Opera and Vivaldi

Introduction. Vivaldi's Orlando furioso: The Dallas Opera Production and Symposium, by Elise K. Kirk Part I. Literary Sources and Their Transformation into Opera Dramatic Theory and the Italian Baroque Libretto, by Michael Collins Mythological Subjects in Opera Seria, by Sven Hansell Ariosto and the Oral Tradition, by C. Peter Brand Ariosto's Orlando and Opera Seria, by Gary Schmidgall Orlando in Seicento Venice: The Road Not Taken, by Ellen Rosand Eighteenth-Century Orlando: Hero, Satyr, and Fool, by Ellen T. Harris Part II. Venetian Opera in Its Cultural Milieu Venetian Theaters during Vivaldi's Era, by William C. Holmes Costume in the Frescoes of Tiepolo and Eighteenth-Century Italian Opera, by William L. Barcham Baroque Manners and Passions in Modern Performance, by Shirley Wynne Opera Criticism and the Venetian Press, by Eleanor Selfridge-Field Part III. The Practice of Opera Seria Voice Register as an Index of Age and Status in Opera Seria, by Roger Covell Cadential Structures and Accompanimental Practices in Eighteenth-Century Italian Recitative, by Michael Collins Declamation and Expressive Singing in Recitative, by Mary Cyr Embellishing Eighteenth-Century Arias: On Cadenzas, by Howard Mayer Brown Part IV. Vivaldi as Dramatic Composer The Relationship between Text and Music in the Operas of Vivaldi, by Eric Cross Vivaldi as Self-Borrower, by Klaus Kropfinger Vivaldi's Orlando: Sources and Contributing Factors, by John Walter Hill Part V. Baroque Opera Today Preparing the Critical Edition: An Interview with Alan Curtis, by Marita P. McClymonds Opera Seria Today: A Credo, by Andrew Porter Appendix. Grazio Braccioli's Orlando furioso: A History and Synopsis of the Libretto, by Michael Collins Contributors Index