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Jacopo Peri (20 August 1561 – 12 August 1633) was an Italian composer, singer and instrumentalist of the late Renaissance and early Baroque periods. [1] He wrote what is considered the first opera, the mostly lost Dafne (c. 1597), and also the earliest extant opera, Euridice (1600). He is sometimes known by the byname lo Zazzerino (lit.
Jacopo Peri as Arion in La pellegrina. Dafne by Jacopo Peri was the earliest composition considered opera, as understood today. [1] Peri's works, however, did not arise out of a creative vacuum in the area of sung drama. An underlying prerequisite for the creation of opera proper was the practice of monody.
Peri's musical language was a conglomeration of his contemporaries and the experimentation with the invocation of human speech in music through recitative and musical prosody. For Peri, he strove to replicate the flow and musicality of speech in his writing, while contemporaries Emilio de' Cavalieri and Giulio Caccini sought different but ...
Euridice (also Erudice or Eurydice) is an opera by Jacopo Peri, with additional music by Giulio Caccini.It is the earliest surviving opera, Peri's earlier Dafne being lost. . (Caccini wrote his own "Euridice" even as he supplied music to Peri's opera, published this version before Peri's was performed, in 1600, and got it staged two years lat
La Dafne (Daphne) is an early Italian opera, written in 1608 by the Italian composer Marco da Gagliano from a libretto by Ottavio Rinuccini. It is described as a favola in musica (fable set to music) composed in one act and a prologue. The opera is based on the myth of Daphne and Apollo as related by Ovid in the first book of the Metamorphoses.
According to the Oxford English Dictionary, the Italian word was first used in the sense "composition in which poetry, dance, and music are combined" in 1639; the first recorded English usage in this sense dates to 1648. [6] Dafne by Jacopo Peri was the earliest composition considered
Pope Francis used a highly derogatory term towards the LGBT community as he reiterated in a closed-door meeting with Italian bishops that gay people should not be allowed to become priests ...
In 1625 and 1626 Opitz visited the Dresden court, to work with Schütz on a Sing-Comoedie based on the model of Jacopo Peri's Dafne. [1] Opitz rewrote the libretto after Rinuccini, translating it into Alexandrine verse, and his libretto was so highly regarded that it was later adapted back into Italian by later Italian librettists. [2]