*Rose A. Pruiksma (rose.pruiksma@unh.edu) is a Lecturer in Music History at the University of New Hampshire, with degrees in clarinet performance (M.M.) and historical musicology (M.A., Ph.D.) from the University of Michigan. She works on representation, politics, and culture in the court ballets of Louis XIII and Louis XIV and has published articles on the source for the description of a danced sarabande published by François Pomey in 1670, the Académie Royale de Danse, and the theatrical chaconne. She is currently preparing a monograph on ballet and dance music at the courts of Louis XIII and Louis XIV, and articles on the first professional danseuses and their sarabandes, on the 1635 Ballet des Triomphes, and on The Jazz Singer.
[1] For example (in chronological order), Ellen Rosand, Opera in Venice: The Invention of a Genre (Berkeley: University of California Press, 1991); Louise K. Stein, Songs of Mortals, Dialogues of the Gods: Music and Theater in Seventeenth-Century Spain (Oxford: Clarendon Press, 1993); Lois Rosow, “Power and Display: Music in Court Theatre,” in The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt (Cambridge: Cambridge University Press, 2005), 197–240; Tim Carter, “Mask and Illusion: Italian Opera after 1637,” in The Cambridge History of Seventeenth-Century Music, 241–82; and Beth L. and Jonathan E. Glixon, Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice (New York: Oxford University Press, 2006).
[2] For example (in chronological order), Wendy Heller, Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice (Berkeley: University of California Press, 2003); Louise K. Stein, “ ‘La música de dos orbes’: A Context for the First Opera of the Americas,” Opera Quarterly 22, nos. 3–4 (2006): 433–58; Georgia Cowart, The Triumph of Pleasure: Louis XIV and the Politics of Pleasure (Chicago: University of Chicago Press, 2008); Beth Glixon, ed., Studies in Seventeenth-Century Opera (Farnham, UK: Ashgate, 2010); Ellen Rosand, ed., Readying Cavalli’s Operas for the Stage: Manuscript, Edition, Production (Farnham, UK: Ashgate, 2013); Rebecca Harris-Warrick, Dance and Drama in French Baroque Opera (Cambridge: Cambridge University Press, 2016); and Andrew Walkling, Masque and Opera in England, 1656–1688 (London: Routledge, 2017).
[3] Jean-Baptiste Lully, Alceste ou Le Triomphe d’Alcide, Le Grand Écurie et la Chambre du Roy, directed by Jean Claude Malgoire, with Felicity Palmer, Bruce Brewer, Max van Egmond, François Loup, et al., CBS Masterworks 79301, 1975, LP; Lully, Armide, Ensemble Vocale et Instrumentale de la Chapelle Royale, directed by Philippe Herreweghe, with Rachel Yakar, Zeeger Vandersteene, Danièle Borst, et al., Erato STU 715302, 1984, LP (note that this recording omits Act 4).
[4] Another source for non-commercial videos is House of Opera, http://www.houseofopera.com. Many of its offerings originated as VHS tapes of televised productions. Two of the essays in this forum, those by Mauro Calcagno and Wendy Heller, refer to House of Opera videos.
[5] Joseph Kerman, “Chapter 2: The Dark Ages,” in Opera as Drama (New York: Knopf, 1956); same chapter title in rev. ed. (Berkeley: University of California Press, 1988).
