¹ Pirrotta, N., Li due Orfei (Turin, 1969, 2nd edn 1975)Google Scholar; Music and Theatre from Poliziano to Monteverdi, trans. Eales, K. (Cambridge, 1982)Google Scholar.

² Adimari, A., La bell'Adriana ed altre virtuose del suo tempo alia corte di Mantova (Citta di Castello, 1888)Google Scholar; Bertolotti, A., Musici alia corte dei Gonzaga in Mantova dal secolo XV al XVIII: notizie e documenti raccolti negli archivi mantovani (Milan, 1890; repr. Bologna, 1969)Google Scholar; Solerti, A., Gli albori del melodramma (Milan, 1904; repr. Bologna, 1976)Google Scholar.

³ Fenlon, I., Music and Patronage in Sixteenth-Century Mantua (Cambridge, 1980, 1982)Google Scholar; Parisi, S. H., ‘Ducal Patronage of Music in Mantua, 1587–1627: An Archival Study’ (Ph.D. diss., University of Illinois at Urbana-Champaign, 1989)Google Scholar; Harran, D., Salamone Rossi: Jewish Musician in Late Renaissance Mantua (Oxford, 1999)Google Scholar.

⁴ Mantua, Archivio di Stato, Archivio Gonzaga, busta 2577, fol. 23^r.

⁵ But for a rounder view, see Besutti, P., ‘Da L'Arianna a La Ferinda: Giovan Battista Andreini e la “comedia musicale all'improviso”’, Musica disciplina, 49 (1995), pp. 227–76Google Scholar.

⁶ See Fenlon, I., ‘The Origins of the Seventeenth-Century Staged Ballo’ in Fenlon, I. and Carter, T. (eds), ‘Con chesoavita’: Essays in Italian Baroque Opera, Song, and Dance, 1580–1740 (Oxford, 1995), pp. 13–40Google Scholar; Carter, T., ‘New Light on Monteverdi's Ballo delle ingrate (Mantua, 1608)’Google Scholar, Il saggiatore musicale (forthcoming).

⁷ Archivio Gonzaga, busta 2231, unfoliated.

⁸ Ibid.

⁹ They were included in d'Ancona, A., Origini del teatro italiano (2nd edn, Turin, 1891), ii, pp. 424–5Google Scholar. D'Ancona presents many of the documents discussed by Buratelli.

¹⁰ For Andreini's impact on Arianna, see Carter, T., ‘Lamenting Ariadne?’, Early Music, 27 (1999), pp. 395–405CrossRefGoogle Scholar. The preparations for the ‘egloga’ (elsewhere called a 'ballo') Apollo (to a text by Alessandro Striggio) are discussed in Fabbri, P., Monteverdi, trans. Carter, T. (Cambridge, 1994), pp. 171–4CrossRefGoogle Scholar; it seems to have received two performances in Mantua, one in late February or early March 1620 and the other the following summer; parts of it were also heard in Venice. Buratelli (p. 230, n. 1) cites a letter from Virginia Andreini of 22 April 1623, perhaps to Alessandro Striggio (Archivio Gonzaga, busta 2761, no. 216), in which Andreini refers to ‘that feeble service which I then did for you who deigned to have me do [the role of] Dafne in your most gracious balletto’. We know from Monteverdi's letters that Apollo included the characters Apollo (who had a lament), Amor and Peneius (Daphne's father; sung by a bass singing alla bastarda), and Daphne is, of course, central to the Apollo myth.

¹¹ See Cusick, S., ‘“There was not one lady who failed to shed a tear”: Arianna's Lament and the Construction of Modern Womanhood’, Early Music, 22 (1994), pp. 21–41CrossRefGoogle Scholar; MacNeil, A., ‘Weeping at the Water's Edge’, Early Music, 27 (1999), pp. 406–17CrossRefGoogle Scholar.