Donington is an advocate of Jungian analysis, and he applies the approach to
characters and situations in the opera. He also describes motivic relationships
and the means of achieving unity. Kivy (#401) is one of those who disputes
Donington’s approach to Orfeo.- Fenlon, Iain. “Monteverdi’s Mantuan Orfeo: Some New Documentation.”
Early Music12 (1984): 163–172.
A series of letters—most of them not previously published—between Fran-
cesco and Ferdinando Gonzaga helps to clarify questions about the text and
premiere. In the first letter (1607), Francesco said he would have a play with
music performed at the carnival. Ferdinando sent him a singer for it, a castrato
named Giovanni Gualberto, who sang in the premiere. Some reasonable sup-
positions are possible regarding the room of the performance. Fenlon ampli-
fied on this matter in an essay in the COH on Orfeo. - Allorto, Riccardo. “Il prologo dell’Orfeo: Nota sulla formazione del recitativo
monteverdiano.” In Congresso Internazionale(#1208), 157–168.
Compares the prologue to those in Peri and Caccini. Finds Monteverdi’s to be
in a style that resembles that of his fourth and fifth books of madrigals. - Müller, Reinhard. Der “stile recitativo” in Claudio Monteverdis “Orfeo.”
Münchner Veröffentlichungen zur Musikgeschichte, 38. Tutzing: Schneider, - 126p. ISBN 3-795-20414-3. MT100 .M72 M8.
A revision of the author’s dissertation, U. of Munich, 1978. It is a thorough
analysis of the treatment of text in the opera. The role of the continuo also
receives extensive attention. Footnotes, bibliography, index of names and sub-
jects. - Cammarota, Lionello. “L’orchestrazione dell’Orfeodi Monteverdi.” In Muraro
(#2575), 21–40.
Considers modern editions in the light of Monteverdi’s indications for instru-
mentation and finds the need for greater fidelity to his intentions.
Il ritorno d’Ulisse in patria
ASO159 (1994).
- Goldschmidt, Hugo. “Claudio Monteverdis Oper: Il ritorno d’Ulisse in
patria.” SIMG9 (1907–1908): 570–592.
An analysis and appraisal, characterizing Monteverdi as the leading opera
composer of his time. He attained mastery in this opera. - Rosand, Ellen. “Iro and the Interpretation of Il ritorno d’Ulisse in patria.” JM
7–2 (Spring 1989): 141–164.
Iro, the beggar in Il ritorno,is the Arnaios of Homer, his role greatly
expanded. In the opera he has a “strangely protracted” lament scene. His role
is semicomic at first, then increasingly desperate and depressed, leading to
madness and suicide. None of this is in Homer, so why here? Rosand proposes
a binary opposition of sense and reason in the opera. “Iro’s body, representing
Claudio Monteverdi 239