Torrefranca suggests that the opera was privately performed, for a French
audience, and not publicly staged.Atys
ASO94 (1987), FO,v.3.
Ballet de flore
FO,v.1.
Le bourgeois gentilhomme
FO,v.1.
Cadmus et Hermione
- Burgess, Geoffrey Vernon. “Ritual in the tragédie en musiquefrom Cadmus et
Hermione(1673) to Zoroastre(1749).” Ph.D. diss., Cornell U., 1998. xxxviii,
744p.
Les festes de l’amour et de Bacchus
FO,v.2.
Persée
FO,v.5.
Psyché
- Turnbull, Michael. “A Critical Edition of Psyché: An Opera with Words by
Thomas Corneille and Philippe Quinault, and Music by Jean-Baptiste Lully.”
Ph.D. diss., U. of Oxford, 1981.
The author’s name is given as T. M. Turnbull. - Turnbull, Michael. “The Metamorphosis of Psyché.” M&L64 (1983): 12–24.
The transformation was from the 1671 tragédie balletto the 1678 tragédie en
musique. The opera was an improvement over the ballet in terms of dramatic
ideals but was not fully successful in character portrayal.
Le triomphe de l’amour
FO,v.4.
Bruno Maderna (1920–1973)
- Fearn, Raymond. Bruno Maderna. Contemporary Music Studies, 3. New
York: Harwood Academic Publishers, 1990. xv, 367p. ISBN 3-7186-5011-8.
ML410 .M22 F43.
A brief biography with extended consideration of the works, including Don
Perlimpin, Hyperion,and Aria. Descriptions and technical analyses, with
many musical examples (some illegible). Detailed worklist, two-page bibliog-
raphy, index.
220 Opera