Louise K. Stein is Professor of Musicology, Medieval and Early Modern Studies, and Latin American Studies at the University of Michigan. She has contributed critical editions of the first opera of the Americas, La púrpura de la rosa (1999) and the first extant Spanish opera, Celos aun del aire matan (2014). Her first book Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (OUP 1993) received the First Book Prize from the Society for Spanish and Portuguese Historical Studies. In 1996, she was awarded the Noah Greenberg Award by the American Musicological Society for distinguished contributions to the study and performance of early music.

In her book on diplomat and entrepreneur Marquis del Carpio, Louise Stein presents in detail the career of a man who deeply influenced the development of opera in seventeenth-century Madrid, Rome, Naples, Peru, and Mexico. With meticulous research, brilliant cultural insights, deft musical analysis, and lively prose, our foremost scholar of Hispanic Baroque music sets the stage for dozens of new projects.

• Introduction: An Extraordinary Patron Chapter 1. Inventing Hispanic Opera: Opera as Epithalamium Material Traces of an Interest in Music Heliche's Temperament Heliche, Mariana, and Theatrical Production in Madrid Heliche and the Renovation of the Coliseo del Buen Retiro Artistic Collaboration Performers Women Singing Onstage Opera Production in Madrid; The Context for the "Lost" La púrpura de la rosa The Music of Celos aun del aire matan Conclusion Epilogue: Exile and Subsequent Travel Chapter 2. Negotiating Operatic Culture in Rome 1677-82 A First Experience of Italian Opera Italian Opera as Heard by Spanish Compatriots Amidst the Vicissitudes of Opera Production in Rome Entertainments With a Spanish Flavor The 1681 Serenata in Piazza di Spagna Patron and Protector in Rome Spanish Productions at Palazzo di Spagna Conclusion: "el buen gusto romano"? Chapter 3. Naples, Opera, and Spanish Viceroys to 1683 The Count of Oñate and the First Operas in Naples Spaces for Opera in Oñate's Naples Viceroys and Inconsistent Levels of Support Operas at the Teatro di San Bartolomeo After the Fire Operas for Special Occasions Spanish Operas for Dynastic Celebrations Conclusions Chapter 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87 Practical Considerations --Theaters and Finances for Opera in Naples -- A Palace Theater --A Public Commercial Theater --Libretti and the Schedule of Productions --Opera Finances in Naples --Musicians and Singers The 1683-84 Naples Opera Season --L'Aldimiro o vero Favor per favore --La Psiche, ovvero Amore innamorato --Giulia Francesca Zuffi and the donnesca voce --Giovanni Francesco Grossi and Amore --Il Pompeo --La Tessalonica in 1684 The 1684-85 Naples Opera Season --Il Giustino --L'Epaminonda --Il Galieno --Summer Festivities The 1685-86 Naples Opera Season --Il Fetonte --Olimpia vendicata --L'Etio Carpio's Final Season 1686-87 --L'Olimpo in Mergellina (serenata) --Il Nerone --Clearco in Negroponte --Il Roderico Tutto il mal: a private opera in 1686 or 1687 Carpio in Naples, Some Conclusions Chapter 5. An Operatic Legacy in the Americas The Context for Opera in the American Viceroyalties La púpura de la rosa in Lima 1701 --Legitimizing Public Secular Music and the Emerging Criollo Culture --The Extant Lima Score --Torrejón as Composer or Compiler? --Hidalgo's Music Inside Torrejón's Opera --Hidalgo's Music Reaching Lima --Torrejón y Velasco and the Loa --Coplas, estribillos, bailes, freely declamatory song Opera in New Spain --Celos aun del aire matan? --The Italian paradigm in New Spain --La Partenope, El Zelueco, and Neapolitan models --The Sumaya Question An Appreciable Contemporaneity Epilogue: Lima 1943 Appendices --Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa --Appendix 2: Theaters in the Carpio Inventories --Appendix 3: Singers in Carpio's Naples Productions Bibliography Printed Sources Before 1800 Printed Sources After 1800 Index

Louise K. Stein is Professor of Musicology, Medieval and Early Modern Studies, and Latin American Studies at the University of Michigan. She has contributed critical editions of the first opera of the Americas, La púrpura de la rosa (1999) and the first extant Spanish opera, Celos aun del aire matan (2014). Her first book Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (OUP 1993) received the First Book Prize from the Society for Spanish and Portuguese Historical Studies. In 1996, she was awarded the Noah Greenberg Award by the American Musicological Society for distinguished contributions to the study and performance of early music.

In her book on diplomat and entrepreneur Marquis del Carpio, Louise Stein presents in detail the career of a man who deeply influenced the development of opera in seventeenth-century Madrid, Rome, Naples, Peru, and Mexico. With meticulous research, brilliant cultural insights, deft musical analysis, and lively prose, our foremost scholar of Hispanic Baroque music sets the stage for dozens of new projects.

• Introduction: An Extraordinary Patron Chapter 1. Inventing Hispanic Opera: Opera as Epithalamium Material Traces of an Interest in Music Heliche's Temperament Heliche, Mariana, and Theatrical Production in Madrid Heliche and the Renovation of the Coliseo del Buen Retiro Artistic Collaboration Performers Women Singing Onstage Opera Production in Madrid; The Context for the "Lost" La púrpura de la rosa The Music of Celos aun del aire matan Conclusion Epilogue: Exile and Subsequent Travel Chapter 2. Negotiating Operatic Culture in Rome 1677-82 A First Experience of Italian Opera Italian Opera as Heard by Spanish Compatriots Amidst the Vicissitudes of Opera Production in Rome Entertainments With a Spanish Flavor The 1681 Serenata in Piazza di Spagna Patron and Protector in Rome Spanish Productions at Palazzo di Spagna Conclusion: "el buen gusto romano"? Chapter 3. Naples, Opera, and Spanish Viceroys to 1683 The Count of Oñate and the First Operas in Naples Spaces for Opera in Oñate's Naples Viceroys and Inconsistent Levels of Support Operas at the Teatro di San Bartolomeo After the Fire Operas for Special Occasions Spanish Operas for Dynastic Celebrations Conclusions Chapter 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87 Practical Considerations --Theaters and Finances for Opera in Naples -- A Palace Theater --A Public Commercial Theater --Libretti and the Schedule of Productions --Opera Finances in Naples --Musicians and Singers The 1683-84 Naples Opera Season --L'Aldimiro o vero Favor per favore --La Psiche, ovvero Amore innamorato --Giulia Francesca Zuffi and the donnesca voce --Giovanni Francesco Grossi and Amore --Il Pompeo --La Tessalonica in 1684 The 1684-85 Naples Opera Season --Il Giustino --L'Epaminonda --Il Galieno --Summer Festivities The 1685-86 Naples Opera Season --Il Fetonte --Olimpia vendicata --L'Etio Carpio's Final Season 1686-87 --L'Olimpo in Mergellina (serenata) --Il Nerone --Clearco in Negroponte --Il Roderico Tutto il mal: a private opera in 1686 or 1687 Carpio in Naples, Some Conclusions Chapter 5. An Operatic Legacy in the Americas The Context for Opera in the American Viceroyalties La púpura de la rosa in Lima 1701 --Legitimizing Public Secular Music and the Emerging Criollo Culture --The Extant Lima Score --Torrejón as Composer or Compiler? --Hidalgo's Music Inside Torrejón's Opera --Hidalgo's Music Reaching Lima --Torrejón y Velasco and the Loa --Coplas, estribillos, bailes, freely declamatory song Opera in New Spain --Celos aun del aire matan? --The Italian paradigm in New Spain --La Partenope, El Zelueco, and Neapolitan models --The Sumaya Question An Appreciable Contemporaneity Epilogue: Lima 1943 Appendices --Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa --Appendix 2: Theaters in the Carpio Inventories --Appendix 3: Singers in Carpio's Naples Productions Bibliography Printed Sources Before 1800 Printed Sources After 1800 Index

Louise K. Stein is Professor of Musicology, Medieval and Early Modern Studies, and Latin American Studies at the University of Michigan. She has contributed critical editions of the first opera of the Americas, La púrpura de la rosa (1999) and the first extant Spanish opera, Celos aun del aire matan (2014). Her first book Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (OUP 1993) received the First Book Prize from the Society for Spanish and Portuguese Historical Studies. In 1996, she was awarded the Noah Greenberg Award by the American Musicological Society for distinguished contributions to the study and performance of early music.

In her book on diplomat and entrepreneur Marquis del Carpio, Louise Stein presents in detail the career of a man who deeply influenced the development of opera in seventeenth-century Madrid, Rome, Naples, Peru, and Mexico. With meticulous research, brilliant cultural insights, deft musical analysis, and lively prose, our foremost scholar of Hispanic Baroque music sets the stage for dozens of new projects.

• Introduction: An Extraordinary Patron Chapter 1. Inventing Hispanic Opera: Opera as Epithalamium Material Traces of an Interest in Music Heliche's Temperament Heliche, Mariana, and Theatrical Production in Madrid Heliche and the Renovation of the Coliseo del Buen Retiro Artistic Collaboration Performers Women Singing Onstage Opera Production in Madrid; The Context for the "Lost" La púrpura de la rosa The Music of Celos aun del aire matan Conclusion Epilogue: Exile and Subsequent Travel Chapter 2. Negotiating Operatic Culture in Rome 1677-82 A First Experience of Italian Opera Italian Opera as Heard by Spanish Compatriots Amidst the Vicissitudes of Opera Production in Rome Entertainments With a Spanish Flavor The 1681 Serenata in Piazza di Spagna Patron and Protector in Rome Spanish Productions at Palazzo di Spagna Conclusion: "el buen gusto romano"? Chapter 3. Naples, Opera, and Spanish Viceroys to 1683 The Count of Oñate and the First Operas in Naples Spaces for Opera in Oñate's Naples Viceroys and Inconsistent Levels of Support Operas at the Teatro di San Bartolomeo After the Fire Operas for Special Occasions Spanish Operas for Dynastic Celebrations Conclusions Chapter 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87 Practical Considerations --Theaters and Finances for Opera in Naples -- A Palace Theater --A Public Commercial Theater --Libretti and the Schedule of Productions --Opera Finances in Naples --Musicians and Singers The 1683-84 Naples Opera Season --L'Aldimiro o vero Favor per favore --La Psiche, ovvero Amore innamorato --Giulia Francesca Zuffi and the donnesca voce --Giovanni Francesco Grossi and Amore --Il Pompeo --La Tessalonica in 1684 The 1684-85 Naples Opera Season --Il Giustino --L'Epaminonda --Il Galieno --Summer Festivities The 1685-86 Naples Opera Season --Il Fetonte --Olimpia vendicata --L'Etio Carpio's Final Season 1686-87 --L'Olimpo in Mergellina (serenata) --Il Nerone --Clearco in Negroponte --Il Roderico Tutto il mal: a private opera in 1686 or 1687 Carpio in Naples, Some Conclusions Chapter 5. An Operatic Legacy in the Americas The Context for Opera in the American Viceroyalties La púpura de la rosa in Lima 1701 --Legitimizing Public Secular Music and the Emerging Criollo Culture --The Extant Lima Score --Torrejón as Composer or Compiler? --Hidalgo's Music Inside Torrejón's Opera --Hidalgo's Music Reaching Lima --Torrejón y Velasco and the Loa --Coplas, estribillos, bailes, freely declamatory song Opera in New Spain --Celos aun del aire matan? --The Italian paradigm in New Spain --La Partenope, El Zelueco, and Neapolitan models --The Sumaya Question An Appreciable Contemporaneity Epilogue: Lima 1943 Appendices --Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa --Appendix 2: Theaters in the Carpio Inventories --Appendix 3: Singers in Carpio's Naples Productions Bibliography Printed Sources Before 1800 Printed Sources After 1800 Index