Book contents
- The Cambridge Companion to Seventeenth-Century Opera
- Cambridge Companions to Music
- The Cambridge Companion to Seventeenth-Century Opera
- Copyright page
- Contents
- Music Examples
- Figures
- Tables
- Contributors
- Preface
- Chronology
- Abbreviations
- Part I The Italian Foundations
- Part II Society, Institutions, and Production
- 5 Opera for a Paying Public (Italy c. 1637–c. 1700)
- 6 ‘Una bella voce, un bel trillo, ed un bel passaggio’
- 7 Opera, Gender, and Voice
- 8 Dance and Ballet
- 9 Staging Opera in the Seventeenth Century
- Part III National Traditions (outside Italy)
- Further Reading
- Index
5 - Opera for a Paying Public (Italy c. 1637–c. 1700)
from Part II - Society, Institutions, and Production
Published online by Cambridge University Press: 08 December 2022
- The Cambridge Companion to Seventeenth-Century Opera
- Cambridge Companions to Music
- The Cambridge Companion to Seventeenth-Century Opera
- Copyright page
- Contents
- Music Examples
- Figures
- Tables
- Contributors
- Preface
- Chronology
- Abbreviations
- Part I The Italian Foundations
- Part II Society, Institutions, and Production
- 5 Opera for a Paying Public (Italy c. 1637–c. 1700)
- 6 ‘Una bella voce, un bel trillo, ed un bel passaggio’
- 7 Opera, Gender, and Voice
- 8 Dance and Ballet
- 9 Staging Opera in the Seventeenth Century
- Part III National Traditions (outside Italy)
- Further Reading
- Index
Summary
‘Public opera’ famously commenced in Venice in 1637 at the Teatro S. Cassiano, owned by the Tron family, with Andromeda (libretto by Benedetto Ferrari, c. 1603–1681; music by Francesco Manelli, 1595–1667). In this account, that theatre’s foundational role in the history of opera scarcely matters to the author, for the most important opera theatre in Venice in 1663 was SS. Giovanni e Paolo. The other opera theatre, S. Salvatore (also known as S. Luca), had only presented its third season and, quite possibly, its first one of excellence. (The man in charge that year was Vettor Grimani Calergi, cousin to Giovanni Grimani, and a seasoned connoisseur of music, theatre, and singers).
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- The Cambridge Companion to Seventeenth-Century Opera , pp. 105 - 126Publisher: Cambridge University PressPrint publication year: 2022