*Virginia Christy Lamothe ( is a Lecturer in Music at Belmont University in Nashville, TN. She completed her dissertation, “The Theater of Piety: Sacred Operas for the Barberini family (1632–1643),” at the University of North Carolina at Chapel Hill under the Direction of Tim Carter. She was the recipient of a Fulbright Fellowship to Italy as well as a first-prize winner of the Lemmermann Foundation award. She has given papers at annual meetings of the American Musicological Society, the Society for Seventeenth-Century Music, and specialized conferences on performance practice. She has published articles on dance in Monteverdi’s Orfeo in Early Music and the Ballo delle ingrate in a collection of essays with Steglein Press, edited by Tim Watkins. She has two forthcoming articles, one on the connections between Jesuit study of tragedy and Roman saint operas for the Barberini court with the Journal of Seventeenth-Century Music, and the other on music and papal politics of the Habsburgs in Rome in the sixteenth and seventeenth centuries, to be published in a collection by Brill edited by Andrew Weaver. Virginia is also interested in the scholarship of online teaching and learning, and has co-written a paper to be presented and published as part of the 10th international conference of Research in Music Education in Bath-Spa, England. Currently, she is working on a book project that explores the interactions of popular music, theater, and culture at the turn of the twentieth century entitled Music for the Majestic Theater (1903–1911).

[1]La contesa (1631): A Chivalric Spectacle for a Barberini Client” was published in Barocke Inszenierung, ed. Joseph Imorde, Fritz Neumeyer, and Tristan Weddigen (Emsdetten/Zurich: Edition Imorde, 1999), 146–57. “The Prince’s Hat, ossia Il Berrettino di Pietro” first appeared in “‘Et facciam dolci canti”: Studi in onore di Agostino Ziino in occasione del suo 65_ compleanno, ed. Bianca Maria Antolini, Teresa M. Gialdroni, and Annunziato Pugliese, 2 vols. (Lucca: Libreria Musicale Italiana, 2003), 1:629–54; “The Artistic Patronage of the Barberini and the Galileo Affair” was published in Music and Science in the Age of Galileo, ed. Victor Coelho (Netherlands: Kluwer Academic Publishers, 1992), 67–90; “Orpheus in a New Key” originally appeared in Studi musicali 25, no. 1 (1996): 103–25; “Barberini Entertainments for Queen Christina’s Arrival in Rome” appeared in Cristina di Svezia e la musica (Rome: Accademia Nazionale dei Lincei, 1998), 133–60; and “‘Thy hand, great Anarch…’: Music and Spectacle in Barberini Funerals 1644–80” has been published in the congress report I Barberini e la cultura europea del Seicento, ed. Lorenza Mochi Onori, Sebastian Schütze, and Francesco Solinas (Rome: De Luca Editori d’Arte, 2007).

[2] These types of descriptions are also found in Chapter 5, “La mascherata trionfante,” where Hammond provides excerpts from the printed account of Costanzo Ricci which included engraved illustrations of the Carnival celebration of 1643. He follows up some of these accounts, specifically, those that focused on the singer Marc’Antonio Pasqualini, with descriptions for the same time period found in the Diario of the Cappella Sistina (p.145).

[3] Per Bjurström, Feast and Theater in Queen Christina’s Rome, Analecta Reginensia 3 (Stockholm: Bengtsons, 1966), and Wolfgang Witzenmann, “Die römische Barockoper La vita humana overo Il trionfo della pieta,” Analecta musicologica 15 (1975): 158–201.

[4] Rome, Biblioteca Corsiniana (I-Rli) 172.G.13

[5] Margaret Murata, Operas for the Papal Court (Ann Arbor, Mich.: UMI Press, 1981), 348–49.

[6] Although Hammond would not have had the opportunity to consult it, the propagandist goals of Il Sant’Alessio are described in Virginia Christy Lamothe, “The Theater of Piety: Sacred Operas for the Barberini Family (Rome: 1632–1643)” (Ph.D. diss., University of North Carolina at Chapel Hill, 2009).

[7] Giuseppe Adami, Pietro Paolo Floriani tra spalti e scene ( Loreto: Tecnostampa, 2006); Patrizia Cavazzini, ed., Agostino Tassi (1578–1644): Un paesaggista tra immaginario e realtà (Rome: Iride, 2008); Jörg Martin Merz, Pietro da Cortona and Roman Baroque Architecture (New Haven: Yale University Press, 2008); and Richard Wistreich, Warrior, Courtier, Singer: Giulio Brancaccio and the Performance of Identity in the Late Renaissance (Burlington, Vt.: Ashgate, 2007).

[8] Lorenza Mochi Onori, Sebastian Schütze, and Francesco Solinas, eds., I Barberini e la cultura europea del Seicento (Rome: De Luca Editori d’Arte, 2007); Claudio Costantini, Fazione Urbana: Sbandamento e ricomposizione di una grande clientele a metà Seicento (Genoa: University of Genoa, 2004); Marcello Fagiolo dall’Arco. Le capitali della festa, 2 vols. (Rome: De Luca Editori d’Arte, 2007); Fiorenza Rangoni Gàl, Fra Desiderio Scaglia Cardinale di Cremona: Un collezionista inquisitor nella Roma del Seicento (Gravidona: Nuova Editrice Delta, 2008); and Lilian H. Zirpolo, Ave Papa Ave Papabile: The Sacchetti Family, Their Art Patronage, and Political Aspirations (Toronto: Center for Reformation and Renaissance Studies, 2005).

[9] Maria Purciello, “And Dionysus Laughed: Opera, Comedy and Carnival in Seventeenth-Century Venice and Rome” (Ph.D. diss., Princeton University, 2005).

[10] Virginia Christy Lamothe, “Fanning the Flames of Love: Hidden Performance Solutions for Monteverdi’s Ballo delle ingrate in Dance Practice,” in Performance Practice: Issues and Approaches, ed. Timothy D. Watkins (Ann Arbor, Mich.: Steglein Publishing Inc., 2009): 97–108.