Review: L'Ormindo by Giovanni Faustini, Francesco Cavalli, Raymond Leppard; L'Erismena by Aurelio Aureli, Francesco Cavalli, Alan Curtis

1971 ◽  
Vol 24 (2) ◽  
pp. 313-317
Author(s):  
Carl B. Schmidt
Keyword(s):  
Francesco Cavalli ◽  
Aurelio Aureli

Censoring Eliogabalo in Seventeenth-Century Venice

2006 ◽  
Vol 36 (3) ◽  
pp. 355-377
Author(s):  
Mauro Calcagno
Keyword(s):  
Seventeenth Century ◽  
Francesco Cavalli ◽  
New Treatment ◽  
Aurelio Aureli ◽  
Insight Into

Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera and the influence of theater owners and others over its content, providing an insight into the nature of Venetian operatic patronage.

Giasone. Francesco Cavalli

1989 ◽  
Vol 6 (4) ◽  
pp. 136-139
Author(s):  
Dennis W. Wakeling
Keyword(s):  
Francesco Cavalli

scholarly journals Armidoro, Oristeo e altri principi giardinieri sulle scene dell’opera veneziana nel Seicento

2020 ◽  
pp. 301-325
Author(s):  
Nicola Badolato
Keyword(s):  
17Th Century ◽  
The Novel ◽  
Francesco Cavalli ◽  
The Subject ◽  
French Theatre ◽  
Luis Velez De Guevara

The subject of aprince dressing as a gardener to approach his beloved is dear to the European theatrical tradition: the model of Don Duardos by Gil Vicente (1562), reprinted in El rincipe viñador by Luis Vélez de Guevara (1668), is also used in French theatre, which proposes a variation in Le Prince déguisé by Georges de Scudery (1636), partly based on the novel Grisel y Mirabella by Juan de Flores (1524). This subject was later integrated into 17th century Italian theatre, starting with Venetian opera. This essay analyses in particular some works produced in Venice in the middle of the century, starting with Il prencipe giardiniero by Benedetto Ferrari (1644), whose subject anticipates first L’Oristeo (1651) by Giovanni Faustini and Francesco Cavalli, and Laurindo by Gio. Andrea Moniglia, written in 1657 and printed as Il principe giardiniere under the name of Giacinto Andrea Cicognini starting from 1664.

Il Giasone by Francesco Cavalli (review)

Notes ◽  
2013 ◽  
Vol 69 (3) ◽  
pp. 604-604
Author(s):  
Kevin Salfen
Keyword(s):  
Francesco Cavalli

FRANCESCO CAVALLI: SOME RECENTLY DISCOVERED DOCUMENTS

1965 ◽  
Vol XLVI (1) ◽  
pp. 50-55
Author(s):  
DENIS ARNOLD
Keyword(s):  
Francesco Cavalli
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