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Muir E. The Culture Wars of the Late Renaissance: Skeptics, Libertines, and Opera. Vol The Bernard Berenson lectures on the Italian Renaissance. Harvard University Press; 2007. http://ebookcentral.proquest.com/lib/auckland/detail.action?docID=3300387
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Gordon B. Monteverdi’s Unruly Women: The Power of Song in Early Modern Italy. Vol New perspectives in music history and criticism. Cambridge University Press; 2004.
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McClary S. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. University of California Press; 2004. http://hdl.handle.net/2027/heb.05544.0001.001
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FABBRI P. NEW SOURCES FOR ?POPPEA? Music and Letters. 1993;74(1):16-23. doi:10.1093/ml/74.1.16
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Whenham, John. Monteverdi’s ‘Selva morale e[t] spirituale’ (1641): Some Anomalies Explored through the Five Exemplars. https://muse-jhu-edu.ezproxy.auckland.ac.nz:9443/article/565473
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Kurtzman JG. Approaches to Monteverdi: Aesthetic, Psychological, Analytical and Historical Studies. Vol Collected studies. Ashgate; 2013.
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Kurtzman, J. L ‘INCORONAZIONE DI POPPEA’ - AN OPERA IN A PROLOGUE AND 3 ACTS - MONTEVERDI,C, CURTIS,A, EDITOR. Notes. 1991;48(1):276-279. http://www.jstor.org.ezproxy.auckland.ac.nz/stable/941832?seq=1#page_scan_tab_contents
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Carter, Tim. L’incoronazione di Poppea. Early Music. 1990;18(1). http://www.jstor.org.ezproxy.auckland.ac.nz/stable/3127864?seq=1#page_scan_tab_contents
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Sternfeld FW. Reviews. Journal of the Royal Musical Association. 1991;116(2):307-311. doi:10.1093/jrma/116.2.307
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Heller W. Tacitus Incognito: Opera as History in ‘L’incoronazione di Poppea’. Journal of the American Musicological Society. 1999;52(1):39-96. doi:10.2307/832024
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ORFEO? AND ?PELL?AS? Music and Letters. 1939;XX(4):381-398. doi:10.1093/ml/XX.4.381
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F. S. H. Monteverde’s ‘Orfeo’ at Oxford. https://search-proquest-com.ezproxy.auckland.ac.nz/docview/7831784/67524E4216FE4AA6PQ/2?accountid=8424
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Howes F. Notes on Monteverde’s ‘Orfeo’. The Musical Times. 1924;65(976). doi:10.2307/913262
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Westrup JA. Monteverde’s ‘Orfeo’. The Musical Times. 1925;66(994). doi:10.2307/912044
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Heller W. Venice without the Carnival: Pierre Audi’s Monteverdi Cycle on DVD. The Opera Quarterly. 2008;24(3-4):293-306. doi:10.1093/oq/kbp015
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Dell’Antonio A. Il divino Claudio: Monteverdi and lyric nostalgia in fascist Italy. Cambridge Opera Journal. 1996;8(03). doi:10.1017/S0954586700004754
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Schneider MT. Seeing the Empress Again On Doubling in L’incoronazione di Poppea. Cambridge Opera Journal. 2012;24(03):249-291. doi:10.1017/S0954586712000286
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Carter T. ?In Love’s harmonious consort?? Penelope and the interpretation of Il ritorno d’Ulisse in patria. Cambridge Opera Journal. 1993;5(01). doi:10.1017/S0954586700003852
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Rosand E. Monteverdi’s Last Operas: A Venetian Trilogy. University of California Press; 2007. http://quod.lib.umich.edu.ezproxy.auckland.ac.nz/cgi/t/text/text-idx?c=acls;idno=heb09011.0001.001
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Rosand E. Opera in Seventeenth-Century Venice: The Creation of a Genre. University of California Press; 1991.
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Kurtzman JG. The Monteverdi Vespers of 1610: Music, Context, Performance. Oxford University Press; 1999.
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Whenham J. Monteverdi, Vespers (1610). Vol Cambridge music handbooks. Cambridge University Press; 1997. http://hdl.handle.net/2027/heb.07627.0001.001
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Whenham J. Claudio Monteverdi, Orfeo. Vol Cambridge opera handbooks. Cambridge University Press; 1986.
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Eco U, Weaver W. The Island of the Day Before. 1st U.S. ed. Harcourt Brace & Co; 1995.
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Monteverdi C, Badoaro G, Alessandrini R. Il Ritorno d’Ulisse in Patria: Tragedia Di Lieto Fine in Un Prologo e Tre Atti. Bärenreiter; 2007.
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Whenham J. Monteverdi’s ‘Selva Morale E[T] Spirituale’ (1641): Some Anomalies Explored Through the Five Exemplars. Music and Letters. 2014;95(4):511-549. doi:10.1093/ml/gcu108
