Her six religious dramas, written in Latin for the use and
edification of her sister nuns, were published in a French setting, in
1845. It was a woman, too, Laura Guidiccioni, a brilliant member of the
Florence group of aristocratic truth-seekers in art, who wrote the text
of the first religious musical dramatic composition to which the name
oratorio became attached. It was set to music of a declamatory style by
Emilio del Cavalieri, the author's collaborator in the pastoral plays
that were really embryo operas. The title of the piece, "The
Representation of the Body and the Soul," indicates the allegorical
nature of the subject.
Its initial performance occurred at Rome, February, 1600, in the oratory
of San Filippo's church, Santa Maria della Vallicella. The composer had
died some months earlier, but his minute stage directions were
accurately observed. Behind the scenes was placed an orchestra
comprising a double lyre, a harpsichord, a large guitar and two flutes,
to which was added a violin for the leading part in the ritornels, that
is, instrumental preludes and interludes.
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