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

By Wendy Heller | Go to book overview

INDEX
Accademia degli Incogniti, 16, 24, 35, 48–52; Church's conflict with, 50–51; dramatic/fictional works of, 77–78; founding of, 48; homoerotic interests of, 73–74, 321–22n129, 322n130; Messalina portrayals by, 272–75; operatic arena of, 48–49, 53, 296; patriotism/ libertinismo of, 49–52; on Anna Renzi, 174–75; on Semiramis's sexuality, 227–28 sexual gratification dilemma of, 54–55 72–73, 321n122; Tacitean appropriation by, 147–49, 286, 332n38, 333n40; Tarabotti's relations with, 57–58, 61–63; women, attitudes towards, 50–57, 75–77 women at meetings of, 52, 313n16. See also Aprosio; Bartolini; Bissari; Bonini; Brusoni; Busenello; Fusconi; Loredano, Giovanni Francesco; Malipiero; Marino; Michiele; Pallavicino, Ferrante; Rocco
L'Achille e l'Enea (Dolce), 92–93
Achilles: female attire of, 70, 319–20n109; love linked to, 54, 314n26; shield/mirror of, 67. See also La finta pazza
L'Adamo (Loredano, Giovanni Francesco), 62, 335n67
Adone (Marino), 50
adultery: Messalina's public act of, 269–71, 272–73, 275, 279–80, 348n10; in operas, from 1660s, 351n39; Nutrice, advice on (Poppea), 161–62; Tarabotti on, 62; of Zaguri's Messalina, 276
Adversus Jovinianum (St. Jerome), 28
Aeneas. See Enea/Aeneas
Aeneid (Virgil): as Busenello's Cassandra source, 99; conquered warrior women of, 220; La Didone's departure from, 119, 120 ex., 121, 122–23 ex., 124–26; Dido's construction in, 87, 89–90, 93, 327n37; Dido's lamenting stages in, 113, 114–15 table, 329n58; as Dolce's Dido source, 94–95, 328n43; Ovidian Dido versus, 91–92, 326–27n31; plot arrangement of, 96, 328n44; Venetian myth's ties to, 92–93, 137–38
affects. See arias
Agrippina the Younger: male virtues of, as vices, 149–50, 332n38, 333n40, 333n42, 333n47; Malipiero on, 148–50; Ottavia's link to, 170–72, 335n68; Ferrante Pallavicino on, 148–50; Semiramis's link to, 222, 227–28, 341n10; Tacitean model of, 77, 141, 142; of Zaguri's plays, 150–51
L'Alcibiade (Aureli and Marco Antonio Ziani), 267
L'Alcibiade fanciullo a scola (Rocco), 74–75, 76, 321–22n129
Alcibiades, 321n129
Alessandro Magno in Sidone (Aureli and Marco Antonio Ziani), 267
Alfonso d'Este II, 192
Alinda (Candaule),266–67, 348n9
Alindo/Erginda (La Messalina): female virtues/eloquence of, 281, 283 ex., 283–84 285 ex., 351n40; Messalina's nearseduction of, 293–94

-371-

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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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