663:. Susan McClary notes that, in this particular opera, this choice raises some gender issues. She argues that the singer type (e.g. bass, tenor, castrato, alto and soprano) each had certain associations. For example, a bass voice was generally used for an authoritarian or powerfully masculine figure. For example, a character such as Ercole who has as sense of responsibility and obligation to duty would be cast as a bass role. By contrast, Giasone is a youthful, attractive character more concerned with the sensual pleasures of love than any sort of duty, whether it be questing for the Golden Fleece or duties as husband and father. Such a character who shirks responsibility would be considered âeffeminateâ by seventeenth-century Venetian standards. Because castrati have a youthful appearance due to lack of secondary sexual characteristics, they could easily slip into such a role. Thus, they could play characters with erotic appeal and it would have been acceptable to the seventeenth-century Venetian audience for such characters to have irresponsible sexual relations during the course of the drama. McClary notes that Giasone sings the aria âDelizie contentiâ upon entering in II.2, thus declaring he is a character of this âeffeminateâ type: youthful, attractive, androgynous, pleasure-seeking, and lacking a sense of duty. She stresses that such a character would not have been considered a good role model for masculine behavior at the time and place of the operaâs first performance.
22:
584:
laments and says goodbye, for she is dying but admits that she still loves
Giasone even though he has killed her with his infidelity. Giasone asks for Isifile's forgiveness and tells Egeo and Medea to rejoice in their love. Isifile forgives him and they sing the love duet "Quanto son le mie gioie" to arrive at the standard Venetian happy ending. Right after, Alinda, Orestes, Delfa, and Demo providing their brief commentary on the joyful scene, followed by a brief duet (Medea and Isifile) and quartet (Isifile, Giasone, Medea and Egeo).
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sleeping so that she can overhear their conversation. Giasone promises to return the honor he has taken from
Isifile. She does not believe him, but Giasone swears and gives her a kiss. Medea now rises and scorns Giasone for his disloyalty. To atone for this transgression, Giasone agrees to have Besso murder Isifile in an aside to Medea, who then leaves, pretending to allow Giasone to return to Isifile. Giasone then instructs Isifile to go in secret to meet Besso in the Valley of the Orseno and ask him if he has carried out his orders.
411:
also elated that
Giasone will marry his descendant Medea and so he lets forth his brightest light. In the following recitative, Amore chides Sole because no one has asked her for permission for this marriage. She had intended that Giasone marry Queen Isifile of the Island of Lemnos: the two are already married and have had twin children. After Amore's aria, they argue over this problem for the remainder of the prologue without resolution and they intend to fight one another.
632:. Such scenes are characterized by a character's drastic emotional changes. Mad characters are "freed from the decorum of normal behavior." This particular scene is perhaps not the typical mad scene, for here Giasone portrays Isifile as insane to Medea in order to cover for his own actions. When Isifile appears, only Medea believes that she is mad. By the time the scene is over, Isifile does indeed become angry at Giasone and Medea.
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876:(Giasone), Katarina BradiÄ (Medea), Robin Johannsen (Isifile), Josef Wagner (Giove/Besso), Filippo Adami (Demo), Yaniv d'Or (Delfa/Eolo), AngĂ©lique Noldus (Amore/Alinda), Andrew Ashwin (Ercole/Oreste), Emilio Pons (Egeo/Sole). Revised edition of the score by Alexander Krampe. Recorded live, May 2010, Vlaamse Opera Antwerp; Mariame ClĂ©ment (stage director). Label: Dynamic, 2 DVDs (2012) 3h 18m.
748:. Soloists: Borja Quiza (Giasone, baritone), Aurora Tirotta (Medea), Roberta Mameli (Isifile), Mirko Guadagnini (Egeo), Luigi De Donato (Besso), Paolo Lopez (Delfa), Luca Tittoto (Oreste), Gaia Petrone (Alinda, contralto), Masashi Mori (Ercole), Krystian Adam (Demo), Pavol Kuban (Volano), Maria Luisa Casali (Sole). Version of
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meeting him this way at night for a year) and as a result he has been neglecting his duties. Captain Besso enters and tries to convince Ercole that all men have their vices and so he should not be too concerned. Ercole, being a man of honor, tells Besso that is too effeminate, to which Besso replies: "Of woman I was born."
610:â are found in II.11: Alindaâs âQuanti Soldatiâ and Besso and Alindaâs âNon piu guerraâ. The same scene has a conventional gratuitous reference to music which has not importance to the plot: Alinda and Bessoâs âMa quento piuâ and a love duet: Alinda and Bessoâs âNon piu guerraâ (a mixed genre, it is also a trumpet aria).
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longer loves her, but has another lover in
Colchis. Furthermore, he tells her that Giasone is planning to quest for the Golden Fleece and that his ship might have a chance to talk with him when his ship passes by. Isifile sings the aria "Speranze fuggite" interspersed with recitative considering her situation.
583:
When Egeo arrives and says that it was he who tried to kill
Giasone, Medea admits to having sent Egeo to do so in vengeance. Medea announces that she no longer loves Giasone, but prefers Egeo after all; moreover that Giasone should return to Isifile and scorns him for being unfaithful to her. Isifile
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Medea shows up and, overhearing the conversation, calls Besso a liar. When he sees Medea alive, Giasone again thinks Besso is a traitor, but he proves otherwise: Medea confirms that Besso had arrested her and thrown her into the sea; and
Isifile confirms that he told her that he "only kills one queen
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Besso and his soldiers arrive and, as they approach, Medea plans to ask him what has happened and approaches him. Besso asks her if
Giasone has sent her and she says that he has. Medea then asks if he has carried out his orders. With this, Besso has the soldiers arrest her and throw her into the sea.
501:
Giasone, Medea and the
Argonauts (including Besso and Ercole) come ashore at Lemnos. The scene opens with a love duet "Scendi, o bella" by Giasone and Medea. In the recitative that follows, Ercole praises Giasone for having lived up to his manly duties while Medea defends his passionate love for her.
471:
At the keep of the fortress with the golden fleece, Medea, Jason and Delfa arrive. Trumpet music and stile concitato gestures suggest the martial atmosphere. The combat between
Giasone and the monster ("a proud horned beast") takes place. The strings make drum-like martial gestures in an instrumental
442:
Alone, Giasone contemplates his situation (i.e. not knowing which lover has his children) while he waits for Medea to return. Medea returns (with Delfa) and she tells him that she herself is the unknown lover and mother of his children. Giasone is filled with joy upon learning this. Giasone and Medea
538:
It is night in the countryside, and Egeo (dressed as a sailor) is with Demo (dressed as a peasant with a lantern). Egeo begins with the aria "Perch'io torni a penar" in which he complains about his miserable situation as a slave of unrequited love for Medea. Upon seeing Egeo, Demo, who had believed
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Giasone and Medea meet with
Isifile. She approaches Giasone, but he reassures Medea that he is not interested in her. Giasone humors Isifile's pleas for him to return. Isifile says that Giasone has given her a child, but Giasone denies that he ever loved her. Isifile's emotion switches from bliss to
427:
Medea is alone singing a strophic aria "Se dardo pungente" about the pain of desiring love. She is joined by Egeo (i.e. King Aegeus of Athens) and together they discuss their marriage, which Medea would like to terminate. Egeo is unable to deal with this and he asks Medea to kill him with a dagger.
419:
A recitative begins with the Argonaut Ercole (i.e. Hercules), who complains that Giasone has not awoken yet, even though the sun is shining. He is perturbed because Giasone has grown soft as a result of enjoying the pleasures of love with an unknown woman (actually Queen Medea incognito who has been
410:
Two mythological characters appear in the prologue: Sole (the sun, i.e. Apollo) and Amore (love, i.e. Cupid). Sole opens with an aria about the gloriousness of the day because Giasone (i.e. Jason) will set out leading his Argonauts on a quest to find the Golden Fleece - or so it is expected. Sole is
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In addition to Isifile's laments, Egeo also laments that Medea has left him in I.4 with the recitative "Si parte, mi deride?" Susan McClary suggests that because the expression of emotion was more acceptable for seventeenth-century women than men, that lamentation was more acceptable for women than
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Two sleep scenes are also included. Sleep scenes can serve important dramatic functions. For example, in act 3, 2-4 Medea and Giasone sing âDormi, dormiâ and then fall asleep in each other's arms. Isifile arrives and wakes Giasone and begin a conversation. Here, sleep allows characters to reveal or
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Besso again defends Giasone for seeking love in the aria "D'affeto sincero." Alinda answers with the trumpet aria "Quanti soldati" in which she rejoices the arrival of all the soldiers available for maidens of Lemnos as a result of the storm. Besso and Alinda then flirt with each other. When Besso
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Later Medea is in her magic chamber performing witchcraft and singing the aria "Dell'antro magico" in order to invoke Pluto (King of the Underworld) and ask him to protect Giasone while he is away seeking the Golden Fleece. A Chorus of Spirits responds to her call and they agree to help Giasone by
431:
Orestes introduces himself as Isifile's (Queen of Lemnos) spy in Colchis on a mission to get information about Giasone, but he is afraid of getting caught. Orestes meets the comic character Demo, who introduces himself to Orestes as a brave and handsome hunchback in the aria "Son gobbo, son Demo".
614:
gain information. For example, Besso reveals his innermost thoughts in secret nearby the couple and by feigning continued sleep, Medea is able to secretly listen to the discussion to gain information. In the second sleep scene (act 3, 16-17), Giasone has fainted and becomes vulnerable to attack.
531:
Isifile then arrives. She has been looking in vain for Giasone and has come to the glade to rest, but then she finds the two lovers sleeping. She awakens Giasone and they argue. Giasone is concerned that Medea will awaken and find him with Isifile. In fact, Medea has awoken but continues to feign
467:
Orestes arrives and Isifile scorns him for having been absent and tempts him to kiss her, then falls asleep. Orestes sings the love aria "Vaghi labbri scoloriti" and decides to kiss her. She awakens her and tells him she burns for him, but then asks about Giasone. Orestes reports that Giasone no
571:
On an uninhabited place with ruins, Giasone speaks of his regret and grief because he believes he has killed Isifile at the request of the jealous Medea. He then faints. Egeo finds the unconscious Giasone and pulls out a dagger to kill him, but Isifile arrives and takes the dagger out of Egeo's
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s mythological characters and plots are typical of early Venetian opera. Such subject matter could be used for political purpose by the creators of libretti, many of whom were members of Academia degli Incogniti (âAcademy of the Unknownâ), a group of libertine, skeptical, and often pessimistic
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Besso reports to Giasone that he has killed a queen but he does not specify a name. Giasone believes Besso means Isifile. Returning to Egeo and Medea in the sea, she refers to him as "my life" and mends the wounds between the two. Egeo plans to take revenge on Giasone for trying to kill Medea.
478:
Demo arrives to observe and notes that Giasone is returning to the ships. He sings the comic aria "Con arti e con lusinghe" in which he scorns women for using their wiles and swears that he will never be fooled by their trickery by falling in love. He then reports to Egeo (King of Athens) that
497:
Demo and Orestes have a long discussion with Demo complaining about the storm and worries for his life. He reports while Egeo was pursuing Giasone in his tiny skiff he fell into the water and drowned. Moreover, the storm is forcing the Argonauts to land at Lemnos. Orestes will inform Isifile.
505:
Orestes arrives and tells Giasone that Isifile is looking for him. Gisaone and Medea agree to meet with her, although Medea admits jealousy. She wants to know who Isifile is. Giasone makes up a story that she is a hussy and that he does not love her, but Medea remains skeptical.
438:
Giasone addresses Medea, who tells him she knows the identity of his night-time incognito lover and reproaches him for not living up to his duties as father of his twin children. She tells him to wait and she will return with the mother of his children.
446:
In the countryside with huts near the mouth of the Ibero, Isifile is in a trance and singing the lament aria "Lassa, che far degg'io?" She desperately awaits Orestes return with information about Giasone, who she believes she has lost as a lover.
635:
Finally, there are three laments in the opera. Isifile also has two laments: "Lassa, che far degg'io?" (aria/recitative, I.13) and âInfelice châascoltoâ (recitative, III.21). Isifileâs lament (act 3-21) is of the type based on the Monteverdiâs
600:(happy ending) with concluding love duet; and an emotional climax with a lament. She notes that several aria and scene types had also been conventionalized by this point, and she notes that Giasone provides a model for several of them.
552:
Delfa arrives and asks Medea why she is so jealous and angered. She advises her that it doesn't matter whether Giasone has been faithful or not. She sings the comic aria "E follia" suggesting that lovers are never loyal to each other.
548:
In the Valley of Orseno, Medea sings the strophic aria "L'armi apprestatemi" expressing her rage against her rival with stile concitato gestures. She awaits the forthcoming murder of Isifile, but Besso has not arrived yet.
514:
tells Alinda that he is a soldier, she does not believe him because he has no wounds or scars. In the end, they agree to stop fighting and together sing the love duet "Non piu guerra" in trumpet aria/concitato style.
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Returning to earth to a demolished harbor and a storm at sea, Orestes and Alinda discuss Isifile's jealousy that has driven her to madness. They sing a duet "Sai, ch'io t'amo" and confirm their love for each other.
423:
Giasone enters and sings the aria "Delizie, contenti" of his contentment in seeking sexual pleasure. Ercole admonishes him for neglecting to prepare for battle and the two discuss duty versus the pleasures of love.
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Isifile then meets Besso and also asks him if he has carried out his orders. Besso tells her to report that he "only kills one queen per day" so he will not carry out his orders. Isifile finds the message cryptic.
575:
When Besso's soldiers arrive Giasone orders him to arrest Egeo. Giasone realizes that Isifile is still alive and accuses Besso of disobeying his orders. Besso said that he had carried them out by killing Medea.
1113:
NOTE: The other model for Baroque lament is the descending tetrachord aria type Monteverdi used in his âLament of the Nymphâ in Book 8 of his madrigals (1638), perhaps made most famous by Purcell in Didoâs
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was produced. Often, these plots were modifies to reinforce inequitable gender roles or question authorities, most notably the Catholic Church and especially the Incognitiâs ultimate rivals, the Jesuits.
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Isifile is waiting for Orestes to return. She is in such grief that she lays down to rest. Alinda (a Lady) then sings a cheerful aria "Per provo so" on the subject of finding new love as a cure for pain.
435:
Delfa (Medea's nurse) sings the aria "Voli il tempo" about how she has renounced love in her old age. She notices that Giasone is approaching and tells Medea that this is her chance to talk to him.
542:
Isifile, alone in a moonlit night, is joyful because she believes Giasone has returned to her and she sings the strophic aria "Gioite, gioite." She then starts her journey to the Valley of Orseno.
535:
Giasone meets with Besso and tells him to go to the Valley of Orseno and wait for a messenger who will ask if he has carried out his orders. He instructs Besso to throw the messenger into the sea.
640:(1608) model, in which several sections express various emotions. Towards the end, the lamenter typically curses the lover who has abandoned her (or him), only to repent and beg forgiveness.
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In a sleep scene, in which Medea and Giasone sing the duet "Dormi, dormi", they fall asleep in each other's arms after he tells her that he will dream of her beauty.
803:(Egeo), Adrian McEniery (Delfa), Nicholas Dinopoulos (Ercole), Alexandra Oomens (Alinda). Abridged edition of the score by Helyard. Recorded live, December 2013,
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Besso finds Giasone and Medea sleeping with each other and feels some jealousy, for he too wants to find love. He sings the strophic aria "Non e pui bel piacer."
964:
Jacobs, Rene. Outline generated by following the liner notes and libretto from the compact disc recording of Cavalli's "Giasone" on Harmonia Mundi HMX 2901282.84
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II.14 is mad scene (âIndietro rio canagliaâ) in which Isifile has lost her sanity. Mad scenes can be traced to the character Licori in Giulio Strozzi's libretto
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Giasone and Medea have fled with the Golden Fleece. Egeo realizes that Medea has left him for Giasone and he is mad with jealousy. He and Demo chase after them.
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After the combat, Medea ensures Giasone is not injured. Ercole advises him to leave soon because the people are rising against him for taking the Golden Fleece.
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Ellen Rosand remarks that by the mid-seventeenth-century Venetian public opera had developed a number of musical and dramatic conventions, several of which
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McClary, Susan (2000). "Gender Ambiguities and Erotic Excess in Seventeenth-Century Venetian Opera". In Franko, Mark & Richards, Annette (eds.).
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For example, Delfaâs short aria âĂ folliaâ is a part of a comic scene (III.12). The same could be said for Demoâs aria "Son gobbo, son Demo" (I.6).
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which places an accent on the antepenultimate syllable. Such scenes also feature a chorus as the Chorus of Spirits that follows Medeaâs chant.
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per day." Giasone notices the dagger and thinks Isifile has tried to kill him, but she said that she had wrested the dagger from a fugitive.
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1968:
764:; modern edition curated by Nicola Usula and Marco Beghelli in consultation with Lorenzo Bianconi. Recorded live, July 2011, Teatro Verdi,
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resolve to create a storm to shipwreck Giasone so that he will return to Isifile in Lemnos. A Chorus of Winds responds to their commands.
1944:
853:(Delfa). This staged performance includes cuts to the edition Jacobs used for his 1988 audio recording (see above). Recorded May 1988,
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exhibits. For example: the three-act format, with the first act being the longest; dances conclude the first two acts; the Faustini
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discusses the "erotically-charged" castrato in "The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato.
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was "the single most popular opera of the 17th century". It is rarely revived today, but has been performed by for example
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After a lengthy conversation, Demo agrees to meet with Orestes and give him information about Giasone a later time.
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Orestes asks Isifile to return and feed her hungry twins. She does so, but then hurries on to the Valley of Orseno.
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857:; Christian Gagneron (set designer). Label: House of Opera, Duluth, GA, DVD (2005) about 3h; Encore, DVD (200?) 3h.
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She refuses and leaves. Alone, Egeo laments over his lost love with the recitative "Si parte, mi deride?".
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leave Delfa alone, who wishes the couple well, but questions the virtue of having illegitimate children.
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Freitas, Roger (2003). "The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato".
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Set in a flowery glade, Besso and Delfa discuss Giasone's conflicting marriages to Medea and Isifile.
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899:; Serena Sinigaglia (stage director). Label: Alpha Classics/Outhere Music, DVD (2018) 3h 2m.
838:
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Tomlinson, Gary (1981). "Madrigal, Monody, and Monteverdi's 'via naturella immitatione'".
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Brown, Jennifer Williams (2001). "Francesco Cavalli: Giasone". In Holden, Amanda (ed.).
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725:, Oxford; includes music by other composers; also used for Jacobs' production at the
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men. Moreover, a male character that laments has somehow been musically emasculated.
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scene in which magic is used. Such scenes use a special kind of poetic meter called
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1178:, âGender Ambiguities and Erotic Excess in Seventeenth-Century Venetian Operaâ, in
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remarks that this is the most famous scene in Giasone. A dance concludes the act.
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McClary, Susan (1989). "Constructions of gender in Monteverdi's dramatic music".
807:; Chas Rader-Shieber (stage director). Label: Pinchgut LIVE, 2 CDs (2014) 2h 31m.
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713:(Delfa). Nearly complete working edition by Jacobs based on manuscripts in the
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1126:. See page 215 for a discussion of Orfeo's lamentations in Monteverdi's opera
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891:(Giasone), Kristina Hammarström (Medea), Kristina Mkhitaryan (Isifile/Sole),
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Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice
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Chorus of Winds, Chorus of spirits, Argonauts, gods, soldiers, and sailors
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Medeaâs âDell'antro Magicoâ (act 1, 14) is an example of an invocation or
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The Culture Wars of the Late Renaissance: Skeptics, Libertines, and Opera
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1670:& Alm, Irene (2001). "Cavalli, Francesco". In Sadie, Stanley (ed.).
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895:(Giove/Oreste). Recorded live, February 2017, L'Opéra des nations du
887:(conductor), Capella Mediterranea (instrumental ensemble). Soloists:
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Two trumpet arias with military connotations â based on Monteverdiâs
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The scene changes to the Cavern of Aeolus. Here the gods Jove (i.e.
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1590:. Hanover and London: Wesleyan University Press. pp. 177â200.
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Acting on the Past: Historical Performance Across the Disciplines
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Acting on the Past: Historical Performance Across the Disciplines
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1349:. This source gives the year of the recording as 1998, an error.
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799:(Isifile), Christopher Saunders (Demo), David Greco (Oreste),
744:: Antonio Greco (conductor), OIDI Festival Baroque Ensemble,
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Opera in Seventeenth-Century Venice: the Creation of a Genre
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Egeo hears Medea and throws himself into the sea with her.
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The Golden Fleece and the Heroes Who Lived Before Achilles
38:) is an opera in three acts and a prologue with music by
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in Rome in 1671, with musical additions and changes by
80:(2013). Recordings include a 1988 version directed by
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1496:Franko, Mark & Richards, Annette, eds. (2000).
1674:. Vol. 5 (Second ed.). pp. 302â312.
733:(see 1988 video below). Recorded May 1988. Label:
70:, but the opera contains many comic elements too.
2419:Opera world premieres at the Teatro San Cassiano
1500:. Hanover and London: Wesleyan University Press.
659:The character Giasone was originally cast for a
1672:The New Grove Dictionary of Music and Musicians
1481:. New York: Penguin Putnam. pp. 159â160.
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1640:Journal of the American Musicological Society
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88:in the title role. A 2010 production by the
62:. The plot is loosely based on the story of
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825:(conductor), Instrumental ensemble of the
1208:"News & Views: From Abuse to Acclaim"
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795:(Giasone), Celeste Lazarenko (Medea),
472:sinfonia that accompanies the action.
286:Egeo's servant, a stuttering hunchback
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401:Frontispiece to the original libretto
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651:thinkers in Venice at the time when
2429:Operas based on classical mythology
689:(instrumental ensemble). Soloists:
25:Title page of the original libretto
1303:Pinchgut Opera LIVE 2 CDs (2014),
1288:"Festivals Abroad. Martina Franca"
719:Ăsterreichische Nationalbibliothek
14:
1622:. University of California Press.
827:Innsbruck Festival of Early Music
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1459:Music in the Seventeenth Century
934:Thomas, Simon (5 October 2013).
539:Egeo was dead, begs for mercy.
1294:(December 2011), pp. 1473â1474.
936:"Jason (English Touring Opera)"
855:Tiroler Landestheater Innsbruck
727:Tiroler Landestheater Innsbruck
16:1649 opera by Francesco Cavalli
1:
2279:Statira principessa di Persia
2151:Gli amori d'Apollo e di Dafne
1541:. The University Press Group.
1461:. Cambridge University Press.
805:City Recital Hall Angel Place
2037:Jason with the Golden Fleece
1844:Laertes (father of Odysseus)
746:Festival della Valle d'Itria
2434:Operas by Francesco Cavalli
2167:La virtĂč de' strali d'Amore
2143:Le nozze di Teti e di Peleo
1599:. Harvard University Press.
1537:Heller, Wendy Beth (2004).
1479:The New Penguin Opera Guide
1413:Alpha Classics DVD (2018),
1341:House of Opera DVD (2005),
1332:(November 2014), pp. 86â87.
451:giving him a magical ring.
2460:
1457:Bianconi, Lorenzo (1987).
1261:Bongiovanni 3 CDs (2014),
1180:Franko & Richards 2000
785:Orchestra of the Antipodes
752:performed under the title
158:captain of Giasone's guard
58:on 5 January 1649, during
50:. It was premiered at the
2444:Works about the Argonauts
2382:
2374:Venetian polychoral style
1571:10.1017/S0954586700003001
1518:The Journal of Musicology
1252:(July 1989), pp. 229â230.
1214:(July 1989), pp. 148â149.
762:Giovanni Filippo Apolloni
731:Festwoche der Alten Musik
510:anger in this mad scene.
385:
206:Isifile's lady-in-waiting
48:Giacinto Andrea Cicognini
2086:Jason in popular culture
1530:10.1525/jm.2003.20.2.196
760:and libretto revised by
2414:Italian-language operas
1969:Jason and the Argonauts
1945:Jason and the Argonauts
1559:Cambridge Opera Journal
1223:Harmonia Mundi, 3 CDs,
897:Grand Théùtre de GenÚve
885:Leonardo GarcĂa AlarcĂłn
866:Federico Maria Sardelli
1921:Gaius Valerius Flaccus
772:, 3 CDs (2014) 2h 48m.
737:, 3 CDs (2000) 3h 55m.
402:
26:
2061:Rise of the Argonauts
1595:Muir, Edward (2007).
1404:(August 2012), p. 82.
1099:Walker & Alm 2001
723:Christ Church Library
630:La finta pazza Licori
400:
78:English Touring Opera
24:
1986:(2023 animated film)
1901:Apollonius of Rhodes
1869:(legendary musician)
1852:(friend of Herakles)
1846:(father of Odysseus)
1375:Dynamic DVD (2012),
758:Alessandro Stradella
588:Musicological Issues
320:protector of Isifile
193:confidant of Isifile
2369:Teatro San Cassiano
2029:The Golden Fleecing
1432:Review of Cavalli:
1430:Alexandra Coghlan,
1398:, Flemish Opera DVD
1358:Encore DVD (200?),
1322:Review of Cavalli:
1242:Review of Cavalli:
1206:Nicholas Anderson,
1166:, Chapters 1 and 2.
1142:, pp. 186â188.
1089:, pp. 374â375.
1077:, pp. 358â359.
1065:, pp. 346â347.
993:, pp. 322â328.
715:Biblioteca Marciana
141:Ercole (Hercules),
113:Premiere Cast, 1649
52:Teatro San Cassiano
2327:Scipione affricano
2032:(comic book story)
1927:Orphic Argonautica
1442:(May 2019), p. 90.
754:Il novello Giasone
742:Il novello Giasone
403:
303:protector of Medea
27:
2439:Works about Medea
2396:
2395:
2128:Francesco Cavalli
2094:
2093:
1972:(2000 miniseries)
1856:Castor and Pollux
1762:Creusa of Corinth
1629:978-0-520-25426-8
1606:978-0-674-02481-6
1548:978-0-520-20933-6
1507:978-0-8195-6395-8
1468:978-0-521-26915-5
1392:Richard Wigmore,
1246:, Concerto Vocale
874:Christophe Dumaux
835:Gloria Banditelli
695:Gloria Banditelli
390:
389:
238:Medea's old nurse
94:Christophe Dumaux
40:Francesco Cavalli
2451:
2388:
2387:
2121:
2114:
2107:
2098:
2072:Related articles
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1394:Review Cavalli:
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1326:, Pinchgut Opera
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1877:Ancient sources
1872:
1863:(younger years)
1824:
1775:(father-in-law)
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851:Dominique Visse
847:Bernard Deletré
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707:Bernard Deletré
687:Concerto Vocale
674:
669:
608:stile concitato
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297:Sole (The Sun,
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2045:Jason et Médée
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2010:La toison d'or
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1681:External links
1679:
1677:
1676:
1668:Walker, Thomas
1664:
1652:10.2307/831035
1635:
1612:
1592:
1583:
1565:(3): 203â223.
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1524:(2): 196â249.
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1192:Freitas (2003)
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1124:McClary (1989)
1116:
1111:Tomlinson 1981
1103:
1101:, p. 307.
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831:Michael Chance
813:
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801:Andrew Goodwin
789:Pinchgut Opera
773:
766:Martina Franca
738:
735:Harmonia Mundi
721:, Vienna, and
717:, Venice, the
691:Michael Chance
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1299:
1291:
1282:
1257:
1249:
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1219:
1211:
1186:
1176:McClary 2000
1171:
1159:
1147:
1135:
1127:
1119:
1106:
1094:
1082:
1070:
1058:
1046:
1034:
1022:
1010:
998:
969:
943:. Retrieved
940:WhatsOnStage
939:
929:
917:
880:
872:. Soloists:
861:
829:. Soloists:
818:
797:Miriam Allan
793:David Hansen
791:. Soloists:
781:Erin Helyard
776:
753:
749:
741:
678:
658:
652:
647:
646:
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453:Ellen Rosand
449:
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285:
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124:
73:
72:
35:
30:
29:
28:
18:
2409:1649 operas
2303:Hipermestra
2040:(sculpture)
1956:(1969 film)
1948:(1963 film)
1919:(Latin) by
1917:Argonautica
1896:Argonautica
1152:Heller 2004
1087:Rosand 2007
1075:Rosand 2007
1063:Rosand 2007
1051:Rosand 2007
1039:Rosand 2007
1027:Rosand 2007
1015:Rosand 2007
1003:Rosand 2007
991:Rosand 2007
974:Rosand 2007
841:(Isifile),
833:(Giasone),
823:René Jacobs
770:Bongiovanni
729:during the
701:(Isifile),
693:(Giasone),
683:René Jacobs
623:sdrucciolo,
143:an Argonaut
110:Voice type
82:René Jacobs
2403:Categories
2351:Eliogabalo
2223:La Calisto
2056:(painting)
1984:Epic Tails
1764:(2nd wife)
1737:and topics
1735:Characters
1633:0520254260
1610:0674024818
1552:0520209338
1511:0819563951
1472:0521269156
1440:Gramophone
1434:Il iGasone
1419:1085228834
1402:Gramophone
1396:Il Giasone
1381:1038567419
1330:Gramophone
1275:B00K8UGMAE
1250:Gramophone
1212:Gramophone
922:Brown 2001
904:References
881:Il Giasone
862:Il Giasone
849:(Oreste),
843:Guy de Mey
709:(Oreste),
703:Guy de Mey
667:Recordings
598:lieto fine
251:a gardener
2295:Artemisia
2239:Veremonda
2159:La Didone
1890:Euripides
1831:Argonauts
1793:(trainer)
1728:Argonauts
1579:190692360
1364:318781863
1347:367890913
1309:903902147
1267:880851777
1164:Muir 2007
837:(Medea),
768:; Label:
697:(Medea),
359:Zeffiro (
249:Rosmina,
222:Queen of
175:Queen of
171:Hypsipyle
169:Isifile (
127:Argonauts
119:Giasone (
2390:Category
2287:Erismena
2271:Il Xerse
2255:L'Orione
2207:Orimonte
2191:Doriclea
2175:L'Egisto
2048:(ballet)
1977:Atlantis
1839:Herakles
1787:(oracle)
1758:(spouse)
1752:(mother)
1750:Alcimede
1746:(father)
1726:and the
1687:Libretto
1618:(2007).
1229:46381530
845:(Egeo),
705:(Egeo),
661:castrato
648:Giasone'
406:Prologue
393:Synopsis
373:Volano,
366:soprano
361:Zephyrus
324:soprano
307:soprano
255:soprano
229:soprano
210:soprano
204:Alinda,
191:Oreste,
66:and the
60:carnival
44:libretto
2362:Related
2247:Rosinda
2231:Eritrea
2215:Oristeo
2199:Giasone
2183:Ormindo
2002:Giasone
1937:Film/TV
1867:Orpheus
1791:Cheiron
1785:Phineus
1781:(uncle)
1324:Giasone
1244:Giasone
1130:(1607).
1114:lament.
945:2 April
819:Giasone
777:Giasone
750:Giasone
679:Giasone
653:Giasone
638:Arianna
594:Giasone
572:hands.
484:Jupiter
333:Jupiter
331:Giove (
236:Delfa,
224:Colchis
183:soprano
156:Besso,
92:, with
74:Giasone
31:Giasone
2424:Operas
2354:(1667)
2346:(1666)
2338:(1665)
2330:(1664)
2322:(1662)
2314:(1659)
2306:(1658)
2298:(1657)
2290:(1655)
2282:(1655)
2274:(1655)
2266:(1654)
2258:(1653)
2250:(1653)
2242:(1652)
2234:(1652)
2226:(1652)
2218:(1651)
2210:(1650)
2202:(1649)
2194:(1645)
2186:(1644)
2178:(1643)
2170:(1642)
2162:(1641)
2154:(1640)
2146:(1639)
2135:Operas
2013:(1789)
2005:(1649)
1980:(2013)
1964:(1998)
1912:Seneca
1861:Nestor
1850:Iolaus
1801:(ship)
1779:Pelias
1773:Aeëtes
1660:831035
1658:
1627:
1604:
1577:
1546:
1505:
1485:
1466:
1417:
1379:
1362:
1345:
1307:
1273:
1265:
1227:
1190:Roger
879:2017:
860:2010:
817:1988:
775:2013:
740:2011:
677:1988:
488:Aeolus
486:) and
379:tenor
375:spirit
347:Aeolus
345:Eolo (
299:Apollo
290:tenor
284:Demo,
264:Aegeus
262:Egeo (
177:Lemnos
56:Venice
42:and a
2311:Elena
2021:Other
1994:Opera
1953:Medea
1907:Medea
1885:Medea
1819:Crete
1815:Talos
1768:Argus
1756:Medea
1744:Aeson
1724:Jason
1656:JSTOR
1575:S2CID
1292:Opera
1128:Orfeo
909:Notes
812:Video
672:Audio
619:ombra
518:Act 3
459:Act 2
415:Act 1
352:alto
338:bass
316:Cupid
273:tenor
242:alto
218:Medea
197:bass
162:bass
121:Jason
107:Role
100:Roles
84:with
64:Jason
36:Jason
2263:Ciro
1798:Argo
1625:ISBN
1602:ISBN
1544:ISBN
1503:ISBN
1483:ISBN
1464:ISBN
1415:OCLC
1377:OCLC
1360:OCLC
1343:OCLC
1305:OCLC
1271:ASIN
1263:OCLC
1225:OCLC
947:2022
148:bass
133:alto
1910:by
1899:by
1888:by
1648:doi
1567:doi
1526:doi
318:),
301:),
266:),
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