caa a22 4500 386327386 CHVBK 20180307111658.0 cr unu---uuuuu 161130e198903 xx s 000 0 eng 10.1017/S0954586700002743 doi S0954586700002743 pii (NATIONALLICENCE)cambridge-10.1017/S0954586700002743 Rosselli John From princely service to the open market: Singers of Italian opera and their patrons, 1600-1850 [Elektronische Daten] [John Rosselli] We are used to thinking of ‘opera singer' as a profession. But no such profession existed when opera emerged as a genre at the turn of the sixteenth and seventeenth centuries, when the first public opera house opened in Venice in 1637, or for three or four decades after that: operas were too few to occupy most of anyone's time. In the early seventeenth century not even ‘singer' was as yet a clearly defined trade. Many singers were also instrumentalists: some accompanied themselves (and some also composed their own music), while others switched between singing and playing; the commonest Italian term for them all was musici. Others again were actors or actresses who could sing, like Virginia Andreini, drafted in an emergency to create the title part in Monteverdi's Arianna of 1608. Copyright © Cambridge University Press 1989 Cambridge Opera Journal Cambridge University Press 1/1(1989-03), 1-32 0954-5867 1:1<1 1989 1 OPR https://doi.org/10.1017/S0954586700002743 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0954586700002743 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Rosselli John NATIONALLICENCE 773 0- Cambridge Opera Journal Cambridge University Press 1/1(1989-03), 1-32 0954-5867 1:1<1 1989 1 OPR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge