Rappresentatione di Anima, et di Corpo
| Opera dates | |
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| Title: | The game of soul and body |
| Original title: | Rappresentatione di Anima, et di Corpo |
Title page of the score, Rome 1600 |
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| Shape: | Sacred opera in a preface and three acts |
| Original language: | Italian |
| Music: | Emilio de 'Cavalieri |
| Libretto : | Agostino Manni with Dorisio Isorelli |
| Premiere: | February 1600 |
| Place of premiere: | Rome, Oratorio di Santa Maria in Vallicella |
| Playing time: | approx. 1 ½ hours |
| people | |
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Rappresentatione di Anima, et di Corpo (German: The game of soul and body or The game of soul and body ) is a sacred opera (original name: "Rappresentatione per recitar cantando" - "Singing presentation to be performed") in a preface ("Proemio “) And three acts by Emilio de 'Cavalieri (music) with a libretto by Agostino Manni . It was premiered in February 1600 in the Oratorio di Santa Maria in Vallicella in Rome. It is the earliest completely preserved opera and at the same time the first to be published as a print.
action
preface
In spoken dialogue, Avveduto (prudence) and Prudentio (insight) discuss the life of mortals and how they deal with temptation, sin and virtue. To describe life they make a long series of comparisons. They hold out the prospect of a spectacle through which man should be brought closer to the virtuous way of life.
first act
Scene 1. Tempo (time) points people's souls to their volatility and admonishes them to prepare in good time for the call of the last trumpet.
Scene 2. The choir joins this call. One should not waste time, because the goal can be reached even in a short life span.
Scene 3. Intelletto (the mind) knows that everyone basically just wants to enjoy their life. But in the long run, neither wealth nor honor nor lust will satisfy, only the happiness of heavenly communion with God.
Scene 4. Corpo (the body) asks Anima (the soul) why she is sad. Anima replies that she longs for rest, peace and joy, but only finds grief and boredom. Corpo offers her his feelings, worldly honors and complacency one after the other. But none of this can satisfy Anima. She strives for something higher. Gradually Corpo realizes that she is right and decides to look for happiness and eternal life in heaven together with Anima.
Scene 5. The choir praises the graces of God, who cares for his creatures in a fatherly way and carefully punishes offenses and quickly forgives.
Second act
Scene 1. The choir praises the good Lord again.
Scene 2. Consiglio (the good counsel) explains that earthly life is an ongoing struggle against the worldly temptations against which one must arm oneself. As a reward for the effort, “scepter and crown in heaven” await.
Scene 3. The choir contrasts the abysses of the “impure world” with the “clear sources of heaven”.
Scene 4. Piacere (Pleasure) appears with two companions to tempt Corpo and Anima. Corpo is easily seduced, but Anima remains steadfast and drives away the unwelcome guests.
Scene 5. To appease the corpo, disappointed at the loss of pleasure, Anima demands an explanation from heaven. This confirms their virtue in the form of echoes: "Avoid vain lust, certainly loves God".
Scene 6. A guardian angel sent by God, Angelo custode, appears to aid Anima and Corpo in their struggle.
Scene 7. Mondo (the world) and Vita mondana (worldly life) try to seduce Corpo and Anima with promises. The two are initially inclined to follow them. Angelo custode, however, manages to get them back on track. They undress Mondo and Vita mondana, thus revealing their deceptive true form and chasing them away.
Scene 8. After Corpo and Anima have won, Angelo custode announces the wages. The sky opens and angels invite them to take their places above the stars.
Scene 9. The choir sings of the wonderful fate of mortals who, after their trials, go from the earthly abyss to the highest heaven.
Third act
Scene 1. Intelletto and Consiglio call for people to avoid hell and to flee to heaven. Evil, horror, pain, misery and stench rule in hell, while in paradise there are rich treasures, honors, flowers and scents.
Scene 2. The abyss of hell opens and Consiglio asks the damned souls to describe their torments. They were sentenced to eternal fire as punishment for their sins. Hell closes again.
Scene 3. Now heaven opens, where the blessed souls praise the eternal kingdom at the request of Intelletto. Consiglio, Intelletto, Corpo and Anima are astonished that the deluded people hardly appreciate this.
Scene 4. Hell opens for the second time, so that both sides are now visible. The damned souls lament their fate of eternal death in pain.
Scene 5. Hell closes again. In heaven the blessed souls rejoice in glorious eternal life. The choir repeats the amazed words of the allegories about the blinded people.
Scene 6. Hell opens for the third time and the damned souls complain that their torments will never end.
Scene 7. Hell closes again. The blessed souls in heaven rejoice that their glory will endure forever. Anima, Intelletto, Corpo and Consiglio recommend that people only do good and trustingly ask for grace for their sins.
Scene 8. Together with angels and the blessed souls, the four allegories praise the Lord. The blessed souls and the angels invite the whole world to join in the hymns of praise.
Scene 9. Alternating with solo chants by Intelletto, Consiglio and Anima, everyone cheerfully praises God's goodness. The conclusion is alternatively a multi- stanza festa (celebration) with dances and cheering choirs.
layout
The plot of the rap presentations consists essentially of dialogues between various allegorical figures. The most important design element is the contrast between opposing elements such as body and soul or blessed and damned souls - themes that were widespread in painting from the Middle Ages to the Baroque. Allegorical figures can also be found in the French mystery plays of the Middle Ages or in the later Jesuit dramas in Latin. The theatrical elements and the overall structure of the work were adopted by the authors of the religious games known as Sacre rappresentationi , as they were widespread in Florence and Umbria in the fifteenth century. The specific topic of a dialogue between soul and body was also dealt with in the Middle Ages. The oldest sources come from England in the twelfth century. The first known setting is the Altercatio anime et corporis from the Magnus Liber Organi of the Notre Dame School . The poem Noctis sub silentio found widespread circulation throughout Europe . Agostino Manni's direct models were probably the Contrasto dell'anima & del corpo (Bartholomeo de 'Libri, Florence around 1490) and the Dialogo tra l'Anima, & il Corpo ( Katharina von Genoa ), the Lauda Audite una' ntenzione, chè ' nfra l'anema e'l corpo ( Iacopone da Todi ) and a widely published Sacra rappresentazione with the title Commedia spirituale dell'anima.
Despite their contradictions, the various allegorical figures are manifestations of the same character, because Corpo (the body) and anima (the soul) together form a single person with Intelletto as mind, Consiglio as heart, Piacere as her love of life and Mondo as the Tendency to accumulate possessions. Tempo is the lifetime available to you to understand the meaning. According to Christina Pluhar , the fact that tempo and corpo were performed by the same singer at the world premiere indicates that people already have the answer to every question.
A separate paragraph in the foreword applies to Cavalieri's idea of the optimal opera text: “The libretto should not exceed seven hundred verses, and it should be simple and full of short verses, not only of seven syllables, but also of five or eight and sometimes with a dactylic ending; and with paired rhymes, for the sake of the charm of the music, it makes a graceful effect. ”The dialogues should consist of short sections, and the scene should be enriched“ with a lot of grace ”by the variety of people. Cavalieri's pastorals Il Satiro and La disperazione di Fileno are mentioned as positive examples . The principle of alternation can already be seen in the text of the first dialogue between the two title characters. Here all the verses consist of seven syllables, but the corpos begin dactylically , the animas iambic . The associated music corpos is in minor (sad basic affect, "dogliosa"), the animas in major (joyful affect, "gioia") - both in the same basic key G. Furthermore, the action should be loosened up by dances, and the drama can framed by four instrumental intermedia . In order to make the text easier to understand, the singers should forego ornamentation. The orchestra should be invisible behind the stage, while the choir should be constantly present and comment on the events with gestures.
In the fifth scene of the second act, Heaven itself answers Anima's questions in the form of echoes, which at the end combine to form a coherent sentence: “Avoid pure lust, certainly love God.” Here, the didactic claim of the oratorical dialogue becomes apparent a form adopted from the genre of pastoral drama. A similar echo effect had already been used several times in music, e.g. B. also in the Arion scene of the Intermedien of 1589 , and remained in the repertoire of pastoral operas , where she was mostly assigned to the nymph Echo , and as the voice of heaven in sacred operas. The effect was no longer used in operas about historical or epic material.
The Rappresentatione extends the tradition of filippinischen Laude singing in different ways. Although dialogical lauden were occasionally presented in a scenic way, there are now a number of additional secondary characters that enrich the plot. For the first time, the musical style integrates the monodic style created in Florence into a now thoroughly composed sacred work, which is thus placed on an equal footing with the first operas, Italian solo cantatas and the beginning concerted Latin church music. At the same time this creates the basis for the dialogical spiritual madrigal from which the Italian oratorio later emerged. Musically, the work is varied and lively thanks to its sequence of solo, ensemble and choral movements and the instrumental accompaniment. The resulting increased enjoyment for the audience also serves the religious goals of the oratorian movement, as explained at the end of the spoken preface:
«E si vedranno venire innanzi le cose istesse, le quali sotto figura di persone umane apparendo, mentre con le nuove e strane immagini dilettaranno, nell'istesso tempo serviranno per una idea, dove ciascuno mirando puotrà formarsene un ritroscaatto qu nel coreel r, nel formarsene un ritrosatto qu nel coreel r chiaramente, che questa vita, questo mondo, queste terrene grandezze sono veramente polvere, fumo ed ombra: e finalmente poi che non ci è altro di fermo, né di grande che la virtù, la grazia di dio, e 'l regno eterno del cielo . "
“And they will see things in front of them that appear in the shape of human persons, while they delight with new and strange images and at the same time serve an idea through which everyone inside can form an image in which he can clearly see that this Life, this world, these earthly powers are in truth dust, smoke and shadow, and finally that nothing else is so firm and nothing is so great as virtue, the grace of God, and the eternal kingdom of heaven. "
The musical declamation is not as developed with Cavalieri as with his contemporary and competitor Jacopo Peri . According to Piper's Encyclopedia of Music Theater, it appears “stiff and awkward”. The differentiated numbering of the figured bass indicates more a contrapuntal than a chordal style of playing. The echo effect (II, 5), the rhythmic-recitative choral singing (I, 2: "Questa vita mortale") and the four-bar modulation from G minor to A major (III, 2: "Il fuoco eterno") remind us to the music of Claudio Monteverdi . The alternation between two and three meter, the preferred falling sevenths in the cadences of the voices and the varied and colorful design are of a high musical level . The three-act overall structure corresponds to the divine trinity. The larger scenes are divided into a total of 91 smaller numbers (each with the text of one of the characters or a combination of these), the number of which (3 × 30 + 1) also indicates such a superordinate scheme. The scene (II, 4) in which Piacere and her two companions try to tempt Anima and play, sing and dance at the same time with the instruments in hand is particularly successful. Also noteworthy is the different design of the damned and the happy souls. The former are characterized by unusual harmonic turns and a rigid choral setting, the latter by solo and choral coloratura . Each of the three acts ends with a large-scale movement: the first two with an orchestral symphony, the third with a choral piece or the alternative ballet with ritornelles. The latter, according to the instructions in the preface, should be performed in a manner similar to the conclusion of the Florentine intermedia of 1589.
According to the preface, "full music with doubled voices and a large number of instruments" should be played at the beginning of a performance of the work, for which number 86 "O Signor santo e vero" is recommended. Only then does the spoken preface follow.
The specific instrumental line-up is not specified in the score. For the sinfonia and the ritornello, the preface only generally mentions a large number of instruments, whereby a solo violin for the upper part could achieve a good effect. A chitarrone , a chitarina alla spagnuola and a cimballetto con sonaglini alla spagnuola are suggested for the accompaniment of Piacere and her companions, and a lira doppia , harpsichord , chitarrone or theorbo and organ for the figured bass .
The two-hour version by Rudolf Kelber , played in Heidelberg in 1978, provides for a separate instrumental accompaniment for each role (instruments in italics for intensification):
- Body: organ, harp, violoncello, double bass and strings
- Soul: lute, viola da gamba, two violas
- Mind: harpsichord I, violoncello, flutes
- Council: organ, trombones
- World: two harpsichords, violoncello
- Worldly life: guitar, double bass, harpsichord
- Guardian angel: organ, bassoon, two trumpets
In the two editions of the 20th century, the vocal line-up is different and indicated differently from the original:
Ricordi 1956
- Tempo (bass)
- Corpo (baritone or bass)
- Anima (soprano or mezzo-soprano)
- Eco (soprano or mezzo-soprano)
- Vita mondana (soprano)
- Piacere con due compagni (alto, tenor, bass)
- Angeli ed anime beate in cielo (female choir)
- Anime damnate nell'inferno (male choir)
- Consiglio (alto and speaking role)
- Intelletto (tenor and speaking role)
- Angelo custode e Mondo (speaking role)
- Avveduto e Prudenzio (children's speaking role)
Bärenreiter 1968 (German translation)
- the time (bass)
- the body (baritone)
- the soul (soprano)
- worldly life (soprano)
- lust (mezzo-soprano)
- two companions of lust (tenor, bass)
- the good advice (baritone)
- the mind (tenor)
- the world (bass)
- Angel (tenor)
- damn souls, happy souls (chorus)
- Ballet ad lib.
Work history
Immediately after Cavalieri had to leave Florence in 1599 due to the intrigues of his colleagues Giulio Caccini and Jacopo Peri , who were envious of his success, and returned to his native Rome, he received an order for the festivities of the Holy Year 1600, at the request of Pope Clement VIII. Should be celebrated with hitherto unsurpassed splendor in order to strengthen the Counter Reformation . The headquarters of the Oratorian Congregation , which had been founded by Philipp Neri exactly 25 years before the performance, was chosen as the venue . The libretto for this work is by Agostino Manni , with the assistance of Dorisio Isorelli.
Because of the sacred material, rap presentations were long attributed to the genre oratorio in musicology . But Cavalieri planned a staged performance from the beginning, as can also be seen from the stage directions in the libretto. Thus is the first spiritual opera as they emerged in the course of music history again and their subjects the Old Testament (eg. As in Rossini's Mosè in Egitto ) or the lives of saints were taken or, as here as a moral dialogue of allegories designed are. The direct model for the rap presentations is a dialogue Lauda Agostino Mannis from 1577, the text of which he adopted unchanged in the first act. At the same time, influences of the genre of the Sacra rappresentazione can be seen , which thus has to be regarded as a source for the genre of opera alongside pastoral drama. The contrast between the world-renouncing theme of Rappresentatione and its magnificent scenic design reflects Cavalieri's own life experience contradicts the long time at the Florentine court of the Medici was employed and had turned in his last years of ascetic Oratorianer Brotherhood Neris. The music is based on the reciting style (recitar cantando) invented by Cavalieri , which a few years earlier had attracted a great deal of attention, especially in Florence, and was further developed by Jacopo Peri in his opera Euridice, which appeared six months after the rap presentation . Cavalieri's remarks in the preface show that, in contrast to the purely text-based recitation of Peris, Caccini and Rinuccini, he prefers a varied and high-contrast musical design.
The Rappresentatione is considered to be the earliest opera whose music has been completely preserved (Peris Dafne , which was premiered in 1598, has only survived in fragments). The printed score (with the libretto in the appendix) and the separate libretto published in Rome in the autumn of 1600 make it the first published opera in history. The first print of a figured figured bass part can also be found here . The foreword contains several short treatises, including a dedication by the editor Alessandro Guidotti to the Roman cardinal nepot Pietro Aldobrandini, as well as unsigned performance instructions, which are probably made by the composer himself.
The first performance took place in February 1600 in the Oratorio di Santa Maria in Vallicella in Rome. The work was probably only performed twice, but with great success in the presence of several cardinals. Cavalieri himself was also satisfied. In the foreword to the print edition, Guidotti compared the work with the Euridice Jacopo Peris and Giulio Caccinis performed in the same year , to whom he preferred the rap presentations, as they had moved the audience to tears and laughs in equal measure. The magnificent arrangement of costumes and scenes mentioned in the foreword and the virtuosity of the vocal and instrumental soloists certainly contributed to this reaction. The stage was divided into three areas, representing earth, heaven and hell. According to Cavalieri's contemporaries Vittorio Rossi, the roles of tempo and corpo were played by the same singer and the role of anima by a child. The soprano and alto parts were otherwise performed by falsettists or castrati . Despite the detailed stage directions, the work was only performed in a small room and probably played in concert. Contemporary reports on the number of viewers appear to be grossly exaggerated. The choir consisted of only one vocal quartet, which could be expanded to a double quartet in the case of a larger performance location. For the dances, Cavalieri only planned four dancers (but at least two).
The opera then disappeared into oblivion until it was played again in 1912 - after more than three hundred years - in an arrangement by Giovanni Tebaldini at the Accademia di Santa Cecilia in Rome.
The British premiere was in June 1949 at Girton College , Cambridge, the US premiere on February 23, 1966 at the University of North Dakota .
On August 2, 1968, as part of the Salzburg Festival in the Salzburg Felsenreitschule, a new scenic production was presented in a historically accurate facility by Bernhard Paumgartner . The conductor was Rolf Maedel , the choreographer Kurt Jooss and the director Herbert Graf . The sets were by Veniero Colasanti and John Moore . From 1969 to 1973 further performances of this production followed in the Kollegienkirche under the direction of Ernst Märzendorfer . It was played in 1971 and 1982 at the Deutsche Oper am Rhein in Düsseldorf. There were further productions in Nuremberg in 1976 (historical version by Hans-Martin Linde ), in Heidelberg in 1978 and in Siena in 1982 (conductor: Sylvano Bussotti ) and in the Marktkirche in Hanover (by the Lower Saxony State Opera ).
expenditure
The opera's autograph is lost. It was published in the following editions:
- Score: Mutij, Rome 1600 (Bibl. S. Cecilia Rom, Bibl. Vallicelliana Rom, Bibl. Universitaria Urbino)
- Reprint: Casa Editrice Claudio Monteverdi, Rome 1912 (= Prime fioriture del melodramma italiano. Volume 1)
- Facsimile reprint: Gregg, Farnborough 1967
- Score, edited by E. Gubitosi: Ricordi 1956, No. 129217
- Score, German translation by E. Neuenteufel: Bärenreiter, No. 6024
- Text book, Italian / German: Bärenreiter 1968, No. 6024.
Recordings
- 1968 - Edwin Loehrer (conductor), Società Cameristica di Lugano.
Studio shot, shortened.
Nuova ERA CD: 1001 (1 CD). - 17.-24. February 1970 - Charles Mackerras (conductor), Ensemble Wolfgang von Karajan, Cappella Academica Vienna.
Tatiana Troyanos (Anima), Hermann Prey (Corpo), Kurt Equiluz (Intelletto), Herbert Lackner (Consiglio), Theo Adam (Tempo), Paul Esswood (Piacere), Teresa Żylis-Gara (Angelo custode), Ernst Gutstein (Mondo and Anima dannata), Sylvia Geszty (Anima beata), Edda Moser (Compagno), Rudolf Resch (Compagno), Leopold Spitzer (Compagno), Arleen Augér (Eco).
Studio shot.
Archive CD: 453 165 2. - Aug. 01, 1973 - Ernst Märzendorfer (conductor), Mozarteum Orchestra Salzburg , instrumental ensemble and chamber choir of the Salzburg Festival .
Suzanne Sarroca (Anima), Robert Kerns (Corpo), Dieter Ellenbeck (Intelletto), Helge von Bömches (Consiglio), José van Dam (Tempo and Mondo), Joanna Simon (Piacere), William Holley (Angelo custode), Hans Tschammer ( Anima dannata), Gabriele Fuchs (Anima beata), Gertrude Jahn (Compagno), Curt Malen (Compagno), Walter Raninger (Compagno).
Live, in concert from Salzburg.
Orfeo (2 CDs). - 1976? - Hans-Martin Linde (conductor), instrumental ensemble, Collegium Vocale Cologne.
Montserrat Figueras (Anima), Ian Partridge (Corpo), Nigel Rogers (Intelletto), Staffan Sandlund (Consiglio), Sven-Anders Benktsson (Tempo), Björn Hangan (Piacere), Andrea van Ramm (Angelo custode), Hans Alderich Billig ( Mondo and Anima dannata), Eva Csapó (Anima beata), Theresia Klenzi (Compagno), Gaby Ortmann-Rodeus (Eco).
Studio shot.
EMI CD: 7 63422 2, EMI Reflexe LP: 063-30 130/31 (2 LPs). - 1992 - Marco Longhini (conductor), instrumentalist and choir from Le istitutioni Harmonicke di Verona, Ensemble di viole dell'Accademia Strumentale Italiana.
Gemma Bertagnolli (Anima), Roberto Mattei (Corpo), Claudio Cavina (Intelletto, Piacere and Vita mondana), Giuseppe Maletto (Consiglio and Compagno), Antonio Abete (Tempo, Mondo, Anima dannata and Compagno), Berta Rossetti (Angelo custode and Anima beata).
Live, in concert from Verona.
Stradivarius (1 CD). - October 31 to November 3, 1994 - Susan Harvey (Conductor), The Whole Noyse, Ensemble Magnificat.
Judith Nelson (Anima), Paul Hillier (Corpo), Neal Rogers (Intelletto and Piacere?), Nathaniel Watson (Consiglio and Mondo), Andrew Morgan (Tempo and Piacere?), Hugh Davies (Piacere?), Elizabeth Engan (Angelo custode and Anima beata?), Ruth Escher (Anima beata? and Compagno).
Studio shot.
Koch (1 CD). - 1996 - Sergio Vartolo (conductor), Capella Musicale di San Petronio di Bologna, Prague Philharmonic Choir .
Rosita Frisani (Anima), Alessandro Carmignani (Corpo and Piacere), Michel van Goethem (Intelletto), Roberto Abbondanza (Consiglio), Carlo Lepore (Tempo, Mondo and Anima dannata), Patricia Vaccari (Angelo custode), Oldricka Musilová (Anima beata ), Marinella Pennicchi (Compagno).
Studio shot.
Naxos 8.554096-7 (2 CD). - 2000? - Lorenzo Tozzi (conductor), Romabarocca Orchestra, Coro Lirico Sinfonico Romana.
Cecilia Gasdia (Anima), Furio Zanasi (Corpo), Cesary Storch (Intelletto), Roberto Staccioli (Consiglio), Massimo Rossetti (Tempo and Mondo), Mario Bassani (Piacere?), Lucilla Tumino (Angelo custode and Anima beata), Francesca Garavini (Vita mondana and Eco), Alberto Tapia (Anima dannata and Piacere?), Antonio Faieta (Compagno), Oreste Baldini (recitante), Walter Maestosi (recitante).
Video; live, in concert from the Basilica S. Paolo Fuor Le Mura in Rome.
Membrane 230123-902 (10 DVDs). - July 2004 - Jordi Savall (conductor), Le Concert des Nations, Chorus sine nomine.
Montserrat Figueras (Anima), Furio Zanasi (Corpo), Cyril Auvity (Intelletto), Lluis Vilamajó (Consiglio), Francesc Garrigosa (Tempo and Piaceres Companion), David Sagastume (Piacere), Carlos Mena (Angelo custode), Adriana Fernandez (Vita mondana), Antonio Abete (Mondo and Piaceres companion).
Live from the Rein monastery basilica.
Radio broadcasts on Ö1 and BR 4. - August 2004 - Christina Pluhar (conductor), L'Arpeggiata.
Johanette Zomer (Anima), Marco Beasley (Corpo and Tempo), Jan van Elsacker (Intelletto), Stephan MacLeod (Consiglio and Mondo), Dominique Visse (Piacere), Stephan van Dyck and Nicholas Acht (Piaceres companion), Nuria Rial (Angelo custode), Béatrice Mayo Felip (Vita mondana), Matthew Baker (Anima dannata).
Studio shot.
Alpha / Note 1 ALP065 (1 CD). - May 2014 - René Jacobs (conductor), Akademie für Alte Musik Berlin, Staatsopernchor Berlin, Concerto Vocale.
Marie-Claude Chappuis (Anima), Johannes Weisser (Corpo), Mark Milhofer (Intelletto and Piacere), Gyula Orendt (Consiglio and Tempo), Marcos Fink (Mondo, Anima dannata and Piaceres companion).
Studio shot.
Harmonia mundi HMC 902200.01 (2 CDs).
Web links
- Rappresentatione di Anima e di Corpo : Sheet music and audio files in the International Music Score Library Project
- Score, Rome 1600. Digitized at Google Books
- Work information and libretto (Italian) as full text on librettidopera.it
- Sheet music in the public domain by Rappresentatione di anima, et di corpo (Emilio de Cavalieri) in the Choral Public Domain Library - ChoralWiki (English)
- Rappresentazione di Anima et di Corpo (Emilio de 'Cavalieri) in the Corago information system of the University of Bologna
Remarks
- ↑ Voices of the original version
- ↑ "Il poema non dovrebbe passare settecento versi, e conviene che sia facile, et pieno di versetti, non solamente di sette sillabe, ma di cinque e di otto, et alle volte in sdruccioli; e con le rime vicine, per la vaghezza della musica, fa grazioso effetto. "
- ↑ “Fuggi vano piace; cima Dio vero. "
- ↑ “una musica piena con voci doppie, e quantità assai di stromenti”.
Individual evidence
- ↑ a b c d e f g Hugh Wiley Hitchcock : Rappresentatione di Anima, et di Corpo. In: Grove Music Online (English; subscription required).
- ↑ a b c d Christina Pluhar, Charles Johnston (English translation): Supplement to CD Alpha / Note 1 ALP065, pp. 31–41.
- ↑ a b c d Silke Leopold : The opera in the 17th century (= manual of musical genres. Volume 11). Laaber, 2004, ISBN 3-89007-134-1 .
- ↑ a b Günther Massenkeil : Oratorio and Passion. Part 1 (= Siegfried Mauser (Hrsg.): Handbook of musical genres. Volume 10.1). Laaber, 1998, ISBN 3-89007-133-3 , pp. 82-84.
- ↑ a b c d e f g h i j Silke Leopold : Rappresentatione di anima et di corpo. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , pp. 511-514.
- ↑ a b Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd Edition. Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , pp. 34-36.
- ↑ a b c Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , pp. 188-189.
- ↑ Johannes Jacobi: Spiritual Opera. Review of the Salzburg performance from 1968. In: Die Zeit from August 9, 1968.
- ↑ a b c d e f g h i Emilio de 'Cavalieri. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
- ^ Emilio de Cavalieri: Rappresentatione di Anima et di Corpo - René Jacobs. CD information on Allmusic , accessed January 6, 2018.