Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice

By Wendy Heller | Go to book overview

EDITORIAL PRINCIPLES

The seventeenth-century Italian texts have been edited according to modern usage. Spellings have been corrected and punctuation has been adjusted lightly for clarity. There is one important exception: the spelling of the word femina (rather than the modern femmina), which so often appears in the titles and texts of seventeenth-century books about women, seems to convey a notion about seicento femininity, and thus I have left it as it appears in the sources. In the musical examples I have followed similar principles. I have left capital letters for line beginnings so that the reader might have a better understanding of the poetic structures in the absence of full editions of the text. I have maintained original note values and time signatures; all added barlines are indicated with dotted lines, and coloration is indicated with brackets. All figures in the bass are in the original sources.

Character names appear in two forms. I have used the Latin or anglicized version to refer to the historical or mythological person and the Italian for operatic characters (e.g., Callisto/Calisto, Dido/Didone, Endymion/Endimione, Jove/Giove, Octavia/Ottavia, Pan/Pane).

-xvii-

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Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice
Table of contents

Table of contents

  • Title Page *
  • Contents *
  • Illustr Ations ix
  • Tables xi
  • Preface and Acknowledgments xiii
  • Editorial Principles xvii
  • Abbreviations xix
  • Introduction 1
  • Chapter 1 - The Emblematic Woman 27
  • Chapter 2 - Opera and the Accademia Degli Incogniti 48
  • Chapter 3 - Didone and the Voice of Chastity 82
  • Chapter 4 - Woman and Empire 136
  • Chapter 5 - The Nymph Calisto and the Myth of Female Pleasure 178
  • Chapter 6 - Semiramide and Musical Transvestism 220
  • Chapter 7 - Envoicing the Courtesan 263
  • Conclusions 295
  • Notes 301
  • Bibliography 353
  • Index 371
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