Carnaval de Venise Campra's second work for the Académie Royale de Musique has significance in the history of the French lyric theatre for it is a rare example of an opéra- ballet with continuous action. The m ore typical genre exemplified by L'Europe galant has a separate plot for each act. By virtue of its single intrigue Le Carnaval de Venise is an important precursor of the French lyric comedy of which Rameau's Platée (1 746is perhaps the best known example. Le Carnaval de Venise served Campra as a study for his later opéra-ballet Les Fêumflex;tes vénitiennes (1710).
Of special interest in both works is the interpolation of an op era within an opera. A miniature Italian opera in eight scenes Orfeo nell'inferni forms one of the divertissements in the final act of Le Carnaval de Venise.
James R. Anthony:
(1922–2001) was a leading twentieth-century figure among American scholars of French music in the seventeenth and eighteenth centuries. A native of Rhode Island, Anthony had enrolled at the New England Conservatory in 1940 when war service interrupted his studies. He completed degrees at Columbia University, where he studied with Paul Henry Lang, and then took a diploma at the Sorbonne before completing a Ph.D. (1964) at the University of Southern California.
He served on the faculty at the University of Arizona with distinction for forty years. In 1989 his colleagues presented him with a volume of essays, Jean-Baptiste Lully and the music of the French Baroque, in recognition of his 65th year. In 1995 he was named Chevalier de lâ Ordre des Arts et des Lettres by the French Republic.