Ottavio Rinuccini

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Rinuccini, Ottavio


Born Jan. 20, 1563, in Florence; died there Mar. 28, 1621. Italian poet, playwright, and librettist.

Rinuccini served at the court of the Medicis. He was a member of the Florentine Camerata and helped create the first operas, supplying the librettos for J. Peri’s Dafne (staged 1597–98) and Euridice (1600) and G. Caccini’s Euridice (1600; staged 1602). Between 1600 and 1604, Rinuccini made frequent visits to France. He wrote the libretto of C. Monteverdi’s opera Arianna(1608).


Civita, A. Ottavio Rinuccini e il sorgere del melodrama in Italia. Mantua, 1900.
Delia Corte, A. O. Rinuccini librettista, nella ristampa dei Drammi. Turin, 1926.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Her father was a descendant of Ottavio Rinuccini. the librettist of the first Florentine operas, and her mother was a descendant of the Counts de' Bardi.
Il librettista d'opera come figura professionale si afferma grazie ad Ottavio Rinuccini (Maria Galli Stampino) e Gian Francesco Busunello (Franco Fido), Andrea Perrucci (Salvatore Cappelletti).
If it is true that Medicean Florence saw the flourishing of the likes of Francesco Giambullare, Lionardo Salviati, and the Accademia Fiorentina--all of whom were hostile to humanistic precepts and supportive, therefore, of the absolutism of the Medici--it is also true that this historical period saw the prevalence of intellectuals such as Pier Vettori, Ottavio Rinuccini, and Jacopo Corsi, as well as the Accademia degli Alterati, all adherers to the ideals of civic humanism, which they labored valiantly to emulate and preserve.
The earliest operas, beginning in 1597 with Ottavio Rinuccini's Dafne, set to music by Jacopo Peri, were court entertainments, and as a commemoration the words were printed in a small book, or "libretto." In the 1630s Venetian opera became a public spectacle, and audiences used printed librettos to follow the drama.