Libretti: terms for considering with 17th-century (and later) libretti
Terms in quotation marks are phrases used from Patrick J. Smith, The Tenth Muse
Two types of libretti: cereni and elegant editions
à clef (libretto à clef ; roman à clef)
cause célèbre
Lieto fine
Engineer
deus ex machina
LAYOUT FOR TITLE PAGE OF SEVENTEENTH-CENTURY VENETIAN LIBRETTO
Title page
Date of performance
Name of dedicatee
“Grandiloquent preface” written by poet, later entrepreneur/theater-owne
Author’s (librettist’s) foreword (a chi legge)
Argomento (two sections sometimes—historical first, with words“che si finga” [that is ended] separating the whimsical/imaginary accretions by librettist). Argomento needed Papal imprimatur in Rome and some cities, as well as librettist’s assertion of his own Catholic faith (protesta)
Cast Listing: singers/ extras (personaggi muti, or “mute” characters)
Scenes, ballets and intermezzi
Listing of machinery and magical effects.
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More stock scenes/figures
Slumber scenes
ombra
damagilla (soubrette + “worldly wise, cynical page”
Assignment for Poppea. After you’ve viewed the entire opera, pick three (3) distinct scenes, scattered throughout the work. Choose scenes that, in your view, are gems of drama, form, and expressivity. Analyze (consider/outline /summarize/ describe/explain the significant aspects of) these scenes in prose. You may incorporate limited graphic format if it is useful. While you will place each scene within the plot, please do not endlessly recount the plot.(I know the plot already.) Instead, choose and cite specific aspects of drama, text, form, characterization, musical expressivity, even production that led you to choose these three scenes as your examples. Length: 1 -1 ¼ typed page, double-spaced, normal margins, per scene. Due Thursday January 27 at class. Please do not skip class that day to finish this.