caa a22 4500 388066598 CHVBK 20180307125134.0 cr unu---uuuuu 161130e199903 xx s 000 0 eng 10.1017/S0954586700005504 doi S0954586700005504 pii (NATIONALLICENCE)cambridge-10.1017/S0954586700005504 Gordon Bonnie Talking back: the female voice in Il ballo delle ingrate [Elektronische Daten] [Bonnie Gordon] Suzanne Cusick has recently argued that the musical processes of Monteverdi's Lamento d'Arianna purge Ariadne of passion and desire in order symbolically to make her a good wife. Written for the 1608 marriage of Francesco Gonzaga to Margherita de Savoy, the lament, according to Cusick, reflects Renaissance marriage and gender ideologies that were determined to silence women and put them in their place. Ariadne has dared to choose her own mate and therefore must suffer. Her fate is dramatised by her uncharacteristically long lament, which enacts the transformation women experienced as they gave up their own desires to the constraining institution of marriage. Cusick's argument is in line with recent critical tendencies to read early modern culture in terms of the opposition between passive female silence and active male desire. Copyright © Cambridge University Press 1999 Cambridge Opera Journal Cambridge University Press 11/1(1999-03), 1-30 0954-5867 11:1<1 1999 11 OPR https://doi.org/10.1017/S0954586700005504 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0954586700005504 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Gordon Bonnie NATIONALLICENCE 773 0- Cambridge Opera Journal Cambridge University Press 11/1(1999-03), 1-30 0954-5867 11:1<1 1999 11 OPR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 117192341 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge