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Starting my sandbox (I hope)! --LMR0804 (talk) 23:02, 28 September 2014 (UTC)

Works Cited

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Comédie-Française [clippings]. New York City: n.p., 2005. Print.

"Comédie Française." Columbia Electronic Encyclopedia, 6th Edition (2013): 1. Academic Search Complete. Web. 28 Sept. 2014.

Everist, Mark. "L’Opéra De Paris, La Comédie-Française Et L’Opéra-Comique: Approches Comparées (1669–2010). Ed. By Sabine Chaouche, Denis Herlin, And Solveig Serre." Music & Letters 94.4 (2013): 684-688. Academic Search Complete. Web. 28 Sept. 2014.

Hawkins, Frederick. Annals of the French Stage from Its Origin to the Death of Racine. New York: Haskell, 1970. Print.

Houssaye, Arsène, and Albert D. Vandam. Behind the Scenes of the Comédie Française and Other Recollections. London: Chapman and Hall, Limited, 1889. Print.

Lancaster, Henry Carrington. Sunset, a History of Parisian Drama in the Last Years of Louis XIV, 1701-1715. Baltimore, MD: Johns Hopkins, 1945. Print.

Sarcey, Francisque. A Company of Actors (The Comédie Française). New York City: Dramatic Museum of Columbia U, 1926. Print.

______________________________________________________________ NEW LA DAFNE BIBLIORAPHY

Works Cited

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Brockett, Oscar G., and Franklin J. Hildy. History of the Theatre. Boston, MA: Allyn and Bacon, 2007. Print.

Calcagno, Mauro P. From Madrigal to Opera: Monteverdi's Staging of the Self. Berkeley, CA: U of California, 2012. Print.

Carter, T. "Lamenting Ariadne?" Early Music 27.3 (1999): 395-405. Web.

Carter, Tim. "Jacopo Peri." Music and Letters 61.2 (1980): 121-35. Web.

Dent, Edward J. "The Nomenclature Of Opera–I." Music and Letters XXV.3 (1944): 132-40. Web.

Hanning, Barbara Russano. "Glorious Apollo: Poetic and Political Themes in the First Opera." Renaissance Quarterly 32.4 (1979): 485-513. JSTOR. Web. 05 Oct. 2014.

Hansen, Jette Barnholdt. "From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet." Journal of Musicology 20.4 (2003): 556-96. Web.

Hauze, Emily S. "Who Can Write An Opera? F.C. Bressand and the Baroque Opera Libretto." Monatshefte 99.4 (2007): 441-53. Web.

McClary, Susan. Structures of Feeling in Seventeenth-century Cultural Expression. 2nd ed. Toronto: U of Toronto, 2013. Print. Ucla Center Clark Library.

Perry, Charles D. "Classical Myth in Grand Opera." The Classical Journal 53.5 (1958): 207-13. JSTOR. Web. 05 Oct. 2014.

Pietropaolo, Domenico, and Mary Ann Parker. The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto. Toronto: U of Toronto, 2011. Print.

Porter, William V. "Peri and Corsi's "Dafne": Some New Discoveries and Observations." Journal of the American Musicological Society 18.2 (1965): 170-96. Web. 5 Oct. 2014.

Savage, Roger. "Prologue: Daphne Transformed." Early Music 17.4, The Baroque Stage I (1989): 484-93. JSTOR. Web. 05 Oct. 2014.

Sonneck, O. G. ""Dafne", the First Opera. A Chronological Study." Sammelbände Der Internationalen Musikgesellschaft 15.1 (1913): 102-10. JSTOR. Web. 05 Oct. 2014.

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Scott, Virginia. Molière: A Theatrical Life. New York City: Cambridge UP, 2002. Print.

Scott, Virginia. "The Fall Of Phaeton: The Son Of The Sun God In The Theatre Of The Sun King." French Studies 48.2 (1994): 141. Academic Search Complete. Web. 28 Sept. 2014. ---LMR0804 (talk) 06:53, 5 October 2014 (UTC)

La Dafne (Daphne) is the first full-length opera ever composed and documented. It was written in 1594 by the Italian composer Marco da Gagliano with the libretto written by Ottavio Rinuccini. Created by the Camerata in Florence, Italy as an attempt to recreate Greek tragedies, it is described as a favola in musica in one act and a prologue. La Dafne is based on the myth of Daphne and Apollo as related by Ovid in the first book of the Metamorphoses. It is a reworking and expansion of the text Rinuccini had given Jacopo Peri to set around 1598. The opera was first performed at the Ducal Palace, Mantua in late February, 1608.[1] It had originally been intended to form part of the wedding celebrations of Prince Francesco Gonzaga of Mantua and Margherita of Savoy, but the arrival of the bride was delayed and the staging was brought forward (Monteverdi's opera L'Arianna was also written for the marriage but not performed until May). A private performance of Dafne was given in Florence at the house of Don Giovanni de' Medici on 9 February 1611. The Medici were the patrons of the Florentine Gagliano and the laurel (into which the heroine of the opera is transformed) was their symbol.