIO: BRUNI/ Pel Carnovale dell’Anno 1726./ Dedicata all’Emo, e Revmo PRINCIPE/ IL SIG. CARD./ CORNELIO/ BENTIVOGLIO/ D’ARAGONA/ LEGATO DELL’EMILIA./ In RAVENNA, Per il Landi./ Con Lic. de’ Super./ --p. [1].

Ravenna, [Industria], 1726

CMP Chelleri, Fortunato (1686/90-1757) with additions by Antonio Monteventi LBT

Sartori 2758 (C-Tu not listed)

45 p., 13 cm.

The libretto contains no argomento because of the well-known subject matter, as stated in the preface: “Non è maraviglia, che dia motivo a/ molti Drami un Poema tanto glo-/ rioso al Mondo. Ai nomi d’Armida, d’/ Erminia, ed’altri Eroi, che hanno parte/ in quel gran tutto, non vi è, chi non sappia qual’esser possa quest’Argomento;” [“Is it no wonder that so glorious a poem in the World should provide the subject matter to many dramas. The names of Armida, Erminia, and other Heroes who have a place in that greatness, there is no one who does not know what this Argomento is;”] (p. 5). The final leaf of the libretto proper contains an additional arietta for Emireno in act I, scene iv. “ARIETTA/ AGGIUNTA ALLA SCENA IV./ DELL’ATTO PRIMO.” (p. 47). The subsequent gathering in the collection contains the intermezzi for the drama, “INTERMEZZI/ DI/ COCCHETTA,/ E DI/ DON PASQUALE” (p. [49]). These are paginated continuously. Vivaldi’s original production of Armida, under the slightly longer title of L’Armida al campo d’Egitto, premiered in Venice at the S. Moisè on 15 February 1718. Palazzi’s libretto, like so many others, borrows the story from Torquato Tasso’s epic poem Gerusalemme liberata of 1581 (Eric Ross, NG).

“La Musica sarà del Sig. Fortunato Cheleri,/ e in parte mutata dal Sig. Antonio Monteventi Bolognese.” [“The Music is by Sig. Fortunato Cheleri, and in part changed by Sig. Antonio Monteventi of Bologna.”]--p. 8.

itp smb 00232

3 Acts. Dedication. Argomento. The dedication to Cornelio Bentivoglio (16681732) is signed by Pier Giovanni Bruni./ --p. 5.

Attori: MELEAGRO. La Sig. Rosa Monari Bolognese. ATALANTA. La Sig. Angiola Govani Ferrarese. IRENE. La Sig. Margherita Costa Bolognese. AMINTA. Il Sig. Francesco Benzoni Verucchiese./ --p. 8. “Dell’E.V./ Di Ravenna agli 8. Gennajo dell’Ano [sic] 1726./ U.mo, Dev.mo, ed obblig.mo Servidore/ Pier-Giovanni Bruni.”/ --p. 5. “Gl’Intermezzi saranno rappresentati dalli/ Signori Rosa Nelli Benazzi, e Do-/ menico Cricchi, ambi Bolognesi.” [“The Intermezzos will be performed by Rosa Nelli Benazzi and Domenico Cricchi, both from Bologna.”]--p. 8. “Vidit Joannes Maria Tosini J. V.D. &/ Adv. Ravenn. ac prò Illmo, & Revmo/ D. D.

The Baroque Libretto 193 Hieronymo Crispo Archiepisc./ Ravennæ, & Principe Deputatus, &c./ Attenta revisione ut supra,/ Imprimatur./ J. Thomas Roselli Vic. Gen./ Imprimatur./ R. Petrus Martyr Natta Ord. Predic./ Vic. S. Officij Ravennæ.”/ --p. 7.

ALBERTO/ D’ ALTHANN/ Nepote de Sò Amenenza, lo Segnore/ Cardenale Michele Federico d’ Althann,/ Vecerrè, e Capetanio Generale/ de sto Regno./

1726

NAPOLE B’ Agnolo Vocola,/ Da chi se despenzano a la Libraria soia/ a Fontana Medina.

Sartori 3387 (C-Tu not listed) BDW Camilla, regina de volsci. Bononcini, Giovanni. Stampiglia, Silvio. 1710. / L’Armida al campo. Vivaldi, Antonio. Palazzi, Giovanni. 1726. The original version of this opera, on a libretto by Belisario Valeriano, was La caccia in Etolia (Ferrara, 1715). It was adapted later that same year for Innsbruck as I felici inganni d’amore in Etolia. In 1736, Handel based his Atalanta on Valeriano’s libretto. The argomento gives credit for the characters to Boccacio’s Genealogy (“Bocc. Geneolog./ lib. 2.” [p. 6]), but goes on to relate the invented premise. Atalanta, evading Meleagro’s advances, is hiding in the woods under the name Amarilli. Meleagro disguises himself as Tirsi to pursue her further. A second romantic plot involving the nymph Irene and her lover, the shepherd Aminta, are injected to give further interest to the story (“S’in-/ troducono in oltre gli amori d’Irene, e di Aminta, per poter dar maggiore in-/ terccio alla Favola, e condurla con mi-/ glior felicità al suo fine.” [p. 6]). Some musical interpolations were made for this production by Antonio Monteventi. Monteventi also made additions to Vivaldi’s Armida al Campo for its production in Ravenna in 1726. itp smb 00232

CMP LBT 60 p., 14 cm. 3 acts. Dedication. Antecedent (Argomento). The dedication to Alberto D’Althann is signed by “Giaseppo de Sia Mpresario.”/ --p. 4.

Le Pperzune de la Commeddia: PIPPO/SELIMMO. La Sia Giovanni Pozzi vertouosa de l’ Accelentiss. Signora Prencepessa Struoncolo Pegnatiello. LOISA. La Sia Angiola Cianchi, vertovosa de l’ Accel. Segnore Priore Vainer. ZORAIDA. La Sia Ceccia Grieco. LUCCIO. Lo Sio Francisco Tolve. MORATTO. Lo Sio Francisco Ciampi. DIANA. Lo Sio. Dommineco Francescone. CECILIA. La Sia Laurella Monte. CIOMMO. Lo Sio Giovanne Romaniello./ --p. 8. Comparze: CORZARE PE SELIMMO, E PE ZORAIDA. COMPAGNIA DE CRESTIANE. DUIE CREATE. DUIE ARMIZERE./ --p. 8. Teatro nuovo ncoppa Toledo st’ Autunno de st’ Anno 1726

177. Lo Corzaro LO/ CORZARO/ COMMEDDIA PE MMUSICA/ Da rappresentarese a lo Teatro nuovo ncoppa/ Toleto st’ Autunno de st’ Anno 1726./ ADDEDECATA/ A LO LLOSTRISS. ED ACCELLENTISS. SEGNORE:/ LO SEGNORE/ CONTE

Sartori 6713 The antecedent is really an argument, including synopsis and protesta and dated “Nap. 2. Ottobre 1726.”/ --p. 4. Lo Corzaro was an early production of the immensely popular comic opera genre at the Teatro Nuovo, which was built in 1724, the same

194 The Baroque Libretto year the Teatro della Pace (1718) began to present comic opera as well. Like others of its genre, it is in the Neapolitan dialect. The libretto charmingly contains the farewell “Bona Notte, e Saneta” after the finale, and “Reposammoce” at the end of Act I. itp 00674

178. La forza del sangue LA FORZA del SANGUE/ DRAMA PER MUSICA/ Da rappresentarsi nel Real/ Teatro di Livorno/ Nell’ Autunno/ di quest’ Anno MDCCXXVI.--[transcribed in ink, see note below] CMP Lotti, Antonio (c.1667-1740) LBT Silvani, Francesco (c.1660-1728/44) 72 p., 14.4 cm. 3 acts. Dedication. Argomento. List of scenes. The dedication to the “Altezza Reale” is signed by Pietro Francesco Mengoli./ --p. 4.

The title page is transcribed in ink. Because this is the only known libretto for the Livornese production, one cannot know for certain to what extent this represents the original title page. Considering the style of lettering, this is presumably a partial facsimile, except that it omits information concerning the dedication and imprint. The dedication to an “Altezza Reale” was probably intended for the Grand Duke of Tuscany. Lotti and Silvanni’s La forza del sangue first appeared in Venice in 1711 and was undoubtedly intended as a follow-up to their Il comando non inteso ed ubbidito from in 1709 Thomas Fisher contains a libretto (#136) to a revival of Il comando from Milan 1713. Both operas take place at the Byzantine court and feature a widowed empress named Zoe (in the libretto to the Florentine production of La forza del sangue from the previous year, the libretto states that “...non esser questa la medesima Zoe la di cui Istoria diede l’Argomento al Drama intitolato IL COMANDO NON ITESSO ED UBBIDITO”). [“this is not the same Zoe on whose story is based the Argomento of the Drama entitled IL COMANDO NON INTESO ED UBBIDITO.”] As with many productions in Livorno, La forza del sangue follows upon the heels of a production in Florence (see Sartori 10842). itp pam 00418

Attori: ZOE. La Signora Angela Capuano di Roma, detta la Capuanina. FOCA. Il Sig. Carlo Amaini Bolognese, Virtuoso di S.A.S. il Sig. Principe Antonio di Parma. ELENA. La Sig. Maria Teresa Verdiana Pieri di Firenze. ARGIRO. La Sig. Stella Fortunata Cantelli di Bologna. ERACLIO. Il Sig. Gasparo Geri di Firenze, Virtuoso del Serenissimo Principe d’Armestat. BASILIO. Il Sig. Alessandro Veroni d’Urbino. ALESSANDRO. Il Sig. Antonio Santini di Pisa./ --p. [7]. Real Teatro nell’Autunno di quest’Anno MDCCXXVI Sartori 10843

179. Cocchetta, e di Don Pasquale INTERMEZZI/ DI/ COCCHETTA,/ E DI/ DON PASQUALE/ Da rappresentarsi in Ravenna/ NEL TEATRO DELL’INDUSTRIA/ DEL ’SIG. PIETRO GIO: BRUNI/ Pel Carnovale dell’Anno 1726./ --p. 49. CMP LBT 49-71 p., 13 cm. Intermezzo in three parts.

The Baroque Libretto 195

Actors: COCCHETTA. Signora Rosa Nelli Benazzi Bolognese. DON PASQUALE. SIG. DOMENICO CRICCHI BOLOGNESE./ --p. 51. Satori 13414e This intermezzo was included for performance in Vivaldi’s and librettist Giovanni Palazzi’s L’Armida al campo, produced at the Industria in Ravenna in 1726. It is bound with Armida and paginated continuously (see entry #175). The comic pair of Benazzi and Cricchi also performed the intermezzos to Fortunato Chelleri’s L’Atalanta that same season. Music director Antonio Monteventi made additions and alterations to both productions. itp smb 00232

180. Intermezzi di Pollastrella, e di Parpagnocco astrologo INTERMEZZI/ DI/ POLLASTRELLA,/ E DI/ PARPAGNOCCO/ ASTROLOGO/ Da rappresentarsi in Ravenna/ NEL TEATRO DELL’INDUSTRIA/ DEL SIG. PIETRO GIO: BRUNI/ Pel Carnovale dell’Anno 1726./ In RAVENNA, Per il Landi./ Con Lic. de’Super./ --p. [1]. CMP [Gasparini, Francesco (1661-1727)] LBT [Pariati, Pietro (1665-1733)] 24 p., 13 cm. 3 intermezzos. Colophon.

Actors: POLLASTRELLA. Sig. Rosa Nelli Benazzi Bolognese. PARPAGNOCCO. Sig. Domenico Cricchi Bolognese./ --p. 3. “Le parole Dea d’Amor,/ Dio d’Amore, e simili,/ sono puri scherzi della/ Poesia.” [“The

Characters Goddess of Love, God of Love, and similar are simple light fantasies of Poetry.”]--p. 3. “Vidit Joannes Maria Tosini J.V.D &/ Adv. Ravenn. ac prò Illmo, & Revmo/ D. D Hieronymo Crispo Archiepisc./ Ravennæ, & Principe Deputatis, &c./ Attenta revisione ut supra./ Imprimatur./ J. Thomas Roselli Vic. Gen./ Imprimatur./ Fr. Petrus Martyr Natta Ord. Predic./ Vic. S. Officij Ravennæ.”/ --p. [23]. Not in Sartori. Pollastrella e Parpagnacco was written by Pietro Pariati and set by Francesco Gasparini for his 1708 opera, Flavio Anicio Olibrio, a Pariati and Zeno collaboration produced in Venice. It subsequently achieved success as an intermezzo for other productions, including this one in Ravenna in 1726. Featuring the same actors who performed in the intermezzo to Vivaldi’s L’Armida al campo, Pollastrella was perhaps performed with Chelleri’s L’Atalanta, performed that same year and bound in this collection (see entry #176). Page 21 is incorrectly numbered page 12. itp smb 00232

181. Scipione P.C. SCIPIONE/ DRAMA,/ DI/ PAOLO ROLLI./ LONDRA:/ Printed by THOMAS EDLIN, at the Prince’s/ Arms, over-against ExeterExchange in/ the Strand. 1726. CMP Handel, George Frideric (1685-1759) LBT Rolli, Paolo (1687-1765) 45 p., 15 cm. 3 acts. Dedication. Argomento. The dedication to Charles Lennox, Duke of Richmond (1701-1750) is signed by Paolo Rolli./ --p. 5.

196 The Baroque Libretto

Interlocutori: P.C. SCIPIONE. LUCEJO. C. LELIO. ERNANDO. BERENICE. ARMIRA./--p. 6. Sartori 19295 (C-Tu not listed) “Il celebre Signor FEDERICO HANDEL/ ne compose la Musica, al sommo espressiva/ et armoniosa; ed il tutto fu eseguito in tre settimane” [“The celebrated Signor FEDERICO HANDEL composed the Music, most expressive and harmonious, and all was done in three weeks.”]--p. [6]. An adaptation of Salvi’s Publio Cornelio Scipinoe (Livorno, 1704). This is Rolli’s own publication of the libretto (there was also one published in English and Italian by the Haymarket Theatre). In the dedication, he draws a favourable comparison between Hanoverian Britain and the Roman empire. See Harris, vol. 4, xix. itp 01973

182. Siface IL SIFACE/ DRAMA/ PER MUSICA/ Da rappresentarsi nel Regio/ Ducal Teatro di Milano/ NEL CARNOVALE/ Dell’anno 1726./ LA MUSICA/ Del Sig. Abbate Porpora./--pre p. [1]. IN MILANO, MDCCXXV./ Nella R. D. C., per Giuseppe Richino Malatesta/ Stampatore Regio Camerale./ Con licenza de’ Superiori.--pre p. [1]. CMP Porpora, Nicola Antonio (1686-1768) LBT Metastasio, Pietro (1698-1782) [6], 58 p., 14.3 cm. 3 acts. Argument. List of scenes.

Personaggi: SIFACE. Il Sig. Carlo Scalzi. VIRIATE. La Signora Marianna Lorenzani Conti. ERMINIO. Il Sig. Gio. Battista

Minelli. ISMENE. La Signora Maria Teresa Cotti Virtuosa della Serenissima Principessa di Modena. ORCANO. Il Sig. Angelo Zannoni. LIBANIO. La Signora Elisabetta Ottini.--pre p. 5. Nel Regio Ducal Teatro Nel Carnovale Dell’anno 1726 “Intremezzi inventati, e diretti dal Sig. Fran-/ cesco Pagnini.” [“Intermezzos invented and directed by Sig. Francesco Pagnini.”]--pre p. 6. “Scene, disegno, e pittura de’ Signori Gio./ Battista Medici, e Gio. Domenico Barbieri.” [“Scenes, designs and painting by Giovanni Battista Medici and Giovanni Domenico Barbieri.”]--pre p. 6. Sartori 21953 Siface was first set by Feo in 1723. This libretto represents the first production of Porpora’s setting. It was revived at the S. Giovanni Grisostomo in Venice during the carnival of 1726; and in Rome at the Capranica on 7 February 1730. itp pam 00766

183. Siroe, re di Persia SIROE/ RE DI PERSIA/ DRAMA PER MUSICA/ Da rappresentarsi nel Teatro/ di Via del Cocomero/ NELLA ESTATE DELL’ANNO MDCCXXVI./ SOTTO LA PROTEZIONE DELL’ A. R./ DI/ GIO: GASTONE I./ GRAN DUCA DI TOSCANA./ IN FIRENZE. 1726./ Nella Stamperia Nuova di Bernardo Paperini/ CON LICENZA DE’ SUPERIORI./ Ad istanza Vettorio Borghesi, e Mechiorre Alberighi./ -pre. p. [1].

The Baroque Libretto 197 CMP Porta, Giovanni (c. 1675-1755) LBT [Metastasio, Pietro (1698-1782)] [2], 64 p., 15 cm. “La Musica è del celebre Signor Giovanni Porta/ Maestro di Cappella del Coro della Pietà di/ Venezia, e Accademico Filarmonico.” [“The Music is by the celebrated Giovanni Porta, Maestro di Cappella of the Choir of the Pietà of Venice, and Philharmonic Academic.”]--p. 7. 3 Acts. Engraving. Dedication. Argomento. Protesta. List of scenes.

questo non è stato fatto per alterare la perfezione di quello, ma bensì per accomodarse alle circostanze del tempo, e del luogo, e per/ adattarsi ad una giusta brevità conveniente all/ corrente Stagione.” [“And if it now appears in some ways different from the original, this was not to alter the perfection of that original, but to accommodate the circumstances of the time, the place, and to give it the brevity convenient for the current Season.”] (p. 6). The listing in NG suggests that this production took place in the summer. A full-page engraving of the Duke faces opposite the dedication (pre. p. [2]). See also Weaver, 250.

The dedication to Gian Gastone de’ Medici (1671-1737) is signed by “dell’impresario.”/ --p. 1.

itp pam 00769

Personaggi: COSROE. Il Signor Gio: Batista Minelli. SIROE. Il Signor Giovanni Carestini. MEDARSE. La Signora Elisabetta Uttini. EMIRA. La Signora Anna Bagnolessi. LAODICE. La Signora Anna Cosimi Romana. ARASSE. Il Signor Giuseppe Casorri./ --p. 7.

184. Statira

Nel Teatro di Via del Cocomero 1726 “Inventor degli Abiti il Sig. Antonio Torricelli.” [“Inventor of Costumes, Sig. Antonio Torricelli.”]-p. 8. Sartori 22095 Metastasio’s Siroe, as the protesta tells us, first premiered in Venice during carnival to great success: “Il presente Componimento fu recitato la prima/ volta in Venezia, nel passato Carnevale, do-/ ve incontrò un applauso universale;” [“The present composition was recited in Venice for the first time, during the last Carnival, where it met with universal applause;”] (p. 6). This was in its initial setting by Leonardo Vinci (1726). The protesta goes on to state that certain changes were made for this version, not for lack of perfection of the original, but to accommodate the circumstances of the Florentine production: “E se adesso/ comparisce in qualche parte diverso dal suo Ori-/ ginale,

STATIRA/ Dramma per Musica/ Da rappresentarsi nel Teatro dell’ Illustriss./ Signori CAPRANICA l’ anno 1726./ DEDICATO/ All’ Illustrissima, ed Eccellentissima Signora,/ LA SIGNORA/ D. GIACINTA/ RUSPOLI ORSINI/ Duchessa di Garavina, e Nipote/ degnissima della Santità di N. S./ BENEDETTO XIII./ IN ROMA. per il Rossi. Con lic. de’ Sup./ Si vende dal medesimo Stampatore, nella/ Strada del Seminario Romano, vicino/ alla Rotonda. CMP Albinoni, Tommaso (1671-1750) LBT [Zeno, Apostolo (1668-1750) and Pietro Pariati (1665-1733)] 64 p., 15.5 cm. “La Musica dell’ Opera, ed Intermezzi del Signor Toma-/ so Albinoni, ed è questa la settantesima Opera da,/ lui posta in Musica.” [“Music of the Opera and Intermezzos by Signor Tommaso Albinoni, and this is his seventieth Opera put to music by himself.”]--p. [6].

198 The Baroque Libretto 3 acts. Dedication. Argument. List of scenes. Protesta. Imprimatur.

Large decorative division between Act II and Act III.

The dedication to Giacinta Ruspoli Orsini is signed by “Giuseppe Polvini Falliconti.”/ --p. [4].

Michael Talbot suggests in his NG article that the claim that this is Albinoni’s “settantesima” (seventieth) opera is likely exaggerated. According to Franchi, the intermezzo was Malsazio e Fiammetta. The original setting of this libretto was by Gasparini in 1705 for San Cassiano. Albinoni’s setting was revived in 1730 at the Teatro San Angelo in Venice.

Personaggi. STATIRA. Il Signor Gaetano Valletta Virtuoso di S. M. C. C. nella Cappella Imperiale di Milano. BARSINA. Il Signor Domenico Riccio allievo del Signor Gasparini. ORONTE. Il Signor Francesco Costanzi Virtuoso di Camera del Serenissimo Elettore di Baviera. DARIO. Il Signor Antonio Raina Milanese. ARSACE. Il Signor Domenico Genevesi Virtuoso di Camera di S. M. C. C. ORIBASIO. Il Signor Gaetano Leuzzi. IDASPE. Il Signor Domenico Antonio Angelini allievo del Signor Gasparini./ --p. [6]. Intermezzi: MALSAZIO. Il Signor Gio. Battista Cavana. FIAMMETTA. Il Signor Biagio Erminii allievo del Signor Gioseppe Amadori./ --p. [6].Comparse: DI sOLDATI PERSIANI. DI SOLDATI SCITI. DI SOLDATI./ --p. [7]. Nel Teatro dell’ Ill. Signori Capranica l’anno 1726 “Ingegnere, e Pittore delle Scene. Il Signor Domeni-/ co Velani Bolognese.” [“Engineer and Painter of Scenes, Domenico Velani of Bologna.”]--p. [6]. Franchi (II) 218; Sartori 22601 (C-Tu not listed); Sonneck 1034 “PROTESTA./ Le parole Fato, Idolo, Adorare, e simili sono sen-/ timenti Poetici, ma chi gli serisse si vanta d’esser/ vero Cattolico.”--p. [8]. [“PROTESTA. The words Fate, Idol, Adore, and similar are Poetic sentiments, but he who wrote them boasts of being a true Catholic.”] “IMPRIMATUR,/ Sì videbitur Reverendissimo P. Mag. Sac. Pal. Apost./ N. Baccarius Ep. Boian. Vicesg.”--p. [8]. “IMPRIMATUR./ Fr. Gregorius Selleri Ord. Præd. Sac. Pal. Apost. Mag.”--p. [8]. Intermezzi characters not in printed libretto.

itp pam 00004

185. Geremia in Egitto CMP Schiassi, Gaetano Maria (1698-1754) LBT 24 p. (16 in this copy), 20 cm. 2 parts. Sartori 11541 BDW Isacco figura del Redentore. Giovanni Niccola Rinieri Redi. The libretto is bound with a collection of oratorios, and the title page and all prefatory materials have been removed. Sartori gives the following from the title page: “Oratorio a quattro voci da cantarsi nella chiesa de’ padri dell’Oratorio di S. Filippo Neri detti della Madonna di Galiera.” [“Oratorio for four voices to be sung in the church of the fathers of Oratorio of S. Filippo Neri called the Madonna of Galiera.”]. The music, according to Sartori, is by “Gaetano Maria Schiassi, virtuoso di sua altezza ser.ma il signor principe d’Armstat” [“Gaetano Maria Schiassi, virtuoso of his serene highness the prince of Armstat”]. The libretto was published in Bologna, by Costantino Pisarri, in 1727. Cast list: Geremia, Faraone, Anna, Gioanan. The music is lost. See the notes on the collection in item #169. itp 01825

The Baroque Libretto 199

186. Gismondo, rè di Polonia

Nel Teatro detto delle Dame Nel Carnevale dell’anno 1727

GISMONDO/ RE’ DI POLONIA/ Dramma per Musica/ DA RAPPRESENTARSI/ Nel Teatro detto delle Dame/ Nel Carnevale dell’ anno 1727./ DEDICATO/ ALLA MAESTA’/ DI/ GIACOMO III./ Rè della Gran Brettagna &c.

“Pittore, & Ingegnere delle Scene: Il Sig. Pietro/ Baistrocchi./ Maestro degli Abbattimenti: Il Sig. Decio Be-/ rettini./ Compositore de’ Balli: Il Sig. Domenico Dalmas.” [“Painter and Engineer of the Scenes: Pietro Baistrocchi. Master of Battles: Decio Berettini. Composer of the Dances: Domenico Dalmas.”]--p. 7.

Si vendono à Pasquino nella Libreria di Pietro Leoni/ all’ Insegna di S. Gio. di Dio./ IN ROMA, per il Bernabò. )( Con licenza de’ Superiori.

Franchi (II) 228; Sartori 12080; Sonneck 562

CMP Vinci, Leonardo (c. 1696-1730) LBT [Briani, Francesco (fl. 1709-10)] 76 p., 15.5 cm. “Musica del Sig. Leonardo Vinci Pro-Vice-Mae-/ stro della Real Cappella di Napoli.” [“Music by Leonardo Vinci, Pro-Vice-Maestro of the Royal Chapel of Naples.”]--p. 8. 3 acts. Dedication. Argomento. Imprimatur. List of scenes. The dedication to James Francis Edward Stuart (1688-1766) is signed by “Li Pardoni del Teatro./ --p. 4.

Interlocutori: GISMONDO. Il Sig. Gio: Battista Minelli Virtuoso di S.A.S. il Principe d’Armstat. PRIMISLAO. Il Sig. Antonio Barbieri Virtuoso di S.A.S. il Principe d’Armstat. OTONE. Il Sig. Filippo Balatri Virtuoso di Camera di S.A.S. Elettorale di Baviera. CUNEGONDA. Il Sig. Giacinto Fontana da Perugia, detto Farfallino. GIUDITTA. Il Sig. Gio: Maria Morosi Virtuoso della Sereniss. Gran Principessa Violante Governatrice di Siena. ERNESTO. Il Sig. Giovanni Ossi Virtuoso dell’ Eccellentissimo Sig. Principe Borghese. ERMANO. Il Sig. Gio: Andrea Tassi da Perugia./ --p. 8.

“IMPRPIMATUR,/ Si videbitur Reverendissimo Patri Sacri/ Palatii Apostolici Magistro./ N. Baccarius Episc. Bojan. Vicesg,/ IMPRIMATUR./ Fr. Gregorius Selleri Ord. Praedicato-/ rum Sac. Palatii Apost. Magister.”/ --p. 6. The libretto is an anonymous revision of Francesco Briani’s Il vincitor generoso, first set to music by Antonio Lotti for Venice in 1708. The choice of this unusual drama set in 16th-century Poland was undoubtedly influenced by the fact that the dedicatee, the Old Pretender James III, was married to a Polish princess. Gismondo features elaborate battle scenes that required a battle director, “Maestro degli abbattimenti.” The opera was produced in competition with Vinci’s rival Porpora, who produced an opera at the Teatro Capranica that same season. It premiered in Rome on 11 January 1727. itp pam 00963

187. Lucio vero LUCIO VERO,/ Imperator di ROMA/ DRAMA./ Da Rappresentarsi/ Nel REGIO TEATRO/ di HAY-MARKET;/ PER/ La Reale Accademia di Musica. LONDON:/ Printed, and Sold at the King’s Theatre/ in the Hay-Market. M.DCC.XXVII. CMP Ariosti, Attilio Malachia (1666-1729) LBT Zeno, Apostolo (1668-1750)

200 The Baroque Libretto [9], 71 p., 17.7 cm.

75 p., 17.5 cm.

“La Musica è del Signor Attilio Ariosti.”--pre p. [8].

“Il Drama è quasi tutto del Sig. Paolo Rolli.”--p. 8. “La Musica è del Sig. Giorgio Fedrico Handel.”-p. 8.

Three acts. Half title in English. Argument in Italian and English.

3 acts. Dedication. Argument.

Personaggi: LUCIO VERO. Signor Senesino. LUCILLA. Signora Cuzzoni. FLAVIO. Signor Boschi. VOLOGESO. Signor Baldi. BERENICE. Signora Faustina. ANICETO. Signora Dotti.–pre p. [8] Regio Teatro di Hay-Market [1727] Sartori 14528 The copy in GB-Lbm contains the following notes: “First produced on the 7th January 1727. It was performed seven times. The libretto altered and curtailed and the last scene altered from 1715.” Zeno’s libretto was revised and substantially shortened by one of the poets at the Royal Academy, undoubtedly Nicola Haym who was responsible for the pasticcio of Lucio Vero from 1715, from which the final scene from this libretto is derived. The opera was produced during the final years of the Academy when the poets and composers had to adapt their works to create equally balanced roles for the feuding prima donne Cuzzoni and Faustina. itp 00053

The dedication to George II is signed by Paolo Rolli./ --p. 2.

Interlocutori: RICCARDO. Signor Senesino. COSTANZA. Signora Cuzzoni. BERARDO. Signor Palmerini. ISACIO. Signor Boschi. PULCHERIA. Signora Faustina Bordoni. ORONTE. Signor Baldi./-p. 8. The King’s Theatre in the Hay-Market “Le nuove scene sono del Sig. Giuseppe Goupy.”--p. 8. Sartori 19795 Rolli used Francesco Briani’s (fl. 1709-10) Isacco tiranno as the source for this adaptation of the story of Richard I. Briani’s original, set by Antonio Lotti, premiered in 1710 at the S. Giovanni Grisostomo in Venice, and was dedicated to the English hero of the War of Spanish Succession, John Churchill, Duke of Marlborough. Rolli’s version is dedicated to the King, George II. itp 00632

188. Riccardo I, re d’Inghilterra RICCARDO I./ Re d’Inghilterra./ MELODRAMA./ PER/ La Reale Accademia di Musica./ LONDRA/ Sold at the King’s Theatre in the Hay-/ Market. M.DCC.XXVII. CMP Handel, George Frideric (1685-1759) LBT Rolli, Paolo (1687-1765)

189. S. Giovanni della Croce S. GIOVANNI/ DELLA CROCE/ COMPONIMENTO SAGRO PER MUSICA/ A TRE VOCI/ DA CANTARSI/ Nella Chiesa, ò sia Oratorio della Venerabile Archiconfraternita/ della BEATISSIMA VERGINE MARIA del CARMINE/ di Roma alle Trè Cannelle/ DEDICATO / All’

The Baroque Libretto 201

Eminentissimo, e Reverendissimo Prencipe/ IL SIGNOR CARDINALE/ NICOLO’ COSCIA

LONDON:/ Printed, and Sold at the King’s Theatre/ in the Hay-Market [M.DCC.XXVII]

IN ROMA, MDCCXXVII./ Nella Stamperia di Pietro Ferri alla Piazza di Montecitorio./ CON LICENZA DE’ SUPERIORI.

CMP Ariosti, Attilio Malachia (1666-1729) LBT [Zeno, Apostolo (1668-1750)]

CMP Valentini, Giuseppe (1681-1753) LBT Vanstryp, Filippo

“La Musica è del Sig. Attilio Ariosti.”--p. [6].

16 p., 24.5 cm.

3 acts. Dedication. Argument. Argument and cast list in English.

“Parole del Signor Filippo Vanstrip./ Musica del Signor Giuseppe Valentini Virtuoso dell’ Eccellen-/ tissimo Signor Duca di Sermoneta &c.”--p.[4] 2 parts. Dedication. Protesta. The dedication to Niccolò Coscia (1681-1755) is signed by “Li Fratelli Sagrestani, ed Festaroli.”/ -p. 3.

Interlocutori: S. GIOVANNI DELLA CROCE. S. TERESA. ANGELO.--p. [4]. Oratorio della Venerabile Archiconfraternita della Beatissima Vergine Maria del Carmine [1727] Franchi (II) 229; Sartori 20546 (C-Tu not listed) Apparently this was the only performance of this oratorio, and the only setting of this text. itp pam 00959

190. Teuzzone TEUZZONE./ Melo-Drama./ Da Rappresentarsi/ Nel REGIO TEATRO/ dell’ HAY-MARKET/ PER/ La Reale Accademia di Musica.

71 p., 18 cm.

The dedication to Friedrich Wilhelm I is signed by Attilio Ariosti: “DEDICATO/ All’ Altezza Reale/ DI/ Frederico Guglielmo/ Prencipe Reale/ DI/ PRUSSIA,/ DA/ ATTILIO ARIOSTI/ Umilissimo e antico Servo/ DELLA/ Reale Famiglia.” [“DEDICATED To His Royal Highness Frederico Guglielmo Royal Prince OF PRUSSIA, BY ATTILIO ARIOSTI Humblest and ancient Servant OF the Royal Family.”]--p. [3].

Interlocutori: TEUZZONE. Signor Francesco Bernardi. ZIDIANA. Signora Faustina Bordoni. ZELINDA. Signora Francesca Cuzzoni. CINO. Signor Boschi. SIVENIO. Signor Baldi. ARGONTE. Signor Palmerini.--p. [6]. Regio Teatro dell’Hay-Market [21 October 1727] Sartori 23110 This is an arrangement, probably by either Nicola Haym or Paolo Rolli, of Zeno’s libretto, originally produced in Venice in 1707 to music by Antonio Lotti. Teuzzone was the last of seven operas that Ariosti wrote for the Royal Academy. It received only three performances, but then during the final days of the Royal Academy, not even Handel could make an impression. Ariosti apparently left England after the Academy folded in 1728 and his subsequent activities remain a mystery (perhaps the dedication to Prince William took him back to Berlin). itp 00054

202 The Baroque Libretto

191. La corona d’Imeneo LA CORONA/ D’IMENEO/ FESTA PER MUSICA/ FATTA RAPPRESENTARE/ IN OCCASIONE DEL FELICISSIMO/ VICENDEVOL/ MATRIMONIO STABILITO/ TRA LE DUE CORTI/ DI SPAGNA, E DI PORTOGALLO,/ DAL SIG. DUCA/ DI BOURNONVILLE,/ GRANDE DI SPAGNA/ Della prima Classe, Cavalliere dell’ Ordine/ del Toson d’Oro,/ ED AMBASCIADORE/ STRAORDINARIO,/ E PLENIPOTENZIARIO/ DI/ SUA MAESTA’ CATTOLICA/ A QUESTA/ CORTE CESAREA./ Poesia di Trigeno Migonitidio Pastore Arcade. VIENNA, appresso Gio. Pietro Van Ghelen, Stampatore di Corte di/ Sua Maestà Ces. e Cattolica, 1728. CMP [Caldara, Antonio (1671?-1736)] LBT Pasquini, Giovanni Claudio (1695-1763) 20 p., 21.5 cm. 2 parts. Argomento. Dedicated to Ferdinand VI (1713-1759) and Barbara of Portugal (1711-1758)./ --p. [1]

Cantano: IMENEO. GIUNONE. VENERE. MARTE./ --p. [4]. Coro: De’ Genj de’ Regni di Spagna, e di Portogallo.--p. [4].

mentioned; according to NG, the composer is Caldara (who also provided music for Pasquini’s serenata Liva in 1731). itp pam 01541

192. La deposizione dalla croce di Gesù Cristo LA DEPOSIZIONE/ DALLA CROCE DI/ GESU CRISTO/ SALVATOR NOSTRO. COMPONIMENTO SAGRO/ PER MUSICA,/ APPLICATO AL SUO/ SANTISSIMO SEPOLCRO,/ E CANTATO/ NELL’ AUGUSTISSIMA CAPPELLA/ DELLA/ SAGRA CESAREA, CATT. REAL/ MAESTA/ DI/ CARLO SESTO,/ IMPERADORE DE’/ ROMANI/ SEMPRE AUGUSTO,/ L’Anno M.DCC.XXVIII./ La Poesia è del Sig. Abate Gio. Claudio Pasquini, in attual servizio di S. M. C. e C./ La Musica è del Sig. Gio. Gioseffo Fux, Maestro di Cappella di S. M. C. e Catt. VIENNA, Appresso Gio. Pietro Van Ghelen, Stampatore di Corte di Sua/ Maestà Ces. e Catolica. CMP Fux, Johann Joseph (1660-1741) LBT Pasquini, Giovanni Claudio (1695-1763) [14] p., 21.5 cm. 2 parts.

Sartori 6672 This work is a serenata produced by the Spanish ambassador in celebration of the wedding between the courts of Spain and Portugal, presumably the wedding between the Infante Maria Barbara of Portugal and the Prince of Asturia in January of 1728 (the wedding that resulted in Domenico Scarlatti’s move from Lisbon to Madrid). The composer is not

Cantano: MARIA VERGINE. MARIA MADDALENA. GIOVANNI APOSTOLO. GIUSEPPE D’ARIMATEA. NICODEMO DISCEPOLI. CORO DI PECCATORI. Private Chapel of Charles IV 1728

The Baroque Libretto 203 Sartori 7602; Allacci 247-8 Latin excerpts of biblical text are printed in the margins together with quotations from various theological sources. “19 Novembre” is written in ink after the date on the title page. itp pam 00256

193. Malmocor IL/ MALMOCOR/ Tragichissimo Drama/ per Musica/ Da rappresentarsi in Bologna/ NEL TEATRO/ MARSIGLJ ROSSI/ IL CARNOVALE DELL’ ANNO/ MDCCXXVIII. In Bologna per Costantino Pisarri sotto le/ Scuole. Con licenza de’ Superiori. CMP [Buini, Giuseppe Maria (1687-1739)] LBT [Buini, Giuseppe Maria (1687-1739)] 47 p., 14 cm. 3 acts. Preface. List of scenes. Imprimatur.

Personaggi: MALMOCOR. Sig. Francesco Belisani Ferraresi. MIRADACLEA. Sig. Antonia Cermenati, detta la Napolitanina. ARTANAGANAMENONE. PAPINUBBIA. Sig. Anna Peruzzi Bolognese. GARGANASTAR. Sig. Maria Monticelli Bolognese del Serenissimo di Parma. ORMODONOPALACH. Sig. Domenico Tasselli Pistojese.--p. 6. Comparse: Guardie di Malmocor. Soldati d’Ormodonopalach. Seguito di Garganastar. Sacerdoti Arabici. Popolo.--p. 6.

Imprimatur: “Vid. D. Jo: Hieronymus Gazoni Cler. Reg./ S. Pauli, & in Eccl. Metrop, Bononiæ/ Poenitentiar. pro Eminentiss., & Re-/ verendiss. Domino D. Jacobo Cardinali/ Boncompagno Episcopo Albanensi, Ar-/ chiepiscopo Bononiæ, & S. R. l. Princi-/ pe ./ Ad D. Jo: Baptista Gyraldi Phylosoph./ Doct. & publicum Professorem &c. qui/ videat, & reserat pro S. Oss./ F. B. Cadolini S. Off. Vic. Gen./ Vidit die 12. Decembris 1727. Pro S. Officio Prælum subire posse cenfuit./ Jo: Baptista Gyraldus./ Stante dicta attestatione./ Imprimatur./ F. Bernardinus Cadolini S. T. M. Vicarius/ Generalis Sancti Officci Bononiæ.”--p. 8. Preface: “AL LETTORE./ A Imitazione della Spirito-/ sa idea della Tragedia/ intitolata RUTZVAN- SCAD IL GIOVINE è/ stato fatto il presente Componi-/ mento Musicale. Quale egli sia,/ ricevilo con la tua solita gentilez-/ za, riflettendo, che a solo oggetto/ di divertirti è stato composto, e/ sarà rappresentato in questi gior-/ ni Carnovaleschi. Le parole Nu-/ mi, adorare &c. sono scherzi di/ Poeta, non sentimenti di cuor Cat-/ tolico, e vive felice.”--p. 5. [“TO THE READER. In Imitation of the Comic idea of the Tragedy entitled RUTZVANSCAD IL GIOVINE this Musical Composition was created. Whatever it be, receive it with your usual kindness, reflecting that it was made for the sole purpose of diverting you, and will be staged in these Carnival days. The words gods, to adore, &c. are jokes of the Poet, and not sentiments of a Catholic heart, and live happily.”] As stated in the preface, the author based his opera on the mock tragedy Rutzvanscad il giovine, Bologna 1724. According to Allacci, the librettist and composer was Giovanni Maria Buini. Although this is a full-length comic opera, it was presented in conjunction with an intermezzo, La serva astuta, a new setting by Buini of Pariati’s Pimpinone. Buini’s comedy was revived in Venice during Ascension 1731 under the unusual title Artanaganamennone (after one of the minor characters). itp 00153

Nel Teatro Marsiglj Rossi il Carnovale dell’anno 1728 Allacci 499; Sartori 14698

204 The Baroque Libretto

194. Radamisto

195. S. Teresa vergine serafica

Il RADAMISTO:/ OPERA./ Da Rappresentarsi/ Nel REGIO TEATRO/ d’HAY-MARKET,/ PER/ La Reale Accademia di Musica./

S. TERESA/ VERGINE SERAFICA/ ORATORIO/ DI E. O. PASTORE ARCADE/ Posto in Musica/ DAL SIGNOR CARLO FRANCESCO CESARINI/ Da Cantarsi Nell’ Oratorio de’ Padri/ della Chiesa Nuova per la Qua-/ resima dell’ Anno 1728./

LONDRA/ Sold at the King’s Theatre in the Hay-/ Market. M.DCC.XXVIII. CMP Handel, George Frideric (1685-1759) LBT [Haym, Nicola Francesco (1678-1729)] 71 p., 17.5 cm. “La Musica è del Signor Handel.”--p. 8. 3 acts. Dedication. Argument.

IN ROMA, MDCCXXVIII./ Nella Stamperia di S. Michele./ Con licenza de’ Superiori. CMP Cesarini, Carlo Francesco (1666-after 1741) LBT [Gasparri, Francesco Maria (1680-1735)]

The dedication to George II, King of Great Britain (1683-1760) is signed by George Frideric Handel./ --p. 5.

23 p., 21 cm.

Interlocutori: TIRIDATE. Signor Boschi. POLISSENA. Signora Cuzzoni. TIGRANE. Signor Baldi. FARASMANE. Signor Palmerini. RADAMISTO. Signor Francesco Bernardi. ZENOBIA. Signora Faustina Bordoni./--p. 8.

Interlocutori: S. TERESA V. IL PIACERE. LA PENITENZA. SERAFINO.--p. 4.

Nel Regio Teatro d’Hay-Market. 1728.

Franchi gives Francesco Maria Gasparri as librettist (II, 241).

Sartori 19453

itp pam 00090

The opera premiered in 1720. This libretto is from the 1728 revision, which featured Faustina Bordoni and Francesca Cuzzoni. The libretto is adapted from Domenico Lalli’s 1710 Venetian opera L’amor tirannico, o Zenobi. Sartori gives Lalli’s real name as the original librettist, Sebastiano Biancardi. Anthony Hicks (NG) does not name Haym, suggesting rather that the text was adapted anonymously. itp 00631

2 parts. Argument.

Nell’ Oratorio de’ Padri della Chiesa Nuova per la Quadresima dell’ Anno 1728 Franchi (II) 241; Sartori 21000

196. Il trionfo di Maria Verg.e IL TRIONFO/ DI/ MARIA VERG.E/ ORATORIO/ PER MUSICA./ IN ROMA MDCCXXVIII./ CON LICENZA DE’ SUPERIORI. CMP LBT [Pamphili, Benedetto, (1653-1730)]

The Baroque Libretto 205 16 p., 21.2 cm. 2 parts.

Interlocutori: SPOSO. SPOSA. AMORE. ETERNITA’.--p. 2. nel Collegio Germanico, ed’ Ungarico di Roma nel Carnevale, i giorni fra l’Ottava della di Lei Beata Purificazione, 1728. Franchi (II) 241; Sartori 24020 This oratorio libretto is based on an earlier one published by Ercole (item #100 and Sartori 24021). The only prefatory material is the following paragraph: “In occasione, che per le presenti Vacanze del Carne-/ vale suol darsi qualche piacevole insieme, e devoto trat-/ tenimento nel Collegio Germanico, ed Ungarico di / Roma, si è stimato di far cantare l’ annesso Trionfo di/ Maria Vergine, correndo i giorni fra a’ Ottava/ della di Lei Beata Purificazione. E perchè già da/ molti anni fu dato degnamente alla luce, a fin di ser-/ vire a qualche novità e di tempo e di musica si è fatta/ piccola mutazione e aggiunta delli versilineati.” [“Since on the

occasion of the present holiday of Carnival, it is customary for the German and Hungarian College of Rome to offer an entertainment that is both pleasing and devout, we considered it appropriate that the present Triumph of the Virgin Mary should be sung, especially in view of the fact that the performance would take place in the Octave of her Blessed Purification. And since this work was first given life with dignity many years ago, small changes have been made and the marked verses have been added, in response to novel aspects of our times and music.”]--p. 2. There are three substitute arias (pp. 5, 9, 11) and one additional aria (p. 5). Franchi attributed the Ercole edition to Benedetto Pamphili (II, 340). It is not clear why he suggests that the 1728 libretto might be by Pietro Ottoboni, unless he thinks Ottoboni might have written the new arias. Unusual crest or engraving with head.--p. 2. itp 01093

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Appendix I French Librettos

1. Acis et Galatée

[1686] Sonneck 29.

ACIS/ ET/ GALATE’E,/ Pastorale Heroique/ en Musique,/ Representée pour la premiere fois dans/ le Château d’ANET devant Monseigneur le DAUPHIN,/ Par l’Academie Royale de Musique./ A PARIS,/ Par CHRISTOPHE BALLARD, seul Imprimeur/ du Roy pour la Musique, ruë S. Jean/ de Beauvais, au Mont Parnasse./ Et se vend,/ A la Porte de l’Academie Royale de Musique,/ ruë S. Honoré./ M. DC. LXXXVI./ Par exprés Commandement de Sa Majesté. --p.[3]. CMP Lully, Jean-Baptiste (1632-1687) LBT Campistron, Jean Galbert de (1656-1723)

p.[58-64] is a “Permission, Pour tenir Academie/ Royale de Musique, en faveur/ du Sieur de Lully” (p.[58]). This lengthy section details the history of the Academy from Perrin to Lully’s tenure. It is dated “A Pa-/ ris le 27. Juin 1672./ Signé, ROBERT” (p.[64]). Payes [65] through [69] are a lengthy “PRIVELEGE DU ROY” granting performance and publishing rights by Louis XIV. lib pam 05237

2. Alcide

57 p.[12], 14.5 cm.

ALCIDE,/ TRAGEDIE/ EN MUSIQUE,/ REPRESENTÉE/ PAR L’ALADEMIE ROYALE/ DE MUSIQUE./

“Nostre bien-amé Jean-Baptiste Lully SurIntendant de la Musi-/ que de nostre Chambre, Nous a fait/ remonter que les Airs de Musique/ qu’il a cy-devant composez”--p.[65].

Suivant la Copie imprimée./ A PARIS./ c I ɔ c I ɔ XCIII. --p.[3].

Acteurs: ACIS. GALATE’E. POLIPHEME. TELEME. SCYLLA. TIRCIS. AMINTE. CHOEUR DE BERGERS & DE BERGERES. UN PRÊTRE DU JUNON. SUITE DU PRÊTRE DE JUNON. NEPTUNE. SUITE DE NEPTUNE. CHOEUR DE DIEUX MARINS, DE FLEUVES & DE NAYADES.--p.10. Acteurs du prologue: DIANE. TROUPE DE DRIADES, DE FAUNES, & D’AUTRES DIVINITEZ CHAMPÊTRES. L’ABONDANCE. COMUS. SUITE DE L’ABONDANCE & DE COMUS. APOLLON. --p.[4].

CMP [Lully, Louis (1664-1734)] and [Marin Marais (1656-1728)] LBT [Campiston, Jean Galbert de (1656-1723)] 44 p., 13 cm. 5 acts. Prologue. Frontispiece.

Acteurs de la tragedie: ALCIDE. DE’JANIRE. IOLE. PHILOCTETE. ÆGLE’. LICAS. TROUPE DE SUIVANS D’ALCIDE. TROUPE DES PEUPLES D’ÆCALIE. L’AMOUR. TROUPE DE ZEPHIRS & DE NIMPHES. TROUPE DE PRESTRES. THESTYLIS. TROUPE

208 Appendix I: French Librettos

D’ENCHANTERESSE DE LA THESSALIE. --p.[8]. Acteurs du Prologue: TROUPE DE GUERRIERS & DE DIVERS PEUPLES. LA VICTOIRE. TROUPE DE PEUPLES HEUREUX. TROUPE DE BERGERES & DE BERGERES. TROUPE DE PASTRES. --p.[4]. 1693 Not in Sonneck. BDW Didon. Henry Desmarets. LouisGenevieve Gillot, Dame de Saintonge. 1694. / Medée. Marc-Antoine Charpentier. Thomas Corneille. 1695. / Circé. Henry Desmarets. Louis-Genevieve Gillot, Dame de Saintonge. 1695. / Céphale et Procris. Elisabeth-Claude Jacquet de la Guerre. Joseph-François Duché de Vancy. 1695. / Téagene et Cariclée. Henry Desmarets. Joseph-François Duché de Vancy. 1695. / Jason, ou la Toison d’or. Pascal Colasse. Jean-Baptiste Rousseau. 1697. Frontispiece signed “J Vianen f” --p.[2]. lib 00891

Acteurs de la tragedie: DIDON. ANNE. ENE’E. IARBE. ARCAS. ACATE. BARCE’. TROUPE DE CARTHAGINOIS. JUPITER. TROUPE DE FAUNES. TROUPE DE FURIES. TROUPE D’ESPRITS AËRIENS TRANSFORMEZ EN AMOURS. LES JEUX. LES PLAISIRS. MERCURE. L’OMBRE DE SICHE’E. -p.[10]. Acteurs du Prologue: MARS. LA RENOMMÉE. SUITE DE MARS. SUITE DE LA RENOMMÉE. VENUS. SUITE DE VENUS. --p.[4]. 1694 not in Sonneck. BDW Alcide. Louis Lully and Marin Marais. Jean Galbert de Compiston. 1693. Frontispiece signed “J V Vianen invent et fecet” -p.[2]. The prologue is in praise of Louis XIV by Mars and Venus for both his military and artistic exploits. lib 00891

3. Didon DIDON,/ TRAGEDIE/ EN/ MUSIQUE/ Representée par l’Academie Royalle de Musique./ Suivant la Copie imprimée/ A PARIS./ c I ɔ I ɔ c XCIV. --p.[3]. CMP [Desmarets, Henry (1661-1741)] LBT [Saintonge, Louise-Genevieve Gillot, Dame de (1650-1718)] 57 p., 13 cm. 5 acts. Prologue. Frontispiece.

4. Acis et Galatée ACIS/ ET/ GALATÉE,/ PASTORALE HEROIQUE/ EN/ MUSIQUE./ Representée pour la premiere fois dans le Château/ d’ANET devant Monseigneur le Dauphin./ Pas l’Academie Royale de Musique./ Suivant la Copie imprimée A PARIS./ A AMSTERDAM../ Chez ANTOINE SCHELTE, Marchant/ Libraire, près de la Bourfe./ c I ɔ I ɔc XCV. --p.[2]. CMP [Lully, Jean-Baptiste (1632-1687)]

Appendix I: French Librettos 209 LBT [Campistron, Jean Galbert de (1656-1723)]

5. Cephale et Procris

43 p., 13 cm. 3 acts. Prologue. Frontispiece.

acteurs: ACIS. GALATÉE. POLIPHEME. SUITE DE POLIPHEME. TELEME. SCYLLA. TIRCIS. AMINTE. CHOEUR DE BERGERS & DE BERGERES. UN PRÊTRE DE JUNON. SUITE DE PRÊTRES DE JUNON. NEPTUNE. SUITE DE NEPTUNE. CHOEUR DE DIEUX MARINS, DE FLEUVES & DE NAYADES. --p.10 acteurs de prologue: DIANE. TROUPE DE DRIADES, DE FAUNES, & D’AUTRES DIVINITEZ CHAMPÊTRES. L’AMBONDANCE. COMUS. SUITE DE L’AMBONDANCE & DE COMUS. APOLLON. 1695 Sonneck 29 “Le Chateau d’Anet a été bâty pour Diane de Poi-/ tiers & il y avoit par tout des devises & des pein-/ tures à l’honneur de Diane.” --p.6. This opera was commissioned privately by the Duke of Vendôme for performance at the Chateaux d’Anet. The prologue appropriately makes use of Diana, who calls for music and celebration, as Anet was built for the Mistress of Henry II, Diane de Poitiers, on the land of her deceased husband, Master of the Hunt, Louis de Brézé. Anet featured a statue of Diane de Poitiers as the goddess Diana, and is a fine example of French Renaissance architecture by Philibert de l’Orme. lib pam 05236

CEPHALE/ ET/ PROCRIS,/ TRAGEDIE./ EN/ MUSIQUE./ Representée par l’Academie Royalle de Musique./ Suivant la Copie imprimée A PARIS./ A AMSTERDAM./ Chez ANTOINE SCHELTE, Marchant/ Libraire , près de la Bourfe./ c I ɔ I ɔ c XCV./ --p.[3]. CMP [Jacquet de la Guerre, Elisabeth-Claude (1666/7-1729)] LBT [Duché de Vancy, Joseph-François (16681704)] 56 p., 13 cm. 5 acts. Prologue. Frontispiece.

Acteurs de la tragedie: L’AURORE. PROCRIS. CEPHALE. BOREE. ERICTEE. IPHIS. DORINE. ARCAS. LA PRESTRESSE. CHOEUR & TROUPE D’THENIENS & D’ATHENIENNES. TROUPE DE THRACES DE LA SUITE DE BORÉE. CHOEUR & TROUPE DE PASTRES & DE BERGERES. LA VOLUPTE. TROUPE D’AMOURS. DE JEUX & DE SUIVANTES DE LA VOLUPTÉ. DEUX ZEPHIRS. LA JALOUSIE. LA RAGE. LE DESESPOIR. CHOEUR & TROUPE DE DEMONS. -p.10. Acteurs du Prologue: FLORE. PAN. NERE’E. CHOEUR & TROUPE DE NYMPHES DE LA SUITE DE FLORE. CHOEUR & TROUPE DE FAUNES & DE DIVINITEZ DES BOIS. TROUPE DE TRITONS & DE DIEUX DE LA MER. -p.[4]. 1695 Not in Sonneck.

210 Appendix I: French Librettos BDW Alcide. Louis Lully and Marin Marais. Jean Galbert de Compiston. 1693. First performed at the Académie Royale de Musique on 15 March 1694, it was de la Guerre’s only tragédie lyrique. The frontispiece is by Adrian Schoonebeek (p.[2]). lib 00891

6. Circé

VENTS. TROUPE DE NEREÏDES. TROUPE DE TRITONS. TROUPE DE DEMONS ARMEZ DE FEUX. --p.10. Acteurs du Prologue: TROUPE DE JEUX & DE PLAISIRS QUI RENTRENT EN DESORDRE. LA NYMPHE. TROUPE DE NAYADES. TROUPE DE DIEUX DES EAUX. TROUPE DE DRIADES. --p.[4]. 1695 Sonneck 286

CIRCÉ/ TRAGEDIE./ EN/ MUSIQUE./ Representée par l’Academie Royalle de Musique./ Suivant la Copie imprimée A PARIS./ A AMSTERDAM./ Chez ANTOINE SCHELTE, Marchant/ Libraire, près de la Bourfe./ c I ɔ I ɔ c XCV. CMP [Desmarets, Henry (1661-1741)] LBT [Saintonge, Louise-Geneviève Gillot, Dame de (1650-1718)] 59 p., 13 cm.

BDW Alcide. Louis Lully and Marin Marais. Jean Galbert de Compiston. 1693. Circé was first performed in 1694, perhaps on 11 November. The frontispiece is signed “A. Schoonebeck f.” (p.[2]). Dutch etcher Adrian Schoonebeek would go on to become His majesty’s artist and His Majesty’s librarian for Peter I of Russia in 1698, the same year Amsterdam publisher Schelte (the publisher of the libretto) went out of business (Gruys and Wolf, pp. 156). lib 00891

5 acts. Prologue. Frontispiece.

Acteurs de la tragedie: CIRCE’. ASTERIE. ULISSE. ELPHENOR. POLITE. TROUPE DE GUERRIERS. TROUPE D’AMANS FONTUNEZ. TROUPE D’AMANTES HEUREUSES. LE GRAND PRÊTRE DU TEMPLE DE L’AMOUR. L’AMOUR. EOLIE. TROUPE DE VENTS AQUILONS QUI PAROISSENT EN L’AIR. MINERVE. PHÆBETOR. PHANTASE. TROUPE DE SONGES AGREABLES. TROUPE DE SONGES FUNESTES. L’OMBRE D’EPHENOR. QUATRE DEMONS QUI ÉLEVENT UN TOMBEAU. LES TROIS EUMENIDES. TROUPE DE DEMONS TRANSFORMEZ EN NYMPHES. MERCURE. AQUILON. TROUPE DE

7. Medée MEDE’E,/ TRAGEDIE./ EN/ MUSIQUE./ Representée par l’Academie Royalle de Musique./ Suivant la Copie imprimée A PARIS./ A AMSTERDAM./ Chez ANTOINE SCHELTE, Marchant/ Libraire, près de la Bourfe./ c I ɔ I ɔC XCV. CMP [Charpentier, Marc-Antoine (1643-1704)] LBT [Corneille, Thomas (1625-1709)] 69 p., 13 com. 5 acts. Prologue. Frontispiece.

Appendix I: French Librettos 211

Acteurs de la tragedie: CREON. CREUSE. MEDE’E. JASON. ORONTE. ARCAS. NERINE. CLEONE. TROUPE DE CORINTHIENS. TROUPE d’Argiens. UN PETIT ARGIEN, DÉGUISÉ EN AMOUR. TROUPE DE CAPTIFS D L’AMOUR. TROUPE DE DEMONS. --p.10. Acteurs du prologue: LA VICTOIRE. BELLONE. LA GLOIRE. CHOEURS D’HABITANS DES ENVIRONS DE LA SEINE. CHOEURS DE BERGERS HEROÏQUES. --p.[4]. 1695 Sonneck 747 BDW Alcide. Louis Lully and Marin Marais. Jean Galbert de Compiston. 1693. This was Charpentier’s only work for the Académie Royale de Musique, first performed at the Opéra in Paris, 4 December 1693. A divertissement in Act II, scene vii features “une captive” and “choeur” exchanging song verses in Italian (pp. 32-33). The frontispiece, depicting the final scene with the stage consumed by flames (p.[2]), is by Adrian Schoonebeck. lib 00891

8. Téagene et Cariclée TÉAGENE/ ET/ CARICLE’E,/ TRAGEDIE./ EN/ MUSIQUE./ Representée par l’Academie Royale de Musique./

60 p., 13 cm. 5 acts. Prologue. Frontispiece.

Acteurs de la tragedie: HIDASPES. CARICLE’E. THEAGENE. ME’ROEBE. ARSACE. TISBE’. HE’CATE. LE STIX. LE COCYTE. LE PHLE’GETON. CHOEUR & TROUPE DE GUERRIERS ETHIOPIENS. CHOEUR & TROUPE DE MAGICIENS & DE MAGICIENNES. TROUPE D’OMBRE DES ANCIENS MAGES. QUATRE DEMONS VOLANTS QUI APPORTENT THEAGENE. TROUPE D’AUTRES DEMONS VOLANTS. CHOEUR & TROUPE DE DIVINITEZ INFERNALES. TROUPE D’OMBRES HEUREUSES. DEUX DEMONS SOUS LA FIGURE DE MATELOTS. CHOEUR & TROUPE DE DEMONS SOUS LA FIGURE DE MATELOTS & DE MATELOTTES. TETIS. LE GRAND SACRIFICATEUR D’OSIRIS. LA STATUË DU DIEU OSIRIS. CHOEUR & TROUPE DE PEUPLES, & DE SEIGNEURS. TROUPE DE GARDES. -pp.9-10. Acteurs du Prologue: JUPITER. APOLLON. PAN. CHOEUR DE DIVINITEZ QUI ACCOMPAGNENT JUPITER. TROUPE DE BERGERS & DE BERGERES, & LES MUSES à LA SUITE D’APOLLON. TROUPE DE FAUNES & DE SATYRES à LA SUITE DE PAN. -p.[5]. 1695

Suivant la Copie imprimée A PARIS./ A AMSTERDAM./ Chez ANTOINE SCHELTE,/ Marchand/ Libraire, prés de la Bourfe./ c I ɔ I ɔ c XCV. --p.[3]. CMP [Desmarets, Henry (1661-1704)] LBT [Duché de Vancy, Joseph-François (16681704)]

Sonneck 1054 BDW Alcide. Louis Lully and Marin Marais. Jean Galbert de Compiston. 1693. Premiered in Paris on 3 February 1695. lib 00891

212 Appendix I: French Librettos

9. Jason

of a mythical scene from the opera appears as a frontispiece (p.[1]).

JASON,/ OU LA/ TOISON D’OR./ TRAGEDIE./ Representée Par l’Academie Royale de Musique./

lib 0891

Suivant la Copie imprimée A PARIS./ A AMSTERDAM./ Chez ANTOINE SCHELTE, Marchand/ Libraire, prés de la Bourfe./ c I ɔ I ɔ c X C V I I./--p.[3] CMP [Collasse, Pascal (1649-1709)] LBT [Rousseau, Jean-Baptiste (1671-1741)] 48p., 13 cm. 5 acts. Frontispiece. Prologue.

acteurs de la tragedie: AETE. MEDE’E. JASON. ORPHE’E. HIPSIPILE. CHOEUR DE COMBATANS. SUITE DU ROY. SUITE DE MEDÉE. VENUS. NEPTUNE. SUITE DE NEPTUNE. TROUPE DE DEMONS. L’AMOUR. SUITE DE L’AMOUR. LA SIBILLE. SUITE DE LA SIBILE. CHOEUR & TROUPPE D’ARGONAUTES. TROUPE DE COMBATANTS FORTIS DE LA TERRE.-p.10.

10. Hésione HESIONE,/ TRAGEDIE/ REPRESENTE’E/ PAR L’ACADEMIE ROYALE/ DE MUSIQUE./ Le vingt-uniéme jour de Decembre 1700./ A LYON,/ De l’Imprimerie de Feu J. MOLIN, Imp. du Roy./ Chez A. MOLIN, Imprimeur du Roy, ruë/ Belle-Cordiere, dans la Maison de Mrs./ Rolichon, prés Belle-Cour./ M. DCCI./ AVEC PRIVILEGE DU ROY:/ Cedé par JEAN-PIERRE LEGAY, conformement à/ l’Acte passée pardevenat les Conseillers du Roy,/ Notaires à Lyon, le 15. Avril 1699./ --pre p. [1]. CMP [Campra, André (1660-1744)] LBT [Danchet, Antoine (1671-1748)] [8] 27 p., 14 cm. 5 Acts. Prologue.

acteurs du Prologue: PAN. CHOEUR DE BERGERS. LA PAIX. SUITE DE LA PAIX.--p.[5].

Prologue: LA PRETRESSE DU SOLEIL. LE SOLEIL. UN LIDIEN. CHOEURS DE LIDIENS./ --pre p. [2].

1697

Acteurs: LAOMEDON. HESIONE. VENUS. ANCHICE. TELAMON. CLEON. NEPTUNE. MERCURE. UNE PRETRESSE DE FLORE. UN PLAISIR. UN GRACE. CHOEURS DE PLASIRS & DE GRACES. UNE OMBRE FORTUNÉE DES CHAMPS ELISÉES. CHOEURS D’OMBRES FORTUNÉES D’AMANS & D’AMANTES. COEURS [sic] DE NYMPHES DE PROSERPINE. CHOEURS DE DIEUX MARINS. CHOEURS DE

BDW Alcide. Louis Lully and Marin Marais. Jean Galbert de Compiston. 1693. According to Caroline Wood (NG), Jason was not a success, and the librettist, Rousseau, subsequently accused Collasse of plagiarizing Lully. Rousseau himself was of middling success and was banished in 1742 after a series of “malicious couplets about Danchet’s Hésione” (1700, see entry #10 below) (NG). An engraving

Appendix I: French Librettos 213

SONGES SOUS LA FIGURE DE ROMAINS. UNE ROMAINE./ --prep. [8].

Chateau de Fains [before 1702]

1700

BDW “NOELS/ NOUVEAUX/ SUR/ LES CHANTS/ ANCIENS./ Revûs, corrigez, & augmentez de nouveau/ par l’Auteur./ A PARIS,/ Chex J. B. CHRISTOPHLE BALLARD,/ ruë Frementelle, au petit Corbeil,/ pré le PuitsCertain./ M. DCCII./ AVEC APPROBATION ET PERMISSION”--pre p. [1].

Hésione was the first of eight tragédies en musique by Campra and Danchet. lib 00430

11. Concert des dieux CONCERT/ DES DIEUX,/ POUR/ LE MARIAGE/ DE SON ALTESSE ROYALE/ MONSEIGNEUR/ LE PRINCE/ DE LORRAINE,/ CHANTE’ AU CHATEAU/ de Fains, en presence de leurs altesses/ Royales./ Mis en Musique par P. LAVOCAT Maître de Musique,/ à Dijon.

A laudatory serenata or cantata subdivided into entrées consisting of airs, choruses and dances, the whole piece introduced by an overture depicting the “Bruit de Guerre”. The separate title page and publisher are probably due to the fact that the original plates were used. In his dedication to the Bishop of Quebec, the Bonjan explains the reason for composing the Noels: “[...]J’ai composez à/ la sollicitation pressante d’un de ses plus ar-/ dens Missionnaires, qu’elle a formé pour les/ travaux Apostoliques[...]”--p. [4]. noel 00146

A DIJON,/ Par JEAN RESSAYRE Imprimeur & Libraire ordinaire/ du Roi & de la Ville, à la Minerve. CMP Lavocat, P. LBT [Bonjan, Pierre] 16 p., 17 cm. The dedication to Leopold, Duke of Lorraine (1669-1729) and Élisabeth Charlotte d'Orléans (1676-1744) is signed by Pierre Bonjan./ --p. [5].

[Singers]: LA PAIX. LE CONDUCTEUR DU PEUPLE. MERCURE. JUPITER. LE SOLEIL. LA NUIT. MARS. VENUS. DIANE. NIMPHE DE LA SUITE DE DIANE. DEUX SILVAINS. NIMPHE DE SAINT CLOUD. SILENE. BACUS. UN SUIVANT DE BACUS. APOLLON.--[from the text]. [Chorus]: SUITE DE LA PAIX. DES PEUPLES. BERGERS ET BERGERES. LES MUSES--[from the text]

12. Tancrède TANCREDE,/ TRAGEDIE,/ REPRESENTE’E/ PAR L’ACADEMIE ROYALE/ DE MUSIQUE./ A LYON,/ Chez THOMAS AMAULRY, ruë/ Merciere, au Mercure Galant./ M. DCC. III./ AVEC PRIVILE DU ROY./ --pre p. [1]. CMP [Campra, André (1660-1744)] LBT [Danchet, Antoine (1671-1748)] [2], 50 p., 21.5 cm. 5 acts. Prologue.

Acteurs du prologue: UN SAGE ENCHANTEUR. SUITE DE L’ENCHANTEUR. LA PAIX. SUITE DE LA PAIX./ --pre p. [2].

214 Appendix I: French Librettos

Acteurs de la tragedie: TANCREDE. CLORINDE. HERMINIE. ARGANT. ISMENOR. TROUPE DE MAGICIENS & MAGICIENNES DE LA SUITE D’ISMENOR. TROUPE DE GUERRIERES DE LA SUITE DE CLORINDE. UNE GUERRIERE. DEUX GUERRIERES. TROUPE DE GUERRIERS DE LA SUITE DE TANCREDE. UN GUERRIER. UN SILVAIN DE LA FOREST ENCHANTÉE. DEUX DRIADES. UNE NYMPHE. LA VENGEANCE. SUITE DE LA VENGEANCE./ --p. 7. “On entend une simphonie agréable.”/ --p. 29. “Plusiers Demons volent, brisent les Arbres, & en emportent/ les Débris.”/ --p. 34. “On entend un bruit de Trompettes.”/ --p. 44. 1703 Not in Sartori. Tancrède premiered 7 November 1702 in Paris. This libretto, printed a year later, appears to be from a production in Lyon. The Lyon company continued to produce operas despite the collapse of their theatre in 1699, touring throughout Provence. There are 23 dances in Tancrède, though this libretto contains no direct mention of them. There are only a few indications of flying demons and other fantastic events in the stage directions. lib 00432

13. Tancrède TANCREDE/ TRAGEDIE,/ REPRESENTE’E/ PAR L’ACADEMIE ROYALE/ DE MUSIQUE/ E’TABLIE A LYON./ A AMSTERDAM,/ Chez FRANÇOIS FOPPENS./ M. DCC. IV./ --p. [1].

CMP [Campra, André (1660-1744)] LBT [Danchet, Antoine (1671-1748)] 48 p., 14.5 cm. 5 acts. Prologue.

Acteurs du prologue: UN SAGE ENCHANTEUR. SUITE DE L’ENCHANTEUR. LA PAIX. SUITE DE LA PAIX./ --p. [2]. Acteurs de la tragedie: TANCREDE. CLORINDE. HERMINIE. ARGANT. ISMENOR. TROUPE DE MAGICIENS & MAGICIENNES DE LA SUITE D’ISMENOR. TROUPE DE GUERRIERES DE LA SUITE DE CLORINDE. UNE GUERRIERE. DEUX GUERRIERES. TROUPE DE GUERRIERS DE LA SUITE DE TANCREDE. UN GUERRIER. UN SILVAIN DE LA FOREST ENCHANTÉE. DEUX DRIADES. UNE NYMPHE. LA VENGEANCE. SUITE DE LA VENGEANCE./ --p. 8. 1704 Not in Sartori. This libretto is a direct copy of the 1703 print from Lyon above (the title page indicates this as well--”E’TABLIE A LYON”). There is no record of the publisher Foppens’ activities in Amsterdam. He was active in Brussels, publishing a variety of works including musical treatises. He was the first to print Jean Laurent, Seigneur de Le Cerf de la Viéville de Fresneuse’s “Comparaison de la musique italienne et de la musique françoise”(1704), and “L’art de décrier ce qu’on n’entend point, ou Le médecin musicien” (1706). lib 00431

Appendix I: French Librettos 215

14. Issé

D’EGIPTIENNES. UNE EGIPTIENNE./ -p. 7.

ISSE’,/ PASTORALE HEROIQUE,/ REPRESENTE’E/ PAR L’ACADEMIE ROYALE/ DE MUSIQUE./ Remise au Theatre à Paris le 14. Oct./ 1708. & augmentée de deux Actes,/ Ut Pastor Macareïda luferit [luserit?] Issen. Ex Met. Lib. 6./ Comme Apollon en Berger tromba Issé. Liv. 6. Mer./

“Les Sivains & les Driades témoignent leur/ joye par des Danses & des Chansons.”/ --p. 26.

A LYON./ Chez JACQUES GUERRIER,/ vis-àvis le Grand College./ M. DCC. IX./ Avec Permission./ --p. [1].

This libretto reflects Destouches’s changes for a revival the previous year, 1708. The original three-act structure is enlarged to five; the large cast listed above reflects the similar expansion of the divertissements to suit early eighteenthcentury tastes. Issé in its more modest scale was first performed in concert at Fointainbleu on 7 October 1697. This expanded Issé ends in a large choral finale with soloists. This flourish contains charming phrases appropriate to the end of a pastoral, including “Le fort des cœurs est dans ses mains” (p. 36), sung by an American. The entire affair is reminiscent of Candide.

CMP [Destouches, André Cardinal (1672-1749)] LBT [Lamotte, Antoine Houdar de (1672-1731)] 36 p., 14.5 cm. 5 acts. Prologue.

Personnage du prologue: LA PREMIERE HESPERIDE. LE CHOEUR & TROUPE D’HESPERIDES. HERCULE. JUPITER. TROUPE DE PEUPLES. UNE FEMME DE LA TROUPE DES PEUPLES. UN AUTRE FEMME./ --p. 2. Acteurs de la pastorale: APOLLON. PAN. HILAS. SUITE D’HILAS. UNE FEMME. ISSÉ. DORIS. TROUPE DE BERGERES, DE PASTRES, & DE PAÏSANES. UN BERGER. LE GRAND PRETRE. TROUPE DE MINISTRES. TROUPE DE FAUNES, DE DRIADES, DE SILVAINS, & DE SATIRES. UNE DRIADE. LE SOMMEIL. TROUPE DE ZÉPHIRS. TROUPE D’EUROPÉENS & D’EUROPÉENNES. UNE EUROPÉENNE. TROUPE D’AMERIQUAINS & D’AMERIQUAINES. UN AMERIQUAIN. TROUPE DE CHINOIS & CHINOISES. TROUPE D’EGYPTIENS &

“PASTORALE” is incorrectly printed “PASTOLARE” in the header of page 23. 1709 Not in Sartori.

lib pam 04852

15. Iphigénie en Tauride IPHIGÉNIE/ EN TAURIDE,/ TRAGEDIE/ REPRESENTÉE POUR LA PREMIERE FOIS/ PAR L’ACADEMIE ROYALE/ DE MUSIQUE,/ Le 6. Mai 1704./ Remise au Theatre le Dimanche 15. Janvier 1719./ Le prix est de trente fols./ A PARIS,/ Chez la Veuve de P. RIBOU, seul Libraire de l’Academie Royale/ de Musique, Quai des Augustins, à la quatriéme Boutique/ en descendant du Pont-Neuf, à l’Image S. Loüis./ MDCCXX./ Avec Approbation & Privilege du Roi./ --p. [1].

216 Appendix I: French Librettos CMP [Campra, André (1660-1744) & Henry Desmarets (1661-1741)] LBT [Danchet, Antoine (1671-1748) & JosephFrançois Duché de Vancy (1668-1704)] [14], 52, [4] p., 21 cm. 5 Acts. Prologue. Colophon. Catalogue.

Acteurs Chantans du Prologue: ORDONNATEUR. Monsieur Lemire. DIANE. Mademoiselle de la Garde. DEUX HABITANTES DE DÉLOS. Mlles. Constance, Limbourg. UN HABITANT DE DÉLOS. Monsieur Guesdon./ --pre p. [4]. Acteurs Dansans du Prologue: HABITANS DE L’ISLE DE DELOS. Messieurs Dupré, Pierret, Laval, Guyot. Mesdemoiselles Dupré, Duval, Emilie, Roze. Monsieur Marcel. Mademoiselle Menés./ --pre p. [4]. Acteurs & Actrices Chantans dans tous le Choers du Prologue & de la Tragedie: COSTE’ DE LA REINE. Mesdemoiselles Limbourg, Millon, La Roche, Tettelette. Herson. Messieurs Corbie, Lemire-L, Fossier, Thomas, Dautrep, Houbeau, Duchesne, Arteau. COSTE’ DU ROI. Mesdemoiselles Constance, Tulou, Fleury, Rubantel, Rousseau. Messieurs Morand, Alexandre, Buzeau, Deshais, Duplessis, Corail./ --pre p. [3]. Acteurs Chantans de la Tragedie: IPHIGE’NIE. Mademoiselle Journet. ORESTE. M. Thevenard. ELECTRE. Mademoiselle Poussin. PILADE. Mr. Murayre. THOAS. Mr. Dubourg. ISMENIDE. Mlle. Tulou. DIANE. Mademoiselle de la Garde. DEUX NYMPHES. Mesdemoiselles Constance & Limbourg. L’OCEAN. Monsieur Dun. LE DIEU TRITON. Monsieur Guesdon. LE GRAND SACRIFICATEUR DE DIANE.

Monsieur Mantienne. DEUX PRÊTRESSES. Mesdemoiselles Constance & Limbourg. CHOEURS & TROUPES DE SCYTHES. CHOEUR & TROUPE DE NYMPHES DE LA SUITE DE DIANE. CHOEUR & TROUPES DE DIEUX MARINS, & DE NEREÏDES. CHOEUR & TROUPE DE SACRIFICATEURS. TROUPE DE PRÊTRESSES. CHOEUR & TROUPE DE GRECS./ --p. x [10]. Personnages Dansans de la Tragedie: SCYTHES. Monsieur D-Dumoulin. Messieurs Ferrand, Javilliers, F-Dumoulin, P-Dumoulin. Messierus Dumoulin-L, Dupré, Pierret. Mademoiselle Prevost. Mesdemoiselles le Roi-C., Dupré, Corail. NYMPHES. Mademoiselle Prevost. Mesdemoiselles la Feriere, Haran, Châteauvieux, Brunel, Duval, Leroy-C. TRITONS. Monsieur P-Dumoulin, Laval, Dangeville, Maltaire. NEREYDES. Mademoiselle Guyot. Mesdemoiselles la Feriere, Haran, Châteauvieux, Brunel. SACRAFICATEURS. Messieurs Blondy, Marcel. Messieurs Maltaire, Dangeville, Laval, Guyot. PRESTRESSES. Mademoiselle Guyot. Mesdemoiselles Menés, Dupré, Lemaire, Leroy-L., Mangot, Corail. GRECS. Monsieur Blondy. Messieurs Dumoulin-L., Marcel-L., Dumoulin, Laval, Dupré, Pierret. GRECQUES. Mesdemoiselles Leroy-C., Dupré, Haran, Brunel, Lemaire, Duval./ -pp. x-xij [10-12]. “De l’Imprimerie de JEAN-BAPTISTE LAMESLE,/ ruë de la Huchette, à la Minerve. 1720.”/ --p. 51. 1719 The final leaf of regular pagination contains an explanation of the “PRIVILEGE DU ROY” (p. 52). The remaining four pages are a catalogue of works available for sale by the widow of

Appendix I: French Librettos 217 Pierre Ribou (“chez la Veuve de PIERRE RIBOU”) (p. 1 [53]). The list includes an eclectic mix of the histories of Herodotus and Thucydides, dictionaries, grammars, gardening books, and biographies, as well as tragedies and comedies by Corneille, Racine, and Molière. lib 00442

16. Pirithoüs PIRITHOÜS,/ TRAGEDIE/ REPRESENTÉE/ POUR LA PREMIERE FOIS,/ PAR L’ACADEMIE ROYALE/ de Musique, le Mardi 26. Janvier 1723./ Le prix est de Quarante fols./

Menés. Mademoiselles La Ferriere, de Lastre, Tiber, Roland, Monsieur Laval, Mademoiselle Corail./ --p. iv [4]. Acteurs & Actrices Chantans dans tous les Choeurs du Prologue & de la Tragedie: COSTE’ DU ROY. Mesdemoiselles Constance. Souris-L. Antier-C. Souris C. Catin. Royer. Messieurs Flamand. Bremond. Louët. Saint Martin. Deshayes. Grandfire[sire?]. Buzeau. Duplessis. COSTE’ DE LA REINE. Mesdemoiselles Millon. La Roche. Tettlette. Charlard. Parignon. Ducourdray. Mangot. Messieurs Corbie. Lemire-C. Morand. Dautrep. Corail. Houbeau. Duchesne./ --p. iij [3].

[16], 63 p., 21 cm.

Acteurs Chantans de la Tragedie: PIRITHOUS. M. Muraire. EURITE. M. Tevenard. THESE’E. M. Dubourg. HIPPODAMIE. Mlle. Toulou. HERMILIS. Mlle. Antier. ACMENE. M. Dun. LE GRAND PRESTRE DE MARS. M. Lemire. LA DISCORDE. M. Tribou. TROUPES DE LAPITHES. TROUPE DE CENTAURES. TROUPE D’ATHENIENS. TROUPE DE MAGICIENS. TROUPE DE BERGERS & DE PASTRES./ --p. xij [12].

“Fait à Paris ce 30,/ Novembre 1722./ Signé, DANCHET.” --p. 62. “A PARIS. De l’Imprimerie de J. BLAMESLE, ruë des Noyers, 1713.” --p. [63].

Divertissement du premier Acte: UN CENTAURE. M. Grenet. UN CENTAURE. M. Lemire.

A PARIS,/ Chez la Veuve de PIERRE RIBOU, sur le Quai des/ Augustins, à la descente du Pont-neuf,/ à l’Image saint Loüis./ M. DCC. XXIII./ AVEC PRIVILEGE DU ROI./ --pre p. [1]. CMP [Mouret, Jean-Joseph (1682-1738)] LBT [La Serre, Jean-Louis-Ignace de (16621756)]

5 Acts. Prologue. Colophon.

Acteurs Chantans du Prologue: L’EUROPE. Mlle. Hermance. L’AMOUR. Mlle. Catin. L’HYMEN. Mlle. Lizarde. UNE EUROPE’ENE. Mlle. Minier. BELLONE. M. Dun. CHOEURS DES PEUPLES DE L’EUROPE./ --p. iv [4]. Acteurs Dansans du Prologue: BERGER HEROIQUE. Monsieur Dupré. Messieurs Dangeville, P. Dumoulin, Maltaire, Duval. BERGERES HEROIQUES. Mademoiselle

du second Acte: UN SONGE. Mlle. Minier. UN SONGE. M. Grenet. du troisieme Acte: LE GRAND PRÉTRE. M. Lemire. L’ORACLE. M. GUEDON. du quatrieme Acte: LA DISCORDE. M. Tribou.

218 Appendix I: French Librettos

du cinquieme Acte: PREMIERE BERGERE. Mlle. Julie. SECONDE BERGERE. Mlle. Lizarde./ --p. xiij [13]. Acteurs Dansans de la Tragedie: CENTAURES. Monsier F-Dumoulin. Meissieurs Marcel, Dupré, Dumoulin-L, Mion, Javilliers, Pierret, Maltaire, Duval. EPRITS. Mademoiselles Prevost. Messieurs Dumoulin-L. F-Dumoulin. P-Dumoulin. Laval. Dangeville. Mion. Mesdemoiselles Delisle. Rey. Tiery. Duval. Corail. Lemaire. ATHENIENS ET ATHENIENNES. Monsieur Blondy. Messieurs Dumoulin-L. Mion. Pierret. Maltaire. Duval. Mesdemoiselles la Ferriere. Delisle. Duval. Delastre. Rey. Monsieur Marcel. Mademoiselle Menés. MAGICIENS. Monsieur Dupré. Messieurs P-Dumoulin. Dangeville. Laval. Laval. Pierret. Mion. Maltaire. Duval. FESTE DE VILLAGE. Monsieur D-Dumoulin. Mademoiselle Prevôt. PREMIER QUADRILLE. Messieurs P. Dumoulin. Dangeville. Mion. Mesdemoiselles la Ferriere. Delastre. Tiery. SECOND QUADRILLE. Messieurs Pierret. Mataire. Duval. Mesdemoiselles Lemaire.

Tiber. Roland. UN PASTRE. Monsieur FDumoulin. /--pp. xiv-xvj [14-16]. 1723. Though the flamboyant soprano CatherineNicole Lemaure is credited with premiering the role of Hippodamie in this opera (Philip Weller, NG), this libretto gives the singer as Mlle. Toulou. The librettist, La Serre, was not known for his literary talents--he only began writing to supply an income after gambling away his fortune (Caroline Wood, NG). The final leaf explains the “PRIVILEGE DU ROY” (p. [63]). lib 00486 adf

Appendix II English Librettos

1. Albion and Albanius ALBION/ AND/ ALBANIUS:/ AN/ OPERA./ Perform’d at the QUEENS Theatre/ in Dorset-Garden./ Written by Mr. Dryden./ Discite Justitiam moniti, & non temnere Divos. Virg./ LONDON,/ Printed for Jacob Tonson, at the Judge’s Head/ in Chancery-Lane, near Fleet Street. 1691./ --pre. p. [1]. CMP Grabu, Luis (d. after 1693) LBT Dryden, John (1631-1700) [14], 34 p., 22 cm. “Yet I have no great reason to despair;/ for I may without vanity, own some Advantages, which are not/ common to every Writer; such as are the knowledge of the Italian/ and French Language, and the being conversant with some of their/ best performances in this kind; which have furnish’d me with such/ variety of Measures, as have given the Composer Monsieur Grabut [sic]/ what Occasions he cou’d wish, to shew his extraordinary Talent, in/ diversifying the Recitative, the Lyrical Part, and the Chorus: In all/ which, (not to attribute any thing to my own Opinion,) the best/ Judges, and those too of the best Quality, who have honour’d his/ Rehearsals with the Presence, have no less commended the Hap-/ piness of his Genius than his Skill” (pre. p. [7]). 3 Acts. Prologue. Epilogue. Preface. Post Script. Dedicated to Charles II (1630-1685)./ pre p. [11].

Parts: MERCURY. AUGUSTA. THAMESIS. DEMOCRACY. ZELOTA. ARCHON. JUNO. IRIS. ALBION. ALBANIUS. PLUTO. ALECTO. APOLLO. NEPTUNE. NEREIDS. ACACIA.

TYRANNY. ASEBIA. PROTEUS. VENUS. FAME. A CHORUS OF CITIES. A CHORUS OF RIVERS. A CHORUS OF THE PEOPLE. A CHORUS OF FURIES. A CHORUS OF NEREIDS AND TRITONS. A GRAND CHORUS OF HERO’S, LOVES, AND GRACES. / --pre. p. [12]. [London, Dorset Garden, June 1685] Sonneck 48 BDW The Spanish Fryar, or, The Double Discovery. John Dryden. 1690. In the lengthy preface Dryden offers his theory about the origins of opera: “I have not been able, by any search, to get any light either/ of the time, whien it began, or of the first Author. But I have pr-/ bable Resasons, which induce me to believe, that some Italians ha-/ ving curiously observ’d the Gallantries of the Spanish Moors at their/ Zambra’s, or Royal Feasts, where Musick, Songs, and Dancing/ were in perfection; together with their Machines, which are usual/ at their Sortiia’s, or running at the Ring, and other Solemnities,/ may possibly have refin’d upon those Moresque Divertisements, and/ produc’d this delightful Entertainment, by leaving out the warlike/ Part of the Carousels, and forming a Poetical Design for the use of/ the Machines, the Songs, and Dances” (pre. p. [4]). He goes on to admit that this appraisal “is only conjectural” (pre. p. [5]). The rest of the preface details the “natural Disadvantages” (pre. p. [6]) of English in comparison to the Italian language. He concludes by acknowledging the opposition the composer Grabu faced in London from his colleagues: “To conclude, Though the Enemies of the Composer are not few,/ and that ther is a Party form’d against him, of his own Profession,/ I hope, and am persuaded, that this Prejudice will turn in the end/ to his Advantage” (pre. p. [10]).

220 Appendix II: English Librettos A “POST-SCRIPT” (pre. p. [10]) by Dryden notes the King’s death and relays that little tailoring of the opera, which was dedicated to him, was needed following his passing: “But the Design of it originally was so happy, that it needed/ no alteration, properly so call’d; for the Addition of Twenty or Ther-/ ty Lines in the Apotheosis of Albion, has made it entirely of a Piece” (pre. p. [11]). A lengthy description of the set appears after the list of characters (pre. p. [13]), detailing the elaborate scenery. Stage directions throughout detail the machines and set changes; this was a production undertaken at great expense. The opera has a suitably rousing final scene: “A full Chorus of all the Voices and Instruments: Trumpets and/ Ho=Boys make Ritornelloes of all Fame sings; and Twenty four/ Dancers are all the time in a Chorus, and Dance to the end of/ the Opera” (p. 31). Pages 32-33 are incorrectly numbered 24-25. D-10 02918

2. King Arthur: or, the British Worthy

“There is nothing better, than what I intended, but/ the Musick; which has since arriv’d to a greater Per-/ fection in England, than ever formerly; especially pas-/ sing through the Artful Hands of Mr. Purcel, who has/ Compos’d it with so great a Genius, that he has no-/thing to fear but an ignorant, ill-judging Audience.” --pre. pp. [7-8]. 5 Acts. Covering title page. Advertisement. Dedication. Prologue. Epilogue. Dedication to Charles II (1630-1685) signed by John Dryden./ --pre p. [5].

Dramatis Personae: KING ARTHUR. Mr. Betterton. OSWALD. Mr. Williams. CONON. Mr. Hodgson. MERLIN. Mr. Kynaston. OSMOND. Mr. Sandford. AURELIUS. Mr. Alexander. ALBANACT. Mr. Bowen. GUILLAMAR. Mr. Harris. EMMELINE. Mrs. Bracegirdle. MATILDA. Mrs. Richardson. PHILIDEL. Mrs. Butler. GRIMBALD. Mr. Bowman. OFFICERS AND SOLDIERS, SINGERS AND DANCERS, &C./ --pre. p. [12]. London, Queen’s Theatre, Dorset Garden, 1691.

King ARTHUR:/ OR,/ The British Worthy./ A Dramatick/ OPERA./ Performed at the QUEENS Theatre/ By Their MAJESTIES Servants/ Written by Mr. DRYDEN./ Heîc alta Theatris/ Fundamenta locant : Scenis decora alta futuris. Vir. Æneid. I./ Purpurea intexti tollunt aulæa Britanni. Georg. 3. 10./ Tanton’ placuit concurrere motu. Æneid. II./ Jupiter, æternâ Genteis in pace futuras?/ Et Celebrare Domestica facta. Hor./

Sonneck 669

London, Printed for Jacob Tonson, at the Judges-Head/ in Chancery-Lane near Fleetstreet. 1691./ --pre. p. [3].

Dryden wrote a sung prologue for King Arthur in 1684. Luis Grabu set an expanded version of it to music, though it was not performed with this finished semi-opera; it features only a short prologue spoken by Mr. Betterton (Arthur in the original production). Dryden writes in his dedication that King Charles II heard the original prologue performed: “This Poem was the last Piece of Service, which/ I had the Honour to do,

CMP Purcell, Henry (1658/9-1695) LBT Dryden, John (1631-1700) [14], 51, [1] p., 22 cm.

BDW The Spanish Fryar, or, The Double Discovery. John Dryden. 1690. / The Duke of Guise. John Dryden and Nathaniel Lee. 1683. / Albion and Abanius. Luis Grabu. John Dryden. 1691. / Don Sebastian, King of Portugal. John Dryden. 1692. / Amphitryon; or, The Two Sofia’s. Henry Purcell. John Dryden. 1691. / King Arthury; or, The British Worthy. Henry Purcell. John Dryden. 1691. / Cleomenes, the Spartan Heroe. John Dryden. 1692. /

Appendix II: English Librettos 221 for my Gracious/ Master, King CHARLES the Second: And/ though he liv’d not to see the Performance of it, on/ the Stage; yet the PROLOGUE to it, which was the/ Opera of Albion and Albanius, was often practis’d before/ Him at Whitehal [sic], and encourag’d by His Royal Ap-/ probation” (pre. p. 5). Much of the dedication is devoted to praising Charles II, whose “Clemency and Moderation” (pre. p. 5) Dryden writes, spared England from war. The songs and arias of this semi-opera appear in italics throughout. Some of the songs are written for characters not listed among the dramatis personae; Cupid, Pan, Nereide, Comus, and Venus all have a song. These characters appear in the original musical prologue, Albion and Albanius, which is bound in the same volume as this work (see# 1). The opera concludes with an elaborate sequence of songs, duets and dances: “The Dance vary’d into a round Country-Dance” (p. 48), gives an example of such segues. It bridges a satirical song sung by Comus and three peasants, “Your Hay it is Mow’d & your Corn is Reap’d; [...] We ha’ cheated the Parson, we’ll cheat him agen;/ For why shou’d a Blockhead ha’ One in Ten?” (p. 47), and the earnestly patriotic “Fairest Isle, all Isles Excelling”, sung by Venus. A love duet for a man and woman, “SONG by Mr. HOWE” (p. 49), follows. Mrs. Bracegirdle concludes the show with a brief epilogue. Her last lines reads: “And he that likes the Musick and the Play,/ Shall be my Favourite Gallant to Day” (post p. [1]). Opposite the title page is an advertisement by Dryden setting out his authentic list of works: “Finding that several of my Friends, in Buying my/ Plays, &c. Bound together, have been impos’d/ on by the Booksellers foisting in a Play which is not/ mine; I have here, to prevent this for the future, set/ down a Catalogue of my Plays and Poems in Quarto, putting the Plays in the Order I wrote them” (pre. p. [2]). D-10 02918

3. The Grove, or, Love’s Paradise THE/ GROVE,/ OR,/ Love’s Paradice./ AN/ OPERA,/ Represented at the Theatre/ Royal in Drury-lane./ Aut famam sequere, aut Sibi Convenientia finge./ Hor. Art. Poet./ By Mr Oldmixon./ LONDON,/ Printed for Richard Parker at the Unicorn under the Piazza/ of the Royal Exchange in Cornhil. 1700./ --pre. p. [1]. CMP Purcell, Daniel (c. 1664-1717) LBT Oldmixon, John (1673-1742) [8], 46, [2] p., 21.5 cm. “As to what relates to the composition, no man/ ever consulted the meaning of the Words more than/ Mr Purcel has done, and he has succeeded too/ well with the Publick, to want the applause of/ his Author.” --pre. p. [6]. 5 Acts. Prologue. Epilogue. Dedication. Preface. Advertisement. The dedication to Mr. Freeman is signed by John Oldmixon./ --pre p. [4].

Dramatis personae (Men): ARCADIUS. Mr. Mills. EUDOSIUS. Mr. Powel. ADRASTUS. Mr. Tomms. PARMENIO. Mr. Cibber. NICIAS. Mr. Thomas. ALEANDER. SILENO. (Women): AURELIA. Mrs. Rogers. PHYLANTE. Mrs. Temple. SYLVIA. Mrs. Oldfield. --pre. p. [7]. “Officers, Guards, Shepherds and Shepherdesses.”/ --pre. p. [7]. “EPILOGUE/ Writ by Mr Farquhar” /--p. [47]. “Hautboys and Flutes again”/ --p. 15. 1700

222 Appendix II: English Librettos Sonneck 580 With substantial musical sections in every act, this work is best classified as a semi-opera (Neufeldt, 57). Oldmixon’s preface relays that the work was intended to be a pastoral, but in the end turned out to be a tragedy: “I might in the next place acquaint the Criticks,/ that this Play is neither Translation nor Paraphrase;/ That the Story is entirely new; that ‘twas at first intended for a Pastoral, tho in the three last Acts,/ the Dignity of the Characters rais’d it into the/ form of a Tragedy, and with these reflections insinu-ate, as is usual, many things to my advantage.” (pre. p. [6]). The work is dedicated to a Mr. Freeman, of whom Oldmixon writes passionately. “You have given us fair proof, that/ Business, Letters, Pleasure and Virtue, are not incompati-/ ble; and that Wit Judgment, and Good Manners, are not/ confin’d to the narrow limits of Convent Garden [sic]” (pre. p. [4]). He wittily concludes his dedication by writing that “there is nothing so tedious to/ Mankind in general, as an Encomium, where they are not/ themselves concer’d.” (pre. p. [4]). The two appeared to share a genuine friendship in addition to a patron-client relationship. The prologue is in verse; it extolls the virtues of prologues. The epilogue by Mr. Farquhar waxes poetic about poets and contains such nuggets as “There are but two things from all change secure,/ Nought can transform a Poet or a Whore.” (p. [47]). The final page is and advertisement for “BOOKS printed for R. Parker, at the Unicorn/ under the Royal Exchange in Cornhil” (p. [48]). It lists histories, poetry collections, a Latin grammar, Motteux’s “Gentleman’s Journal,” and several plays by Dennis, Motteux, Scot, Cibber, and John Oldmixon. pam 02419

4. Ariadne: or, The Triumph of Bacchus ARIADNE:/ OR, THE/ TRIUMPH of BACCHUS./ AN/ OPERA./

LONDON:/ Printed for WILLIAM CHETWOOD, at Cato’s/ Head in RusselStreet, Covent-Garden. 1721./ --p. [187]. CMP LBT D’Urfey, Thomas (c. 1653-1723) 187-220 p., 19 cm. 3 Acts. Argument.

Dramatis personae (Men): BACCHUS. THESEUS. PIRITHOUS. ABDALLA. BERONTUS. BOMBEY. CHORUS OF BACCHINALS, MÆNADES, INDIANS AND SATYRS./ --p. [189]. (Women): ARIADNE. CELLANIA. DOPPA./ --p. [189]. “Shepherds, Shepherdesses, Clowns, Singers, and Dancers.” --p. [189]. BDW The Two Queens of Brentford: or, Bayes no Poetaster. Thomas D’Urfey. 1721. Not in Sonneck “Drums and Trumpets are heard, and shout of Joy within” --p. 193. “A Dance also perform’d,/ Singing and Musick” -p. 200. “A Symphony of joyful Musick sounds, then an Antick Ceremo-/ nial Dance of the MÆNADES, after which BACCHUS sings” --p. 215. This work, as the preface to the collection tells us, was designed to be set entirely to music: “The third Piece is an entire Opera, exactly/ done to Recitative and Air, with Verses proper/ for the Occasion. I hope our English Judges will/ give it a judgment equal with the buzzing and/ squeaking Trilladoes of the Italian; or else I shall/ condemn my own, and any Skill in Musick as long/ as I live” (pre. p. [8]). It tells the story of Ariadne and Theseus after he has slain the Minotaur and they have escaped Crete. This version throws a curious twist into the mix. Rather than simply retiring to Naxos, Theseus devises a plan to travel to “OEbalia” to steal

Appendix II: English Librettos 223 away his true love interest, Helena, daughter of King Tindarus. When they arrive at Naxos Bacchus is already on the island and falls instantly in love with Ariadne. Theseus therefore resolves to leave immediately, leaving Bacchus to comfort the despondent Ariadne and gain her affections. A comic romantic subplot involves Berontus, a captive Scythian prince, and Ariadne’s cynical friend, Cellania. Further comedy of a bawdy nature is wrung out of the romantic musings of Doppa, Ariadne’s servant, and Bombey, a smitten Satyr. There is no indication that this work was set to music. It is one of two musical works in a collection entitled New Opera’s with Comical Stories, and Poems...Written by Mr. D’Urfey (London: Chetwood, 1721).

Dramatis personæ (Men): SMITH. CHANTER. JOHNSON. TWO KINGS OF BRENTFORD. PRINCE PRETTYMAN. PRINCE VOLCIUS. FIREBRAND BELROPE. TOKAY. DISCIPLINE. A BOY WITH COFFE AND CHOCOLATE./ --p. [3]. (Women): TWO QUEENS OF BRENTFORD. ARMORILLIS. PARTHENOPE. THIMBLESSA. FLEABITTEN./ --p. [4]. “Singers, Dancers, Guards and Attendants.” --p. [4].

B-10 07014

5. The Two Queens of Brentwood: or, Bayes no Poetaster THE/ Two QUEENS/ OF/ BRENTFORD:/ OR,/ BAYES no POETASTER:/ A MUSICAL FARCE,/ OR/ COMICAL OPERA./ BEING/ The SEQUEL of the Famous REHEARSAL,/ written by the late Duke of BUCKINGHAM./ With a Comical PROLOGUE and EPILOGUE./ LONDON:/ Printed for WILLIAM CHETWOOD, at Cato’s/ Head in RusselStreet, Covent-Garden. 1721./ --p. [1]. CMP LBT D’Urfey, Thomas (c. 1653-1723) 88 p., 19 cm. 5 Acts. Introduction to the prologue. Prologue. Epilogue.

“Your humble Servant, dear Mr. Leveridge” is written below the first song (p. 19). “A humourous Dance here by the six Figures and Concord”/ --p. 37. “Dance here.”/ --p. 51. “Here they all Dance with hugging and kissing, inspir’d by/ Cupid and Venus descending from the Clouds”/ --p. 75. BDW Ariadne: or, The Triumph of Bacchus. Thomas D’Urfey. 1721. Sonneck 1110 On the back of the title page is written in longhand: “According to the Rehearsal wrote/ by the Duke of Buckingham,/ Smith should be the severe/ critical Satyrist as he is/ called Lord & Johnson a/ witty gentleman of the Town” (p. [2]). The list of characters lists Smith and Chanter as “Two Witty Gentlemen/ of the Town” (p. [4]) and Johnson as “A Severe Critical Satyrist”. The person who made this note clearly did not agree with this arrangement. Page 81 incorrectly contains the title “The Fate of Tyranny” in the header. An editor has written the correct “Bayes no Poetaster” in longhand above it and crossed it out. The Epilogue is spoken by three actors in the guise of the Sun, Pluvia (rain), and Boreas (the North wind). No composer is given. Sonneck suggests that this work may never have been set to music. One of two musical works in a collection entitled New Opera’s with Comical Stories, and

224 Appendix II: English Librettos Poems...Written by Mr. D’Urfey (London: Chetwood, 1721). B-10 07014

6. Rosamond ROSAMOND./ AN/ OPERA./ Inscribed to Her Grace the/ Dutchess of Marlborough./ Hic quos durus Amor crudeli tabe peredit/ Secreti celant Calles, & Myrtea circùm/ Sylva tegit. Virg. Æn. 6./ THE FOURTH EDITION./ LONDON:/ Printed for J. TONSON: And Sold by J. BROTHERTON/ at the Bible in Cornhill. MDCCXXV. CMP Clayton, Thomas (1673-1725) LBT Addison, Joseph (1672-1719) [2], 52, [4] p., 16.5 cm. 3 acts. Dedication. Dedicated to Sarah Jennings Churchill, Duchess of Marlborough (1660-1744)./ --p. 25.

Dramatis Personae: KING HENRY. SIR TRUSTY. PAGE. MESSENGER. QUEEN ELINOR. ROSAMOND. GRIDELINE. GUARDIAN ANGELS &C./ --p. 4 (28). 1725. Not in Sartori This libretto from 1725 is a reprint of the libretto to the 1707 production of Rosamond, first performed 4 March at the Theatre Royal, Drury Lane, London. The original cast featured the usual stars of early Italianate opera in London: Maria Gallia sang Rosamond, Francis Hughes sang King Henry, Catherine Tofts sang Queen Elinor, and the familiar comic team of contralto Mary Lindsey, who sang Grideline, and the bass Richard Leveridge, who sang Sir Trusty. The

dedication is a poem by Thomas Tickell (16861740), a friend of the librettist Addison and adversary of Alexander Pope: “A COPY of VERSES in/ the Sixth Miscellany,/ TO THE/ AUTHOR/ OF/ ROSAMOND./ Ne forte pudori/ Sit Tibi Musa. Lyræ solers, & Cantor Apollo./ By Mr. TICKELL.” (p. 25). Both Pope and Tickell published a translation of the Iliad in 1715. Arias are indicated by the note “[*Sings]” next to verses in the text. Pagination for this libretto starts after two unmarked pages, at page 25, suggesting the text was originally part of a larger collection. A list of books printed for Jacob Tonson comprises the final four pages of the libretto. lib 00033

7. The Quaker’s opera THE/ QUAKER’s/ OPERA./ As it is Perform’d at/ LEE’s and HARPER’s/ Great Theatrical Booth/ IN BARTHOLOMEW-FAIR./ With the MUSICK prefix’d to each SONG. LONDON:/ Printed for J. W: and sold by J. Roberts in/ Warwick-Lane; A. Dodd, at the Peacock with-/ out Temple-Bar;/ and E. Nutt and E. Smith at/ the Royal-Exchange. 1728. [Price 1S.] CMP [Walker, Thomas (1698-1744)] LBT [Walker, Thomas (1698-1744)] [6], 49 p., 20 cm. 3 acts. Table of songs. Introduction.

Dramatis Personae: Men: OLD QUAKER. PLAYER. RUST. CAREFUL. SHEPARD. JONATHAN WILE. BULK. HEMPSEED. FILE. COAXTHIEF. QUAKER. DR. ANATOMY. BLUNDER. WELCH LAWYER. AUTHORITY HARDHEAD. TOMMY PADWELL. Women: MRS.

Appendix II: English Librettos 225

FRISKY. MRS. HACKABOUT. MRS. COAXTHIEF. MRS. POORLEAN. THE LAWYER’S MAID. WATCHMEN. WOMEN OF THE TOWN.--p. [4]. Lee’s and Harper’s Great Theatrical Booth in Bartholomew-Fair [autumn 1728?] Sonneck 910; Longe 47 The work apparently originated as a spoken drama that was printed but not performed in 1725 as The Prison Breaker or the Adventures of John Sheppherd. In the wake of the success of the Beggar’s Opera, this was transformed into

a ballad opera and produced at the St. Bartholomew’s Fair during the fall of 1728. According to Sonneck the author is one Thomas Walker. The libretto contains the melodies to all of the songs (in the version listed in Sonneck, the melodies are missing to “And when we come unto Whit” and “O Johnny, thou hast done me wrong”). These for the most part are popular tunes headed by their original titles, with the new words arranged in strophes below. These tunes include folk songs, such as “Country Garden”, popular songs, such as “Britons strike home” and popular operatic tunes, such as the march from Handel’s Scipione. lib

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Bibliography

Abbreviations Allacci

Allacci, Leone. Drammaturgia, di Lione Allacci accresciuta e continuata fino all'anno MDCCLV. Venice: G.B. Pasquali, 1755. Repr. Turin: Bottega d'Erasmo, 1961.

Alm

Alm, Irene. Catalog of Venetian Librettos at the University of California, Los Angeles. Berkeley: University of California Press, 1992.

Franchi

Franchi, Saverio. Drammaturgia romana: repertorio bibliografico cronologico dei testi drammatici pubblicati a Roma e nel Lazio. 2 vols. Rome: Edizioni di storia e letteratura, 1988, 1997.

NG

The New Grove Dictionary of Music and Musicians, 2nd edition, ed. Stanley Sadie and John Tyrrell; and The New Grove Dictionary of Opera, Stanley Sadie, ed. Both available at Grove Music Online, ed. Laura Macy.

Sartori

Sartori, Claudio. I libretti italiani a stampa dalle origini al 1800: Catalogo analitico con 16 indici. 5 vols. Cuneo: Bertola & Locatelli, 1990-1992.

S-F

Selfridge-Field, Eleanor. A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford: Stanford University Press, 2007.

Sonneck

Sonneck, Oscar George Theodore. Catalogue of Opera Librettos Printed before 1800. 2 vols. Washington, G.P.O., 1914.

Weaver

Weaver, Robert Lamar, and Norma Wright Weaver. A Chronology of Music in the Florentine Theater, 1590-1750: Operas, Prologues, Finales, Intermezzos and Plays with Incidental Music. Detroit Studies in Music Bibliography 38. Detroit: Information Coordinators, 1978.

228 Bibliography

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Bibliography 229 Jeanne Cohen and the Dance Perspectives Foundation. Oxford/London: Oxford University Press, 2003. Also available at Corrigan, Beatrice. Catalogue of Italian Plays, 1500-1700, in the Library of the University of Toronto. Toronto: University of Toronto Press, 1961. Supplements in Renaissance News 16 (1963): 298-307; Renaissance News 19 (1966): 219-228; and Renaissance Quarterly 27 (1974): 512-532. Crowther, Victor. The Oratorio in Modena. Oxford: Clarendon, 1992. Dean, Winton. Handel’s Operas, 1726-1741. Woodbridge, UK: Boydell, 2006. ______. Handel’s Dramatic Oratorios and Masques. Oxford: Clarendon, 1959. ______ and J. Merrill Knapp. Handel’s Operas, 1704-1726. Oxford: Clarendon, 1987. Elliott, Robert and Harry White. “A Collection of Oratorio Libretti, 1700-1800, in the Thomas Fisher Rare Book Library, University of Toronto.” Fontes Artis Musicae 32 (1985): 102-113. Fabbri, Mario. Alessandro Scarlatti e il Principe Ferdinando de’ Medici. Florence: L.S. Olschki, 1961. Fietta, Paolo Antonio. “The Poetics of Theatrical Dance in Early Eighteenth-Century Italy,” 2 vols. Ph.D. diss., University of Toronto, 1997. Franchi, Saverio. Drammaturgia romana: repertorio bibliografico cronologico dei testi drammatici pubblicati a Roma e nel Lazio. 2 vols. Rome: Edizioni di storia e letteratura, 1988, 1997. Ghisalberti, Alberto Maria. Dizionario biografico degli Italiani. 69 vols. Rome: Istituto della Enciclopedia Italiana, 1960-. Giuntini, Francesco. “Modelli teatrali nei drammi per musica di Antonio Salvi.” Revista de Musicología 16, no.1 (1993): 335-347. Glixon, Beth L. “Music for the Gods?” Early Music 26, no. 3 (1998): 445-454. ______ and Jonathan Glixon. Inventing the Business of Opera: the Impresario and His World in SeventeenthCentury Venice. Oxford: Oxford University Press, 2006. ______. “Marco Faustini and Venetian Opera Production in the 1650s: Recent Archival Discoveries.” Journal of Musicology 10 (1992): 48-73. Goldoni, Carlo. Tutte le opere, 4th edition, ed. Giuseppe Ortolani. Milano: Mondadori, 1959. Groppo, Antonio. Catalogo di tutti drammi per musica recitati ne’ teatri di Venezia dall’ anno 1637 fin all’ anno presente 1745. Venice, 1745. Repr. Bibliotheca musica bononiensis, Sez. 1, no. 10. Bologna: A. Forni, 1977. Grout, Donald Jay. A Short History of Opera. 2nd edition. New York: Columbia University Press, 1965. Gruys, J.A., and C. de Wolf. Thesaurus 1473-1800: Nederlandse boekdrukkers en boekverkopers: met plaatsen en jaren van werkzaamheid. Nieuwkoop: De Graaf, 1989.

230 Bibliography Hansell, Kathleen Kuzmick. “Theatrical Ballet and Italian Opera.” In Opera on Stage: The History of Italian Opera. Part II. Systems, vol. 5, pp. 177-198. Ed. Lorenzo Bianconi and Giorgio Pestelli. Chicago: University of Chicago Press, 1998. Harris, Ellen T. The Librettos of Handel’s Operas. 13 vols. New York: Garland, 1989. Heartz, Daniel. Music in European Capitals: The Galant Style 1720-1780. New York: Norton, 2003. Herrick, Marvin T. Comic Theory in the Sixteenth Century. Urbana: University of Illinois Press, 1964. Hill, John Walter. “Oratory Music in Florence I: Recitar cantando, 1583-1655.” Acta musicologica 51 (1979): 108136. ______ . “Oratory Music in Florence II: At San Firenze in the Seventeenth and Eighteenth Centuries.” Acta musicologica 51 (1979): 246-267. ______. “Oratory Music in Florence III: The Confraternities from 1655 to 1785.” Acta musicologica 58 (1986): 129179. Ivanonvich, Cristoforo. Memorie teatrali di Venezia, ed. Norbert Dubowy. Venice, 1687. Repr. Lucca: Libreria musicale italiana, 1993. King, Richard G. “Classical History and Handel’s Alessandro.” Music & Letters 77 (1996): 34-63. Liess, Andreas. “Die Sammlung der Oratorienlibretti (1679-1725) und der restliche Musikbestand des Fondo San Marcello in der Biblioteca Vaticana in Rom.” Acta musicologica 31 (1959): 63-80. Longe, Francis, comp. Collection of Plays [microform]. 326 vols. Repr. Washington, D.C.: Library of Congress Photoduplication Service, 1981. Lowenberg, Alfred. Annals of Opera, 1597-1940. 2nd ed., rev. and corr. by Frank Walker. Geneva: Societas Bibliographica, 1955. Lustig, Renzo. “Saggio bibliografico degli oratorii stampati a Firenze dal 1690 al 1725.” Note d'archivio per la storia musicale 14 (1937): 57-64, 109-116, 244-250. Momone, Sara. “Stage Dance in Florentine Intermedi from 1589 to 1637.” In Marie Claude Canova-Green and Francesca Chiarelli, eds., The Influence of Italian Entertainmentes on Sixteenth- and Seventeenth-Century Music Theatre in France, Savoy, and England, pp. 13-27. Studies in the History and Interpretation of Music, 68. Lewiston, NY: Mellen, 2000. McClymonds, Marita P., and Diane Parr Walker. “U.S. RISM Libretto Project: With Guidelines for Cataloguing in the MARC Format.” Notes 43 (1986): 19-35. Macnutt, Richard. “Libretto.” Grove Music Online. Ed. Laura Macy (Accessed 1 July 2006).

Maffei, Raffaello. Tre volteranni: Enrico Ormani, G.C. Villifranchi, Mario Guarnaci. Pisa: Nistri, 1881. Mainwaring, John. Memoirs of the Life of the late George Frederic Handel. London: Dodsley, 1760. Repr. New York: Da Capo, 1980.

Bibliography 231 Mamczarz, Irène. Les intermèdes comiques italiens au 18e siècle en France et en Italie. Paris: Centre national de la recherche scientifique, 1972. Manferrari, Umberto. Dizionario universale delle opere melodrammatiche. 3 volumes. Contributo alla Biblioteca bibliografica italica 4,8,10. Florence: Sansoni, 1954-55. Markstrom, Kurt. “The Operas of Leonardo Vinci.” Ph.D. diss. University of Toronto, 1992. Marcello, Benedetto. Il teatro alla moda. Ed. Ariodante Marianni. Milan: Rizzoli, 1959. Martello, Pier Jacopo. Della tragedia antica e moderna (1714) in Scritti critici e satirici, ed. H.S. Noce. Bari: Laterza, 1963. Melzi, Gaetano. Dizionario di opera anonime e pseudonime di scrittori italiani, o come che sia aventi relazione all’ Italia. Milan, 1852. Repr. Burt Franklin Bibliographical and Reference Series #23. 4 vols. New York: Burt Franlkin, 1960. Metastasio, Pietro. Tutte le opere, ed. Bruno Brunelli. Milan: Mondadori, 1953. Moniglia, Giovanni Andrea. Delle poesie dramatiche di Giovann Andrea Moniglia. Florence: Vincenzo Vangelisti, 1698. Morelli, Giovanni. “Fare un libretto. La conquista della poetica para letteraria.” In Thomas Walker and Giovanni Morelli, eds., Il Medoro: Partitura dell’ opera in facsimile, pp. ix-lvii. Milan: Ricordi, 1984. Drammaturgia musicale veneta, 4. Muratori, Ludovico Antonio. Della perfetta poesia italiana. Venice: Coleti, 1724. (1st ed. 1706). Neufeldt, Timothy Lael. “The Social and Political Aspects of the Pastoral Mode in Musico-dramatic Works, London, 1695-1728.” Ph.D. diss., University of Toronto, 2006. Noske, Frits. Saints and Sinners: The Latin Musical Dialogue in the Seventeenth Century. Oxford: Clarendon, 1992. Patroni, Giuseppe. “Giovanni Mario Crescimbeni.” L’Arcadia 2/6 (189)), 350. Piromalli, Antonio. L’Arcadia. Palermo: Palumbo, 1975. 1st ed. 1963. Quondam, Amedo. “L’istituzione Arcadia: Sociologia ed ideologia di un’accademia.” Quaderni storici 2 (1973): 406-432. Rancière, Jacques. The Politics of Aesthetics, trans. Gabriel Rockhill. London: Continuum, 2006. Ricci, Corrado. I teatri di Bologna nei secoli XVII e XVIII: Storia aneddotica. Bologna: Successori Monti, 1888. Rosand, Ellen. Opera in Seventeenth-Century Venice: the Creation of a Genre. Berkeley: University of California Press, 1991. Sadie, Stanley, and John Tyrrell, eds. The New Grove Dictionary of Music and Musicians. 2nd ed. 29 vols. New York: Grove’s Dictionaries, 2001.

232 Bibliography Sadie, Stanley, ed. The New Grove Dictionary of Opera. Christina Bashford, managing ed. London: Macmillan, 1992. ______, ed. History of Opera. Basingstoke: Macmillan, 1989. Salvioli, Giovanni. Bibliografia universale del teatro drammatico italiano con particolare riguardo alla storia della musica italiana. Venice: C. Ferrari, 1903. ______. I teatri musicali di Venezia nel secolo 17 (1637-1700) memorie storiche e bibliografiche raccolte ed ordinate da Livio Niso Galvani. Bologna: Forni, 1969. First published in 1879. Schering, Arnold. Geschichte des Oratoriums. Kleine Handbücher der Musikgeschichte nach Gattungen, vol. 3, 1911. Repr. Hildesheim: G. Olms, 1966. Schmidt, Carl B. “Antonio Cesti’s La Dori: A Study of Sources, Performance Traditions and Musical Style.” Rivista Italiana di Musicologia 10 (1975): 455-498. Seifert, Herbert. “Cesti and His Opera Troupe in Innsbruck and Vienna, with New Information about His Last Year and His Oeuvre.” In La Figura e l’opera di Antonio Cesti nel Seicento europeo, ed. Mariateresa Dellaborra, pp. 1561. Florence: Leo S. Olschki, 2003. ______. Die Oper am Wiener Kaiserhof im 17. Jahrhundert. Tutzing: Scheider, 1985. Selfridge-Field, Eleanor. A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford, CA: Stanford University Press, 2007. ______. Song and Season: Science, Culture, and Theatrical Time in Early Modern Venice. Stanford, CA: Stanford University Press, 2007. Sesini, Ugo. Libretti d'opera in musica. Catalogo della Biblioteca del Liceo Musicale di Bologna, vol. 5. Ed. Gaetano Gaspari. Bologna: Libreria Romagnoli, 1943. Smither, Howard E. A History of the Oratorio: Volume I, The Oratorio in the Baroque Era, Italy, Vienna, Paris. Chapel Hill: University of North Carolina Press, 1977. Solerti, Angelo. Musica, ballo e drammatica alla corte medicea dal 1600 al 1637: Notizie tratte da un diario con appendice di testi inediti e rari. Florence: Bemporad, 1905. Spagna, Arcangelo. Oratorii overo melodrammi sacri con un discorso dogmatico intorno l’istessa material. Rome: Buagni, 1706. Tedesco, Anna. “Francesco Cavalli e l’opera veneziana a Palermo.” In Dinko Fabris, ed., Francesco Cavalli: la circolazione dell’ opera veneziana nel Seicento, pp. 205-238. Tosi, Pier Francesco. Opinioni de’ Cantori antichi e moderni (1723), trans. John Ernest Galliard as Observations on the Florid Song, ed. Michael Pilkington. London: Stainer and Bell, 1987. Van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: Chicago University Press, 2005. Vocabolario degli Accademici della Crusca, 4th ed. 6 vols. Florence: D.M. Manni, 1729-1738.

Bibliography 233 Walker, Thomas. “‘Ubi Lucius’: Thoughts on Reading Medoro.” In Thomas Walker and Giovanni Morelli, eds., Il Medoro: Partitura dell’ opera in facsimile, pp. cxxxi-clx. Milan: Ricordi, 1984. Drammaturgia musicale veneta, 4. Weaver, John. An Essay Towards an History of Dancing. London: J. Tonson, 1712. Weaver, Robert Lamar, and Norma Wright Weaver. A Chronology of Music in the Florentine Theater, 1590-1750: Operas, Prologues, Finales, Intermezzos and Plays with Incidental Music. Detroit Studies in Music Bibliography 38. Detroit: Information Coordinators, 1978. ______ . A Chronology of music in the Florentine Theater, 1751-1800: Operas, Prologues, Farces, Intermezzos, Concerts, and Plays with Incidental Music. Detroit Studies in Music Bibliography 70. Detroit: Harmonie Park Press, 1993. Zeno, Apostolo. Poesie drammatiche. Venice: Zane, 1735.

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Indexes Titles Abigail Abraham in Geraris Abram in Aegypto Acis et Galatee Adrasto, L' Agrippina Albion and Albanius Alceste, L' Alcide Alessandro Alessandro Severo Alfea reverente Allegrezza del mondo, L' Almansore in Alimena Amante muto loquace, L' Amazoni vinte da Ercole, Le Amazoni, Le Ambleto Amor di Curzio, L' Amor spesso inganna Amor tiranno Amori d'Alessandro, Gli Analinda, L' Annibale in Capua Antioco Antioco, principe della Siria Antro dell'eternità, L' Argippo, L' Ariadne Armida abbandonata Armida al campo Armida al campo, L' Artaserse Artaxerse, L' Astarto Astiage Astrobolo, e Lisetta Atalanta, L' Beggar's opera, The Brenno in Efeso Caligula delirante, Il Catone il giovane Cephale et Procris Cesare al Rubicone Chiesa trionfante, La Chilonida Circé Circe in Italia, La Cocchetta, e di Don Pasquale Comando non inteso, Il Componimento sagro

123 135 116 208 142 159 219 71 208 190, 191 173, 175 67 71 131 100 174 99 176 113 111 83 78 142 86 80 114 72 186 222 151 151 191 147 88 157 97 161 192 225 115 132 109 209 190 138 98 210 185 194 165, 169 140

Concert des dieux Consiglio de gli dei, Il Corilda, La Corona d’Imeneo, La Corzaro, Lo Costanza trionfante, La Costanza, La Dafne, La David sponsae restitutus De inopia copia Deposizione dalla croce, La Didio Giuliano Didon Didone, La Dina Vindicata Dioclete, Il Diocletiano Diocleziano Divisione del mondo, La Don Chisciotte Dori, La Due auguste, Le Egisto, L' Elena Enea in Italia Enigma disciolto, L' Enone gelosa, L' Eraclio, L Esilio d'amore, L' Eteocle e Polinice Euridice, L' Falaride Faneto, Il Figliuol prodigo, Il Filarmindo Filo, La Flavio Cuniberto, Il Fortuna tra le disgratie, La Forza del sangue, La Fratricida innocente, Il Gedeon in Harad Geremia in Egitto Gioasso Giochi troiani, I Gioia del cielo, La Giona, Il Gionata assoluta Girello, Il Gismondo, rè di Polonia Giuditio della ragione, Il Giulio Flavio Crispo

213 90 110 202 193 148 126, 162 59, 73 138 144 202 107 208 79 158 108 93 102 100 177 87 140 88 84 93 162, 189 136 116 74 94 60 103 74 158 63 85 143 113 194 159 132 198 178 110 75 133 170 90, 95 199 70 187

236 Indexes Giunio Bruto, Il 105 Gran Tamerlano, Il 150 Griselda 179 Grove, The 221 Hésione 212, 213 Ifigenia in Aulide 165 Ifigenia in Tauride 179 Imenei stabiliti dal caso, Gli 145 Impii per iustum in Iosue Iericho demoliente 120 Inganni amorosi, Gl' 134 Innocentiae de hypocrisi 135 Innocenza protetta, L' 141 Intermezzi musicali 166 Iphigénie en Tauride 215 Ircano innamorato 170 Issé 215 Iustus ut palma florebit 124 Jacob et Rachelis 145, 152 Jason 212 Judas Machabaeus 127 King Arthur 220 Lega della bontà, La 106 Licinio imperatore 103 Lisimaco 91 Lucio Papirio 171 Lucio vero 199 Maddalena pentita, La 104 Madre de Maccabei, La 161 Malmocor 203 Marco Attilio Regolo 180 Martirio di S Bartolommeo, Il 188 Marzio Coriolano 137 Massimo Puppieno 117 Massinissa, Il 92 Matatia 188 Medea in Atene 96 Medée 210 Medoro, Il 63, 81 Merito schernito, Il 76 Merope 166 Morte delusa, La 107 Notte felice, La 146 Ottavio in Sicilia 118 Ottone 124 Passione, La 120 Pastore d'Anfriso, Il 128 Pazzia d'Orlando, La 76 Pazzo per forza, Il 82 Pentimento di Davidde, Il 188 Pharaonis infaustus amor 121 Pirithoüs 217 Porsenna 163 Primo figlio malvagio, Il 168

Principe selvaggio, Il Prison Breaker, The Publio Cornelio Scipione Quaker’s opera, The Radamisto Radamisto, Il Rapimento di Cefalo, Il Regina Sant'Orsola, La Riccardo I, re d'Inghilterra Roderico, Il Rosamond Ruggiero, Il S. Giovanni della Croce S. Teresa vergine serafica Sagrifizio d’Isacco, Il Sagrifizio di Abel, Il San Filippo Neri Sardanapolo Scipione Selvaggio eroe, Il Serva nobile, La Sesostri, re di Egitto Siface Sincerità trionfante, La Siroe, re di Persia Sogno avverato, Il Speziale di villa, Lo Statira Stratonica Taican, re della Cina Tamerlano, Il Tancrède Téagene et Cariclée Teuzzone Trionfo della castita, Il Trionfo della libertà, Il Trionfo di Maria Verg.e, Il Tullo Ostilio Two queens of Brentford Ultima scena del mondo, L’ Venceslao Vendetta d'amore, La Vespasiano, Il Vicende del tempo, Le Viirtù tributarie, Le Vincislao

167 225 164 224 204 130 62 65 200 119 224 139 200 204 182 121 153 101 225 153 184 171 196 68 196 172 182 149 154 155 183 213, 214 211 156, 201 183 156 204 144 223 185 146, 149 77 122 77 66 173

Librettists Abati, Antonio Acciajuoli, Filippo Addison, Joseph Ambrosini, Ambrosio Apolloni, Apollonio Arcoleo, Antonio

90 95 224 107, 133 87 115

Indexes 237 Arnoaldi, Camillo 120 Aureli, Aurelio 81, 89, 96, 111, 117 Beregani, Nicola 86, 116 Berni, Francesco 85 Biancardi, Sebastiano 186 Bonacossa, Ercole 92 Bonarelli della Rovere, Prospero 71, 72, 74, 75, 76, 77 Bonjan, Pierre 213 Bottalino, Giovanni Battista 119 Bovi, Tomaso 66 Briani, Francesco 199 Buini, Giuseppe Maria 203 Buonaccorsi, Giacomo 141 Busenello, Giovanni Francesco 79 Bussani, Giacomo Francesco 94 Buti, Francesco 71 Campeggi, Ridolfo 63 Campistron, Jean Galbert 208, 209 Canavese, Domenico 168 Capeci, Carlo Sigismondo 110, 165 Capistrelli, Filippo 120, 135, 144 Cascina, Pietro 67 Castrelli, Ottaviano 68 Cecconi, Giovanni F. 158 Chiabrera, Gabriello 62 Cialli, Rinaldo 113 Cicognini, Giacinto Andrea 79 Colombi, Alfonso 104 Colzi, Bernardo 148 Corneille, Thomas 210 Corradi, Giulio Cesare 113, 122 Corvo, Nicolò 184 Cutrona, Antonio 186 Danchet, Antoine 212, 213, 214, 216 Dardi, Giacomo 66 Dryden, John 219, 220 Duché de Vancy, J-F. 209, 211, 216 D'Urfey, Thomas 222, 223 Fattorini, Tebaldo 94 Faustini, Giovanni 88 Figari, Pompeo 116, 121, 123 Frigimelica Roberti, Girolamo 125, 128, 153, 156 Gasparri, Francesco Maria 182, 204 Giannini, Giovanni Matteo 131 Gigli, Gerolamo 161 Gini, Paolo 145, 152 Gisalberti, Domenico 83 Gisberti, Domenico 132 Grimani, Vincenzo 159 Haym, Nicola Francesco 204 Ivanovich, Christoforo 91 Lalli, Domenico 186

Lamotte, Antoine Houdar 215 Landi, Lelio Maria 134 Leonardi, D. Nicolò 100 Lonati, Carlo Ambrogio 114 Lotti, Lotto 107 Maderni, Carlo 101 Metastasio, Pietro 196, 197 Minato, Niccolò 80, 84, 98, 114 Moniglia, Giovanni Andrea 82, 185 Morando, Bernardo 77 Morselli, Adriano 103, 144 Neri, Giovanni Battista 109, 163 Noris, Matteo 93, 97, 102, 103, 137, 143, 181 Oldmixon, John 221 Palazzi, Giovanni 191 Pamphili, Benedetto 121, 142, 158, 204 Paperini, Bernardo 196 Pariati, Pietro 147, 149, 157, 169, 171, 176, 177, 197 Pasqualigo, Benedetto 179, 187 Pasquini, Giovanni Claudio 202 Pesci, Ercole 118 Piccioli, Francesco Maria 99 Pignatta, Pietro Romolo 127 Piovene, Agostino 163, 164, 183 Posterla, Francesco 138 Renda, Domenico 142 Ridolfo di S. Girolamo 132 Rigotti, Bernardino 106 Rinucci, Ottavio 59 Rinuccini, Ottavio 60 Rizzi, Urbano 155 Rolli, Paolo 190, 191, 195, 200 Rossini, Andrea 108 Rousseau, Jean-Baptiste 212 Rugginoso, Gelato 63 Saintonge, Louise-G. Gillot 208, 210 Salvadori, Andrea 63, 65 Salvi, Antonio 150, 154, 171, 174 Seta, Pietro Paolo 105, 140 Silvani, Francesco 145, 151, 152, 161, 165, 167, 169, 194 Stampa, Claudio Nicola 186 Stampiglia, Silvio 144, 181 Tamagni, Giovanni 139 Trabucco, Andrea 188 Trecchi, Pietro Francesco 130 Valeriani, Belisario 170, 193 Vanstryp, Filippo 201 Villifranchi, Cosimo Giovanni 183 Walker, Thomas 224 Zeno, Apostolo 146, 147, 149, 156, 157, 159, 162, 166, 169, 173, 174, 175, 176, 177, 179, 197, 199, 201

238 Indexes

Composers Accademia dei Filaschisi 66 Acciajuoli, Filippo 90 Albinoni, Tomaso 197 Aldrovandini, Giuseppe 134, 140, 157 Alghisi, Francesco Paris 113 Almeida, Francisco Antonio 188 Ariosti, Attilio Malachia 120, 199, 201 Arresti, Floriano 163 Baliani, Carlo 176 Ballarotti, Francesco 118 Bartolaia, Ludovico 72 Bassani, Giovanni Battista 103, 107, 133 Bencini, Pietro Paolo 141, 142, 144 Biego, Paolo 113 Blanchini, Giovanni Battista 120 Boniventi, Giuseppe 152 Bononcini, Antonio Maria 171 Bononcini, Giovanni 144 Bottario, Domenico Filippo 145, 152 Buini, Giuseppe Maria 203 Caccini, Giulio 62 Caldara, Antonio 153, 161, 202 Campra, André 212, 213, 214, 216 Capelli, Giovanni Maria 187 Cavalli, Francesco 79, 80, 84, 88 Cecchini, Angelo 68 Cennami, Pietro Antonio 135 Cesarini, Carlo Francesco 158, 182, 204 Cesti, Antonio 87, 89 Charpentier, Marc-Antoine 210 Chelleri, Fortunato 170, 175, 192 Clayton, Thomas 224 Cola, Gregorio 127, 132, 158 Collasse, Pascal 212 Conti, Francesco Bartolome 177 Cozzi, Giacomo 176 Desmarets, Henry 208, 210, 211, 216 Destouches, André Cardinal 215 Fiorè, Andrea Stefano 186 Freschi, Domenico 101 Fux, Johann Joseph 202 Gagliano, Marco da 63, 65 Gasparini, Francesco145, 149, 155, 166, 169, 171, 183 Giacobbi, Girolamo 63 Giannettini, Antonio 96, 147 Giannotti, Antonio 104 Grabu, Luis 219 Handel, George Frideric 159, 190, 191, 195, 200, 204, 225 Haym, Nicola Francesco 138 Jacquet de la Guerre, E-C. 209 La Serre, Jean-L-I de 217

Lanciani, Flavio Carlo 135 Lavocat, P. 213 Legrenzi, Giovanni 94 Leo, Leonardo 184 Lonati, Carlo Ambrogio 114 Lotti, Antonio 156, 163, 165, 174, 194 Luccio, Francesco 81 Lully, Jean-Baptiste 208 Lully, Louis 208 Magni, Paolo 130 Mancini, Francesco 173 Manelli, Francesco 77, 85 Marais, Marin 208 Marazzoli, Marco 71 Masini, Vincenzo conte 190 Melani, Alessandro 121 Melani, Jacopo 82, 90, 95 Merguriali, Felice 161 Monari, Bartolomeo 109 Monteventi, Antonio 191, 192 Mouret, Jean-Joseph 217 Orgiani, Teofilo 108 Orlandini, Giuseppe Maria 148, 174, 179 Pagliardi, Giovanni Maria 91, 132 Pallavicino, Carlo 93, 94, 99, 102, 103, 117, 122 Palucci, Anton Maria 170 Pasquini, Bernardo 110 Pellegrini, Domenico 83 Peri, Jacobo 59, 60 Perini, Luigi 188 Perti, Giacomo Antonio 115, 159 Pignatta, Pietro Romolo 127 Piombi, Anton Francesco 146 Pisani, Antonio 67 Piusello, Giovanni Battista 124 Pollarolo, Carlo Francesco 119, 125, 128, 131, 137, 146, 149, 164 Porpora, Nicola Antonio 196 Porta, Giovanni 197 Predieri, Luca Antonio 181 Purcell, Daniel 221 Purcell, Henry 220 Redi, Giovanni Nicola R. 178, 188 Rossi, Francesco 110 Ruggieri, Giovanni Maria 151 Sabadini, Bernardo 107, 111, 139 Scarlatti, Alessandro 143, 150, 153, 156, 181 Scarlatti, Domenico 165, 169 Stradella, Alessandro 90, 95 Tonelli, Antonio 189 Tosi, Giuseppe Felice 105 Valentini, Giuseppe 201 Vignati, Giuseppe 176

Indexes 239 Vinchioni, Cinzio Vinci, Leonardo Vivaldi, Antonio Viviani, Giovanni Bonaventura Walker, Thomas Zazara, Domenico Ziani, Pietro Andrea

123 199 191 97 224 116, 121 86, 116

Cast Members Abbati, Anna 131 Agostino, Padre Frà 79 Albertini, Giovanna 154, 157, 159, 163 Albertini, Giuliano 143, 147, 154, 159, 187 Amaini, Carlo 163, 194 Angeletti, Luca 68 Angelini, Domenico Antonio 198 Antinori, Signor 190 Antonio, Principe di Parma 176 Archi, Gio. Antonio 126, 169, 183 Archilei, Vittoria 60 Arciprete di Scandiano, Sig. 79 Azzolini, Caterina 147 Bagnolessi, Anna 197 Balatri, Filippo 199 Baldi, Antonio 190, 200, 201, 204 Baldini, Giovanni 185 Baldini, Innocenzo 169, 173, 181 Ballerini, Francesco 114, 118, 122 Ballerini, Leonora Falbetti 82 Bar, Giovanni Michele de 82 Baracchi, Gio. Battista 119 Barbieri, Antonio 187, 199 Bartoli, Bartolomeo 180 Bastini, Christiano 68 Belisari, Cecilia 179, 181 Belisari, Francesco 179, 190, 203 Belli, D. Ascanio 111 Bellucci, Domenico 82 Benazzi, Rosa Nelli 192, 195 Benigni, Pietro Paolo 112, 114 Benzoni, Francesco 191, 192 Berenstadt, Gaetano 162, 187 Berettini, Gioachino 126 Bernacchi, Antonio 166, 180, 187 Bernachi, Antonio 175, 176 Bernardi, Francesco 151, 152, 157, 201, 204 Bernasconi, Francesco 162 Berscelli, Matteo 170, 173 Berti, Gioseppe 151, 152 Berti, Marco Antonio 144, 179, 181 Besci, Francesco 161 Besenzi, Paola 172 Betti, Pasqualino 142, 182 Bianchi, Anna Maria 167, 185

Bianchi, Bernardino 161 Bigelli, Girolamo 161 Bigonzi, Giuseppe 152, 179, 181 Bonetti, Lucia 151, 152, 179 Bordoni, Faustina 174, 176, 180, 190, 200, 201, 204 Borghesi, Francesca 162 Borgonzoni, Lucretia 126 Borgonzoni, Teresa 141 Borosini, Eleonora 174 Borosini, Francesco 118 Borsani, Lucrezio 167 Bortoli, Bartolomeo 163 Boschi, Francesca Vanini 155, 156, 159 Boschi, Giuseppe Maria 155, 156, 159, 190, 200, 201, 204 Braganti, Francesco 176 Brandi, Antonio 60 Brugia, Nicola 181 Bruni, Pier Giovanni 192 Bruno, Francesco 153 Buganzi, Anna Maria 163, 172 Bulgarelli, Marianna Benti 174 Buzzoleni, Giovanni 146 Caccialupi, Il Sig. 79 Calvi, Gio. Battista 143 Cantelli, Stella Fortunata 194 Capuano, Angela 194 Carboni, Gio. Battista 181 Carestini, Giovanni 197 Carli, Antonio Francesco 153, 159, 164, 185 Casorri, Giuseppe 197 Castelli, Il Sig. 79 Cativelli, D. Gio. Battista 112 Cavalletti, Giulio 154 Cavana, Gio. Battista 156, 172, 198 Cecchi, Anna Maria 143 Cecchi, Domenico 131, 156, 157 Cenachi, Chiara Stella 162 Cere, Maria 151 Cermenati, Antonia 203 Chiccheri, Vittorio 142 Chirardini, Rinaldo 111 Ciampi, Francisco 193 Cianchi, Angiola 193 Cimanpani, B. Virginio 182 Clerici, Carl'Andrea 112 Colago, Andrea 151 Conti, Marianna Lorenzani 196 Coralli, Stefano 144 Coresi, Niccola 82, 83 Cosimi, Anna 197 Costa, Margherita 191, 192 Costa, Vittoria 144

240 Indexes Costantizi, Francesco 173 Costanzi, Francesco 198 Costanzi, Gio. Francesco 180 Cotti, Maria Teresa 183, 196 Cottini, Antonio 119, 153 Cottini, Francesca 118 Covi, Catterina 136 Cricchi, Domenico 192, 195 Cuzzoni, Francesca 174, 176, 180, 187, 190, 200, 201, 204 da Fano, Domenico Manzi 172 d'Ambreville, Anna 167 d'Ambreville, Rosa 167, 176 Dameli, Antonio 144 Dati, Vincenzo 112 de Piez, Isabella 142 de Piez, Maria 142 del Maures, Mauro 126 del Ricco, Alessandro 154, 167, 185 Denzio, Antonio 176 Dotti, Anna Vincenza 169, 171, 190, 200 Durastanti, Margherita 159, 163, 164 Eleonora, Principessa 167 Erminii, Biagio 198 Fabbri, Annibale 161, 176, 181, 187 Fabris, D. Tomaso 136, 152 Farfallino 199 Ferretti, Anna 131 Fiamenghino, Antonio 176 Finalino, Gioseppe 122 Fogliani, Il Sig. 79 Fontana, Giacinto 199 Fontani, Giovanna 179, 181, 189 Franceschini, Gio. Battista 131, 167 Francesco, Sig. 79 Francescone, Dommineco 193 Franci, Andrea 173 Gabrielli, Gioanna 118 Galerati, Caterina 142, 144 Gallai, Maria 224 Galli, Agostino 180 Galli, Antonio Pietro 101 Garberini Benti, Maria Anna 151, 152, 154, 157 Garofalini, Elena 126 Gavazzi, Antonia 176 Genevesi, Domenico 169, 173, 198 Geri, Gasparo 194 Geringh, Angiola 140 Gherardini, Rinaldo 122 Giardi, Rosalba 162 Gioseppe Amadori 198 Giuglielmini, Anna 176 Giusti, Jacopo 60

Goslerin, Maria Caterina 166 Govani, Angiola 191, 192 Grandis, Francesco de 131, 147, 155, 164, 174 Grasseschi, Michele 82 Grieco, Ceccia 193 Grimaldi, Nicola 140, 146, 153 Grisogono, Padre 79 Grossi, Francesco 131 Grossi, Gio. Francesco 101 Guerrieri, Gioseppe Antonio 161 Guglielmina, Anna 172, 187 Guicciardi, Francesco 147, 174 Hughes, Francis 224 Landi, Agata 163 Landri, Francesco 122 Laurenti, Antonia Maria 176 Laurenti, Pietro Paolo 171 Leuzzi, Gaetano 198 Leveridge, Richard 224 Lindsey, Mary 224 Lionardi, Francesco 83 Lisi, Anna Maria 114 Lodesani, D. Bartolomeo 131 Lodi, Silvia 163, 172 Lottini, Antonio 185 Maccari, Antonia 172 Maccari, Costanza 142, 147 Mantovano, G. B. Cavana 161 Manzi, Domenico 172 Marcello, Aurelia 155, 169, 171 Marchesini, Anna Maria 147, 166 Marianecci, Francesco 142 Mariani, Paolo 179, 181 Marini, Anna 119 Marini, Maria Domenica 143 Marsigli, Giuseppe 131, 141, 159 Martelli, Simone 82 Martio, Sig. 79 Matteucci, Florido 173 Mazza, Carlo Antonio 166 Mazzanti, Rosaura 162, 183 Mellari, Girolamo 101, 126 Menarini, Anna Maria 101 Mengoni, Lucca 162, 167 Merighi, Antonia 163 Merighi, Antonia Margherita 169, 171 Minelli, Gio. Battista 169, 171, 196, 197, 199 Moggi, Pietro 146 Monari, Rosa 191, 192 Monte, Laurella 193 Monticelli, Maria 203 Morelli, Cristina 114, 126 Morena, Gerolima 152

Indexes 241 Moro di S.A. Reverendiss, Il 82 Morosi, Gio. Maria 199 Mosi, Michele 83 Mossi, Gaetano 163, 164, 175, 183 Mozzi, Pietro 114, 126, 181 Musi, Maria Maddalena 112 Muzzi, Francesca 189 Muzzi, Teresa 167 Nacci, Lisabetta Falbetti 82 Nasini, Livia 153 Natilii, Abtonio 169 Origoni, Marc'Antonio 101 Ossi, Giovanni 173, 187, 199 Ottini, Elisabetta 196 Pacini, Andrea 157, 175, 176 Paini, Sig. 79 Paita, Giovanni 163, 169 Palantrotti, Melchior 60 Palmerini, Giovanni Battista 200, 201, 204 Paris, Niccola 147 Pasi, Antonio 154, 156, 174, 175 Pasini, Don Nicola 155, 156, 159 Passerini, Francesco 144 Pegnatiello, Stuoncolo 193 Pelegrini, Veleriano 159 Pellizani, Antonia 179, 181 Peruzzi, Anna 203 Pettricioli, Giovanni Battista 122 Pezzoni, Pietro Paolo 154 Piccini, Vincenzo 82 Pieri, Maria Maddalena 183 Pieri, Maria Teresa V. 194 Pinacci, Gio. Battista 187 Pini, Maria Domenica 131, 155, 156, 159 Pistocchi, Francesco Ant. 122 Pittoni, Silvestro 142 Poggiali, Giovacchino 143 Porciatti, Lorenzo 166, 170, 171 Pozzi, Giovanni 193 Pozzoni, Pietro Paolo 136 Predieri, Antonio 112, 114, 154 Pretiosi, Angela 136 Prosdocima, Margarita 141 Raimondini, Geminiano 148 Raina, Antonio 198 Rapaccioli, Giovanni 176 Rasi, Francesco 60 Remolini, Niccola 144 Riccio, Domenico 198 Riccioni, Barbara 131 Righensi, Carlo 82 Ristorini, Antonio 157 Rivani, Antonio 82 Rivani, Paolo 83

Roberti, Giovanni Battista 122, 155 Rocco, Padre Frà 79 Romani, Stefano 181 Romaniello, Giovanne 193 Romano, Jacopo Trojani 148 Rossi, Filippo 167 Rossi, Laura Teresa 101 Rota, Sebastiano 101 Rozani, Gioanna 172 Ruggieri, Antonio 83 Sabattini, Cristina 141 Sacchi, Gio. Battista 131 Santa Marchesini 156 Santa Stella 153, 155, 157, 164 Santini, Antonio 194 Sassani, Matteo 159 Sbaragli, Pietro 166 Scaccia, Alessandra 143 Scaccia, Giuseppe 114, 122, 143 Scala, Antonia 79 Scalzi, Carlo 181, 187, 196 Scarabelli, Diamante 140, 144, 146, 153, 159, 163, 164 Senesino 151, 190, 200 Sironi, Ubaldesca Salvi 136 Speroni, Gio. Battista 114 Staffetta, Francesca 189 Tamburini, Gio. Battista 144, 147 Tasselli, Domenico 203 Tassi, Andrea 199 Teatro Nuovo 193 Tempesti, Domenico 169, 170, 171 Tesi, Vittoria 172, 187 Tilla, La 159 Tofts, Catherine 224 Tollini, Domenico 155, 181 Tolve, Francisco 193 Torii, Anna Maria 114 Tosi, Antonio 156 Tozzi, Maria Antonia 187 Trombetti, Giacomo 136 Turcotti, Giustina 185 Uttini, Elisabetta 197 Valletta, Gaetano 198 Valsecchi, Caterina 147 Venini, Francesca 141 Venturini, Clarice Beni 112 Veroni, Alessandro 194 Vico, Diana 174 Vignali, Agata 143 Vitali, Francesco 159, 163, 164, 169, 173 Zaffiro, Domenico 122 Zani, Giuseppe 156 Zannoni, Angelo 196

242 Indexes Zanoni, Angelo Zoboli, Camilla

183 189

Dancers Anguissola, Vincislao Aquilanti, Francesco Berettini, Decio Bonetti, Lelio Bra, Pier Francesco Brunel Cansacchi, Mario Capra, Gio. Battista Colletti, Paolo Crivelli, Antonio Dalmas, Domenico della Torra, Marcantonio Dupré Favilli, Maria Regale Frezzato, Angelo Fumanelli, Aletifilo Lazisi, Claudio Bevilacqua Lazisi, Gabrielle Bevilacqua Lemaire Levassori, Pietro Simone L'Eveque, Monsieur Maltaire Musatto, Vitaliano Pallavicini, Cesare Philebois, Alessandro Pierret Tucci, Giuseppe Vimercati, Cammilo

139 183 199 89 139 216 139 139 139 177 199 139 216 183 89 139 139 139 216 177 154, 155 216 139 139 177 218 139 139

Dedicatees Acciaioli, Filippo (1700-1766) 191 Acciaioli, Nicolò (1630-1719) 106 Airoldi, Marcellino (160?-167?) 80 Albani, Carlo 180 Altieri, Gaspare 103 Barbara of Portugal (1711-1758) 202 Bassadonna, Elena Pesaro 113 Bentivoglio, Cornelio (1668-1732) 192 Cansacchi, Mario 163 Caraccioli, Giovanna, Princess of Santo Buono 149 Carlotta Felicita of Brunswick (1671-1710) 139 Caroline, Queen 191 Castro, Andrea Mello di 185 Charles II (1630-1685) 220 Christina, Grand Duchess of Tuscany (15651637) 59, 60 Colloredo, Girolamo 176 Colloredo, Leandro (1639-1709) 160 Colonna, Girolamo (1604-1666) 66

Contarini, Alessandro 96, 103 Contarini, Alvise (1601-1684) 97 Contarini, Marco (1632-1689) 99, 100 Corner, Nicolò 151 Coscia, Niccolò (1681-1755) 201 D'Althann, Alberto 193 De la Cerda, Lorenza, duchessa di Medinaceli 122 Della Rovere, Vittoria (1622-1694) 67, 74, 75 d'Este, Francesco II (1660-1694) 101, 104, 118, 120 d'Este, Rinaldo I (1655-1737) 131, 139, 174 Diane-Gabrielle de, Dutchess of Nevers and of Donzy 93 Electress, consort of Ernest Augustus, Elector of Hanover 167 Élisabeth Charlotte d'Orléans (1676-1744)213 Elisabeth Christine of BrunswickWolfenbüttel, (1691-1750) 186, 187 Enrichetta, Susanna, of Lorena-Elbeuf 149 Ercolani, Filippo 157 Ernest Augustus, Elector of Hanover (16291698) 81, 124 Eugene, of Savoy, Prince of Savoy (16631736) 164, 171 Farnese, Francesco 139 Farnese, Ranuccio II, Duke of Parma (16301694) 111 Ferdinand VI (1713-1759) 202 Friedrich Wilhelm I (1688-1740) 201 Gambara, Marc'Antonio 114 George I (1660-1727) 147 George II (1683-1760) 200, 204 Gonzaga, Charles IV 110 Gonzaga, Ferdinando (1587-1626) 63 Grimaldi, Anna Maria 114 Grimaldi, Sulpizia Orsi 83 Grimani, Giovanni Carlo (1648-1714) 88 Grimani, Marina 175 Grimani, Vincenzo (1652/1655-1710) 88, 179 Johann Friedrich, Duke of BrunswickLüneburg (1625-1679) 81 Karl Philip, Margrave of Brandenburg 128 Leopold, Duke of Lorraine (1769-1729) 213 Louis XIII (1601-1643) 90 Mancini, Filippo Giuliano (1641-1707) 93 Maria Kazimiera, Queen, consort of John III Sobieski 165 Maria Theresa of Spain (1638-1683) 90 Marlborough, Sarah Jennings Churchill, Duchess of (1660-1744) 224 Medici, Cosimo III de (1670-1723) 148 Medici, Ferdinando II de' (1610-1670) 72, 75, 87

Indexes 243 Medici, Marie de' (1575-1742) 62 Michieli, Giovanni 91 Montagu, Charles 137 Morosini, Angelo 84 Nobility of Venice 164 Noblewomen of Venice 94 Orsini, Giacinta Ruspoli 197 Ottoboni, Antonio (1646-1720) 115 Pallavicino, Flaminia Pamphili (d. 1709) 116, 117 Paulucci, Fabrizio 190 Pepoli, Ercole 109 Peterborough, Earl of 174 Platen-Hallermund, Klara Elisabeth, Gräfin von 126 Rangoni, Filippo 146 Ranuccio II Farnese 107 Richelieu, Cardinal-Duc de (1585-1642) 68 Richmond, Charles Lennox, Duke of (17011750) 195 Ruffo, Tommaso (1663-1753) 160 Schrattenbach, Wolfgang Hannibal Graf von (1660-1738) 183 Semenzi, Michel Angelo 119 Settala, Lodovico, Bishop of Cremona (d. 1697) 106 Sophia, Duchess of Brunswick 86 Soranzo Corner, Francesca 151 Vidman, Antonio (Cardinal) 140 Violante Beatrix of Bavaria (1673-1731) 178 Władisław IV Vasa (1595-1648) 65 Zambeccari, Antonio Gioseffo 105 Zerda, Isabella Maria della 130 Zondadari, Antonio Felice (1665-1737) 125, 134

Performance Venues Accademia di Brescia 176 Bartholomew Fair 225 Casa Loccatelli 190 Château d'Anet, Le 209 Chateau de Fains 213 Chiesa di S. Girolamo della Carità 189 Chiesa Nuova 158, 204 Collegio Germanico 205 Confraternita di San Geminiano. 104 Dorset Garden 219, 220 Drury Lane 221, 224 Fontainbleu 215 Haymarket 191, 200, 201, 204 Industria 192 Novissimo Teatro Ducale 112 Nuovo Teatro Ducale 107 Palazzo Apostolico 138, 140

Palazzo Cerveteri 161 Palazzo del Marchese di Covrè 69 Palazzo di Caterina Eleonora di Lamberg 142 Palazzo Fantuzzi 83 Palazzo Pitti 59 Pietà della Nazione 141 Real Teatro 194 Regal Conservatorio 184 Regio Ducal Teatro di Milano 130, 165, 172, 177, 187, 196 S. Filippo Neri (Florence) 122, 146 S. Filippo Neri (Rome) 161 S. Lucia della Tinta 185 S. Marcelli de Urbe 133 S. Marco 153 S.S. Crucifixi 123, 124, 128, 135, 136, 138, 144, 145, 153 Sala de Signori Capranica 169, 173, 181 Teatro a San Salvatore 95 Teatro Ariberti 136 Teatro Bonacossi 102 Teatro Capranica 198 Teatro Contarini 99 Teatro degli Accademici Immobili 83 Teatro del Falcone 115 Teatro del Gran Duca di Toscana 65 Teatro del Sig. G.C.Colonna 110 Teatro della Comunità 119 Teatro detto delle Dame 199 Teatro di Bergamo 119 Teatro di Cittadella 190 Teatro di Lucca 95, 132 Teatro di Maria Casimira 165 Teatro di Reggio 101, 149 Teatro di S. Giovanni Grisostomo 125 Teatro di San Cassiano 80, 84, 145, 149, 155, 156, 157 Teatro di San Salvatore 113, 115 Teatro di Sant’Angelo 103, 108, 148, 151, 152 Teatro di Torre di Nona 122 Teatro di via del Cocomero 87, 88, 143, 170, 171, 179, 181, 183, 185 Teatro Farnese 85 Teatro Formagliari 105, 109, 117, 134, 141 Teatro Grimani 81, 86, 89, 91, 93, 94, 97, 104, 127, 128, 137, 147, 154, 157, 159, 163,164, 174, 180, 187 Teatro Malvezzi 117, 126, 159 Teatro Marsiglj Rossi 172, 203 Teatro Rangoni 166, 168 Teatro Reggio 175 Teatro Zane a San Moisè 96 Villa di Pratolino 143, 150

244 Indexes

Places of Publication Amsterdam 208, 209, 210, 212, 214 Ancona 71, 72, 74, 75, 76, 77 Bologna 63, 73, 83, 90, 98, 105, 109, 116, 117, 125, 134, 140, 159, 163, 170, 172, 203 Brescia 175 Cremona 106, 136 Dijon 213 Faenza 190 Ferrara 102, 107, 133 Florence 59, 60, 62, 63, 82, 87, 88, 121, 143, 146, 148, 150, 153, 154, 162, 166, 168, 169, 170, 171, 178, 179, 181, 182, 183, 185, 186, 196 Genoa 114 London 190, 191, 195, 199, 200, 201, 204, 219, 220, 221, 222, 223, 224 Lucca 95, 100, 132 Lyon 212, 213, 215 Milan 119, 130, 149, 165, 171, 176, 186, 196 Modena 78, 104, 166, 167 Naples 184, 185, 193 Padua 99 Paris 208, 215, 217 Parma 85, 107, 111, 139 Pisa 67 Ravenna 191, 192 Reggio 101, 118, 131, 174, 189 Rome 68, 70, 110, 116, 120, 121, 122, 123, 124, 127, 132, 135, 138, 140, 141, 142, 144, 145, 152, 158, 161, 165, 169, 173, 181, 182, 188, 197, 199, 201, 204 Siena 144 Venice 79, 80, 81, 84, 86, 89, 91, 93, 94, 96, 97, 103, 108, 110, 113, 115, 124, 127, 128, 137, 145, 146, 147, 149, 151, 152, 153, 155, 156, 157, 159, 163, 164, 174, 179, 187 Vienna 177, 202

Production Personnel Aldobrandini, Pompeo Aldrovandini, Tommaso Baistrocchi, Pietro Barbieri, Gio. Domenico Bezzi, Tommaso Bibiena, Ferdinando Bibiena, Francesco Burnacini, Giovanni Crivelli, Federico Ferrari, Benedetto Franchi, Horatio Frigeri, Cristoforo Galli, Ferdinando Galli, Francesco Goupy, Giuseppe Lambranci, Gio. Battista Lanbranzi, Gio. Battista Lolli, Stefano Lombardo, Antonio Mauri, Domenico Mauri, Gasparo Mauri, Pietro Mauri, Romualdo Mauro, Gioseffo Mauro, Romoaldo Mazarini, Hippolito, Medici, Gio. Battista Parigi, Giulio Pasetti, Carlo Pellizzari, Gasparo Pier Giovanni Bruni Ricci, Agnolo Rosis, Zenone Angelo Sartini, Giuseppe Torelli, Gasparo Velani, Domenico

169 114 199 187, 196 147, 175 112, 131, 139, 141 131, 173 79 112, 139 79 89 139 131 131 200 89 95 139 157 156 89 89 180 187 187 89 187, 196 65 85 114, 131 192 65 155 114, 147 112 198