Abstract

In Matteo Noris' 'drammi per musica' one can find many examples showing how a librettist can use specific forms of arias for dramaturgical purposes. Noris uses double arias (arias in two strophes sung by two characters) in many different situations: for instance in Traiano (1684) to explain that the two characters are falling in love or again but with opposite results in Attila (1672) where such a device is used to signify the characters' conflicting passions. When two characters have a specular behavior they often sing a paraphrase of the other's aria (as in I due tiranni al soglio, 1679, or in Nerone fatto Cesare, 1693). Sometimes the expectations of the public may be deceived if after a typical 'aria d'entrata' the character appears to be hindered by the unexpected apparition of his antagonist (Semiramide, 1671).