It is with pleasure that I acknowledge the National Endowment for the Humanities, the American Council of Learned Societies, the American Philosophical Society, the Gladys Krieble Delmas Foundation, and the Rutgers Uni-Įditorial intervention has been kept to a minimum. I am grateful, too, to my former student Beth Glixon for making fair copies of the musical examples, to Christian Moevs for a large number of translations, and to my editors at the University of California Press, above all, to Doris Kretschmer for her sustained enthusiasm, to Peter Dreyer for his gentle editorial touch, and to Jane-Ellen Long, who calmly shepherded the manuscript through the final gauntlet of publication. I am indebted to Gary Tomlinson for the challenge of his ideas and stimulating queries over the years and for his specific suggestions more recently to Andrew Porter, who long ago promised me a New Yorker editorial job on the manuscript and kept his word and to Maria Teresa Muraro, whose friendship, hospitality, encouragement, and access to the Venetian libraries at the other end of an international telephone line were invaluable assets in the completion of my work. Joseph Kerman was the first to recognize the book implicit in my disparate studies and ideas on Venetian and operatic topics, and he was also the first to read through the completed manuscript (no footnotes), which he subjected to the full treatment of his characteristic critical, but always responsive, pencil.Īs readers for the University of California Press, Lorenzo Bianconi examined the text with a fine-tooth comb, sparing me the embarrassment of countless minor errors and several major ones Howard Brown, with humor and sympathy, found his share of lacunae and redundancies and Philip Brett, going well beyond the call of duty, made many excellent stylistic suggestions.

Over the course of innumerable miles in Riverside Park, and then by post and phone, my erstwhile jogging companion Piero Weiss listened to ideas, read and reread drafts, translated, edited, and bore with me. Nino Pirrotta inspired my earliest attempts to understand opera in Venice and has remained a guiding spirit, a model of passionate and humane scholarship for my work ever since. At every stage of its elephantine gestation, I have benefitted from the encouragement and criticism of friends and colleagues. This book represents the culmination of research carried out over the past two decades. Gertrude Fineman and Lester Fineman Acknowledgments Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley: University of California Press, c1991 1991.

Macchine mortali torrent