This study of some sixty-odd Italian-language music-theater pieces for Holy Week in seventeenth-century Vienna addresses the issues of Habsburg dynastic piety, memory and commemoration, Passion devotion, and political meaning in the works. It further considers some surprising conjunctions of poetic conceptualism in connection with surprising—and theatrical—musical techniques. The pieces were meant to be performed in front of a constructed replica of Christ’s tomb—hence their Italian sobriquet, sepolcri—and often with an additional stage-set. Flourishing during the reign of Emperor Leopold I (1657–1705), the genre was also indebted to the patronage and piety of the women around him, including his stepmother, the Dowager Empress Eleonora, his three wives, and several of his daughters. The libretti, many by the famed Nicolo Minato, show unusual textual strategies in the recollection of Christ’s Passion, as they are imagined to take place after his burial. But they also involve wider realms of the dynastic’s self-image, material possessions, and political ideology. Although both the texts and the music—the latter by a variety of composers, most notably Giovanni Felice Sances and Antonio Draghi, along with Leopold himself—are little studied today, they also combined in performance to provide a sonic enactment of mourning according to the most recent norms of Italian musical dramaturgy.
Planting the Cross: Catholic Reform and Renewal in Sixteenth- and Seventeenth-Century France, written by Barbara B. Diefendorf