Striggio, Alessandro the Younger Reference library
The Oxford Dictionary of the Renaissance
..., Alessandro the Younger ( c. 1573–1630 ), Italian musician, diplomat, librettist, and son of Alessandro Striggio the Elder, whose works he published posthumously. He studied law at Mantua, carried out ambassadorial duties for the Gonzaga in Milan, and was subsequently promoted, finally becoming chancellor in 1628 . He was a member of the Accademia degli Invaghiti which promoted the première of Monteverdi 's opera Orfeo ( 1607 ) for which he wrote the libretto. He was also the librettist for Marco da Gagliano's Il trionfo d'onore and Il...
Alessandro the Younger Striggio
Monteverdi, Claudio (Giovanni Antonio) (15 May 1567) Reference library
Denis Arnold and Tim Carter
The Oxford Companion to Music
...court councillor, Alessandro Striggio the younger , we see a philosophy of dramatic music emerging which was not only to mould Monteverdi's later work but was also to have an influence on the history of opera in general. Whereas the older types of opera had developed from the Renaissance intermedio , with its emphasis on the wishes of the gods, and from the pastoral play, with its pasteboard shepherds and shepherdesses, Monteverdi became increasingly concerned with the expression of human emotions and the creation of recognizable human beings with their...
Classical Tradition Reference library
The Oxford Encyclopedia of Ancient Greece and Rome
... 1600 ; most of the music is lost; it had an ancient theme and attempted to follow Galilei's theory in emphasizing recitative. The first opera for which the complete score survives was La favola d’Orfeo (The Fable of Orpheus; Mantua, 1607 ) with libretto by Alessandro Striggio and music by Claudio Monteverdi. Over thirty years later, Monteverdi produced a second opera, Il ritorno d’Ulisse in patria (The Return of Ulysses to His Fatherland, 1640 ) and turned to Roman history for the subject of his last opera, L’incoronazione di Poppea (The Coronation of...
opera Reference library
Denis Arnold, Nicholas Temperley, Geoffrey Norris, Paul Griffiths, Nicholas Temperley, and Nicholas Temperley
The Oxford Companion to Music
...rather more the sumptuousness and large scale of the old pastoral-with- intermedi , and it is noticeable that, while the intermedio retained its popularity, there were few operas to follow closely these early Florentine models. By general agreement, the first ‘great’ opera is Monteverdi's Orfeo , produced at Mantua in 1607 . It showed a masterly exploitation of the characteristics of early Florentine opera and also drew on the more spectacular features of the intermedio . The libretto, by Alessandro Striggio , uses in outline the same story as ...
