Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging Euridice explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.
Muu info
Newly-discovered evidence underpins this comprehensive account of the creation and staging of the earliest surviving 'opera', Euridice.
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vii | |
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x | |
| Preface |
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xi | |
| Sources, Transcriptions, and Translations |
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xxi | |
| Money, Accounts, Measurements, Dates, and Time |
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xxiv | |
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xxix | |
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1 | (63) |
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The Marriage Negotiations |
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6 | (9) |
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15 | (7) |
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Two Invoices and an Inventory |
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22 | (15) |
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The Performance of "A Comedy by Signor Jacopo Corsi" (Spring 1600) |
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37 | (17) |
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The Performance of Euridice on 6 October 1600 |
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54 | (10) |
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64 | (66) |
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Some Theoretical and Other Sources |
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67 | (13) |
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The Sala delle Statue and Sala delle Commedie |
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80 | (6) |
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86 | (2) |
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88 | (10) |
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The Stage Platform (and Below) |
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98 | (6) |
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104 | (3) |
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107 | (6) |
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113 | (10) |
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123 | (3) |
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126 | (4) |
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3 Euridice in Performance |
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130 | (68) |
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139 | (6) |
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145 | (18) |
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163 | (13) |
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Costumes, Movement, Gesture |
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176 | (11) |
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187 | (11) |
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4 Conclusions and Consequences |
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198 | (19) |
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Later Entertainments in the Sala delle Commedie |
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198 | (10) |
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208 | (9) |
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217 | (12) |
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A Lodovico Cigoli's Invoice for Designing and Painting the Stage and Scenery for Euridice |
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217 | (4) |
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B Gianbattista Cresci's Inventory of Materials for Euridice |
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221 | (6) |
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C Francesco Ricoveri's Invoice for Sewing Canvas, etc. for Euridice |
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227 | (2) |
| Works Cited |
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229 | (13) |
| Index |
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242 | |
Tim Carter is David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill. He is author of numerous books on topics ranging from Monteverdi to Rodgers and Hammerstein. He has held fellowships at the Harvard Center for Italian Renaissance Studies in Florence, the Newberry Library in Chicago, and the National Humanities Center. Francesca Fantappiè has published widely on Italian theatre from the late sixteenth to the early eighteenth centuries, with a particular emphasis on dramaturgy, music, stagecraft and scenography, architecture, and performers. She is a former fellow of the Harvard Center for Italian Renaissance Studies in Florence and currently holds a Marie Curie Fellowship in the Centre d'Études Supérieures de la Renaissance, Université de Tours.
