Colleen Reardon is a Professor of Music at the University of California, Irvine. She is a devoted topo d'archivio (archive rat) whose research centers on musical culture in early modern Siena. She enjoys teaching music history classes of all stripes, including specialized courses on Jane Austen and Music, Film Music, and the Musicals of Stephen Sondheim. When not teaching or doing research, she can be found devouring mystery novels.

• Table of Contents AcknowledgmentsAbbreviations Introduction Chapter 1: The Curtain Rises Chapter 2: A Festive Culture and its Sociable Network Chapter 3: The Chigi between Rome and Siena Chapter 4: A Princess Comes to Town Chapter 5: Siena, the Chigi, and the Pastoral Documents Chapter 6: Pastoral Reflections, Political Drama, and the End of an Era Chapter 7: The Rozzi and Opera in the 1690s Documents Chapter 8: Innocence Recognized and Cammilla Revived Documents Chapter 9: Gigli's Last Bow and the Return of the Pastoral Documents Appendix: Chronology of Opera in Siena, 1669-1704 Bibliography

Throughout A Sociable Moment, a plethora of archival sources support an engaging account of Sienese opera in late seventeenth and early eighteenth centuries. Most importantly, Reardon establishes Siena as its own, distinct opera center characterized by the roles assumed by members of its patrician class as financiers, impresarios, and musicians Reardon provides a colorful and detailed account of operatic life in the Tuscan city.

Colleen Reardon is a Professor of Music at the University of California, Irvine. She is a devoted topo d'archivio (archive rat) whose research centers on musical culture in early modern Siena. She enjoys teaching music history classes of all stripes, including specialized courses on Jane Austen and Music, Film Music, and the Musicals of Stephen Sondheim. When not teaching or doing research, she can be found devouring mystery novels.

• Table of Contents AcknowledgmentsAbbreviations Introduction Chapter 1: The Curtain Rises Chapter 2: A Festive Culture and its Sociable Network Chapter 3: The Chigi between Rome and Siena Chapter 4: A Princess Comes to Town Chapter 5: Siena, the Chigi, and the Pastoral Documents Chapter 6: Pastoral Reflections, Political Drama, and the End of an Era Chapter 7: The Rozzi and Opera in the 1690s Documents Chapter 8: Innocence Recognized and Cammilla Revived Documents Chapter 9: Gigli's Last Bow and the Return of the Pastoral Documents Appendix: Chronology of Opera in Siena, 1669-1704 Bibliography

Throughout A Sociable Moment, a plethora of archival sources support an engaging account of Sienese opera in late seventeenth and early eighteenth centuries. Most importantly, Reardon establishes Siena as its own, distinct opera center characterized by the roles assumed by members of its patrician class as financiers, impresarios, and musicians Reardon provides a colorful and detailed account of operatic life in the Tuscan city.

Colleen Reardon is a Professor of Music at the University of California, Irvine. She is a devoted topo d'archivio (archive rat) whose research centers on musical culture in early modern Siena. She enjoys teaching music history classes of all stripes, including specialized courses on Jane Austen and Music, Film Music, and the Musicals of Stephen Sondheim. When not teaching or doing research, she can be found devouring mystery novels.

• Table of Contents AcknowledgmentsAbbreviations Introduction Chapter 1: The Curtain Rises Chapter 2: A Festive Culture and its Sociable Network Chapter 3: The Chigi between Rome and Siena Chapter 4: A Princess Comes to Town Chapter 5: Siena, the Chigi, and the Pastoral Documents Chapter 6: Pastoral Reflections, Political Drama, and the End of an Era Chapter 7: The Rozzi and Opera in the 1690s Documents Chapter 8: Innocence Recognized and Cammilla Revived Documents Chapter 9: Gigli's Last Bow and the Return of the Pastoral Documents Appendix: Chronology of Opera in Siena, 1669-1704 Bibliography

Throughout A Sociable Moment, a plethora of archival sources support an engaging account of Sienese opera in late seventeenth and early eighteenth centuries. Most importantly, Reardon establishes Siena as its own, distinct opera center characterized by the roles assumed by members of its patrician class as financiers, impresarios, and musicians Reardon provides a colorful and detailed account of operatic life in the Tuscan city.