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Medea Vendicativa. Drama di Foco. Attione terza degli Applausi fatti per la Nascita Dell?Altezza Ser.ma Di Massimiliano Emanuele, Primogenito Elett.le delle Seren.me Elett.li Alt.ze di Ferdinando Maria et Enrieta maria Adelaid, Duchi dell?un?e l?altra Baviera, Elettori del Sacro Rom. Imp.e.
Munich Gioann Ieklino 1662. - (6) ff., 34 pp., (8) folding plates. Bound in old cartonnato, light dampstain on front cover, some wormholes in margin of signature A, light toning throughout, minimal foxing. Very good, with excellent strikes of the plates. Very rare first edition of this spectacular firework opera, the final part of a trilogy of operas first performed in Munich in September 1662 to celebrate the birth of Massimilio Emanuele, first son of Ferdinando Maria, duke of Bavaria and imperial elector, and Henriette Adelaide, Princess of Savoy. Eight folding plates document the sumptuous set designs by Francesco Santurini with elaborate fireworks and a staged naval battle.Ferdinand Maria and Henriette Adelaide were both fourteen years old when they were married by proxy in 1650. Their first child, a girl, was born ten years later, followed by a boy in 1662. In celebration of the new heir, "the Munich court organized a festivity which outdid in scale and variety virtually any other 17th century festivity anywhere, those at Vienna, Florence and Paris included. Not only was the whole town illuminated and the populace treated to wine from specially erected fountains, as well as bread, gold coins and commemorative medals, but the court witnessed and took part in an extraordinary spectacle." (Watanabe-O?Kelly, Triumphall shews, p.90)At its center was a trilogy consisting of the dramatic opera Fedra Incoronata, a tournament opera Antiopa Giustificata and the present work. The libretti for all three were by Count Pietro Paolo Bissari, who was joined by the court composer Johann Kasper Kerll (MGG VII, 871 ff.) and the Italian theatre designer Santorini. (Thieme/B. XXIX, 452 f) A narrative thread runs through all three dramas, and each was performed in a different locale, over a period of eight days. The plot of Medea vendicativa sees Medea calling for vengeance on Theseus, who failed in the tournament that was at the center of the previous opera. Set in the open air on a floating stage on the river Isar, "most of the scenes end with the set bursting into flames, and the whole piece culminates in a naval battle, made possible by moving the front of the stage aside. All round the stage, in the Isar, rockets, cannon and fireworks o fall kinds explode. The piece ends with the illumination of the huge structure behind the stage. This has a triumphal arch in the middle. Above the arch and to either side of it glow the initials F.M. . while out of two towers on either side shoot fireworks as well as all round out of the water. The initials of Ferdinand Maria on top, those of Max Emanuel below, between them the twin images of Christ and Hercules ? the points being made here about the legitimacy, claims to power and dynastic continuity of the Wittelsbachs could not emerge more clearly." (Watanabe-O?Kelly, p. 94)"Not only is each individual part of the trilogy lavish to a degree, but this interweaving of three types of event and three locations into one huge spectacle is unique at this date and only emulated once, though on a much smaller scale, by Louis XIV two years later in the Plaisirs de l?isle enchantée." (Watanabe-O?Kelly The librettist, Pietro Paulo Conte Bissari (1595-1663) was an Italian diplomat and man of letters. He wrote the libretti to a number of other operas (see NBG, VI, 139-140). The score was written by Johann Kaspar Kerll (1627-93), a German composer and organist active in Austria and widely admired as performer. (see Grove)OCLC: Yale.*VD17 record (Bayerische Staatsbibliothek). [Attributes: First Edition]
      [Bookseller: Martayan Lan]
Last Found On: 2013-08-01           Check availability:      AbeBooks    

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