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Unsung.

The New Yorker

| May 25, 2009 | Ross, Alex | COPYRIGHT 2009 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Opera was, in effect, born twice. Its first coming was during the last decade of the sixteenth century, when humanist musicians and poets at the court of the Medici, in Florence, began to present a new kind of sung drama. The inaugural operas had impeccably high-minded subjects--Daphne changing into a laurel tree, Orpheus descending into Hades with his lyre--and were hyper-elegant in execution. Then, in 1637, a travelling troupe set off a fad for opera in the republic of Venice, and the art underwent a mutation. The season took place during Carnival, the time of dissolution and self-reinvention. Melodrama, bawdy humor, and disorienting collisions of high and low permeated ...

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