- Giovanella, Paola Daniela. “La storia e la favola dell’Oberto.” Studi verdiani
2 (1983): 29–37.
The librettist of Oberto,Antonio Piazza, drew on two different stylistic tradi-
tions: neoclassic and romantic. His approach to versification is described, with
a genesis study of the opera. - Howard, Patricia. “The Influences of the précieuseson Content and Structure
in Quinault’s and Lully’s tragédies-lyriques.” AM 3–1 (1991): 57–72.
The précieuseswere women of a movement in mid–17th-century France who
might be described as early feminists. They supported Quinault, whose libretti
met their requirements concerning representation of love as romance, with
“effete heroes.” Women were shown as prudish or coquettish, in either case
empowered to choose their men. Quinault’s influence extended to Piccinni,
Philidor, Gossec, and Paisiello. Lully’s operas Amadisand Théséeare used as
examples to illustrate Quinault’s procedures.
See also Howard’s essay, #1127.
- Tomlinson, Gary. “Ancora suOttavio Rinuccini.” JAMS28 (1975): 351–356.
A commentary on an earlier article by Barbara Hanning, “Apologia pro
Ottavio Rinuccini,” JAMS26 (1973): 240–262. Disagrees with her view that
Rinuccini “had a program—one that was deeply influenced by the Greek, and
especially Aristotelian, concept of the power and function of music.” Tomlin-
son does not find “a neat succession of signposts” but rather that “each seems
to represent the author’s response to the set of circumstances and exigencies
peculiar to the work itself.” Various versions of Dafneare described to demon-
strate this position. - Tomlinson, Gary. “Music and the Claims of Text: Monteverdi, Rinuccini, and
Marino.” Critical Inquiry8–3 (1982): 565–589.
In setting a text, a composer’s approach is shaped by “his view of the nature
and capabilities of musical discourse,” which is developed from the aspirations
of his culture and the tradition of his musical predecessors. Attitudes of the
text-writer are also involved. Rinuccini’s basic perspective was introspective,
while Giambattista Marino’s was more sensual. Monteverdi moved from close
following of the text (Affektenlehre) to a looser interaction of music and word.
He was the “last Renaissance composer” and then “spokesman for a new
world view.”
See also the author’s #384.
270.Felice Romani: Melodrammi, poesie, documenti. Ed. Andrea Sommariva. Flo-
rence: Olschki, 1996. vi, 363p. ISBN 88-2224-4087. ML423 .R76 F3.
Papers given at a Romani conference, dealing with Romani’s libretti for
Simone Mayr, Donizetti, and Bellini. A valuable list of some 300 Romani
libretti, by John N. Black (p.203–256), gives bibliographic details from the
earliest versions and library locations. Indexed.60 Opera