In the prologue, Talia (Thalia) and Urania announce an inspiring story. Baldassara, a successful actress admired by Alvaro and Rodrigo, is tormented: as she performs the role of Clorinda in the company of Beatrice, Lisa, and Biscotto in a theatrical adaptation of La Gerusalemme Liberata by Torquato Tasso, she is so disturbed that she misses her cue. Baldassara understands that her torment comes from the fact that, while she plays the role of a young Christian, she has turned a deaf ear to the calls of God. Right in the middle of the performance, she leaves to exile herself in the desert, pursued by Biscotto and Lisa, who attempt to deter her from her goal. Beatrice, however, has only contempt for her rival; the other actors apologize to the public, who seem enthusiastic at the performance of who they call the "Comica del Cielo" (the Actress from the Heavens). During her exile, Baldassara discovers the beauty in solitude, while Lisa and Biscotto see only horror. She refuses their pleas to return to Valenza. The Demon, disguised as a hunter, tempts Alvaro, who has left in search of his lover: the young man finds Baldassara, who implores him to devote his life to God. In despair, he leaves to throw himself from a cliff. Baldassara tries to stop him, but a boulder in the form of a cross intervenes. Baldassara kneels before the power of the Divine. Biscotto, in hermit's robes, decides to stay at her side despite objections from Lisa. During her slumber, the Demon sends Baldassara temptations: upon her wake, she repels him with a Christian symbol, which breaks the spell. Biscotto, however, regardless of Lisa's warnings, tastes a cake from the Demon: the bitterness in his mouth remains, but he succeeds in chasing the Demon away. Act II ends with a ballet. Beatrice arrives in the desert after the death of Tafer, who she followed across the oceans and who was defeated by Rodrigo. In a nocturnal scene, Baldassara and Biscotto discover Beatrice and successfully dissuade her from killing herself. Rodrigo, arriving mid-reunion, wants to kill Beatrice to avenge her infidelity. Baldassara interjects and commands him to turn toward God. After these multiple conversions Penitenza (Penitence) appears to Baldassara to bring her her rewards; she confronts the Demon and triumphs over him. Since Alvaro hopes to regain his good graces with the help of Lisa, he finds Baldassara dead, in the midst of a choir of angels and happy souls.

Not specified

Spain

Madrid

Italy

Rome

Printed

Conversion

Desert

Hermit

Actress

Miracle

Edifying

Heroic

Religious

Epic

Italian

La Conversione di Santa Baldassarra Comica Spagnuola; La Comica celeste

ovvero La Baldassara

Thalie

Muse

Uranie

Lover (man)

King

Counselor

Servant

Maid

Devil

Soldier

Spectator

Choir

Angel

Play in verse

Chorus

Interlude

Prologue

Theatre within the theatre

Crowd

Sleeping character

Soliloquy

Night scene

Revelation

Failed suicide

Apparition of the Devil

Pact with the devil

Allegory

Death on stage

Flying machine

Apotheosis

Ascent to heaven

Apparition of an angel

La Comica del Cielo

The Actress from the Heavens

The play begins on the banks of the Tiber river, where Costantino (Constantine) is about to fight the usurper Massenzio (Maxentius), son of Massimiano (Maximian), whose crown he stole. The Sky opens, and Religion appears to announce Costantino’s victory to him. Costantino promises to avenge his sister Costanza (Constantia), who was betrayed by Licinio (Licinius): the latter was supposed to marry her and make her queen of Orient, but he joined the enemy. In Rome, Arsace passes on Costantino’s offer of peace to Massimiano, who rejects them. Fausta, Massimiano’s daughter, announces her brother’s defeat: her father asks her to swear fealty to the winner. Arsace, whom the audience believed to be in love with Fausta, gives unclear reasons to explain that he cannot love her. During a triumphant procession, the legitimate Emperor moves with the chariot of Fama (Renown), pulled by winged horses; then Fama promises Costantino victory. When the latter makes a speech to the Romans to bring them peace, Fausta throws herself at his feet. In the procession, Planco, Costanza’s servant, is looking for Licinio. Thanks to a portrait, he recognises Arsace as his mistress’ future husband. Convinced that Licinio betrayed her, Costanza promises that she will take revenge on him. Informed by Planco, Costanza pretends not to have recognised Licinio—she wants to feel just how badly she was betrayed. Licinio is won by love and reveals himself to her; he manages to make her reconcile with him: she suggests that she remains hidden before she is certain that her brother will be merciful. Drusilla learns from Planco that Costantino no longer has a wife, and that he can therefore become Fausta’s lover. But Massimiliano despairs and asks his daughter to avenge her dead brother by leading Costantino into a trap, at which point Arsace will kill him; then, he promises to marry his daughter with the murderer. Fausta refuses; Costantino finds her as she is crying. When he tells her that he wishes everyone could unite thanks to his peace proposal, she lets him know that his father left to cry from sorrow. He asks her to take him to her father, insistent despite Fausta’s vague warnings. In the forest, Massimiano is waiting for Costantino; he is with Arsace, who vainly tries to talk him into choosing peace. Costantino arrives with Fausta. As he is about to embrace the defeated king, conspirators ambuscade him. Arsace intervenes to save him; so does Fausta. Not knowing who to believe in this confusing situation, Costantino sends the three suspects to prison. When he tries to find out who the culprits are, Costantino reconciles with Arsace, whom he recognises as Licinio. But Costanza, convinced that her husband betrayed her with Fausta, wants him dead. Announcing that Massimiano is threatening his own daughter as punishment for having saved Costantino, Drusilla tells Costanza the truth. Fausta flees into the forest, looking for her father who went insane. She manages to control him, then denounces herself to Costantino. In the dungeons of the place, Arsace is locked up; Costanza meets him there. Suspecting that the two conspirators, Arsace and Fausta, are meeting, Costantino walks in on them: Costanza, leaving the prison, throws herself at his feet to tell him the truth. In the final scene, Costantino is accompanied by a procession and celebrates peace; he gives up his plan to take revenge. The play ends with two marriages, and Massimiano is said to be on the run. Then, Faith appears, surrounded by the Liberal arts.

Ottoboni Pietro

Faith

Emperor

Ancient history

Usurper

Roman History

Fantasy

Il Costantino pio (1710), title page

Sister

Lady-in-waiting

Music

Disguised character (false identity)

Vision

Monologue

Procession

Attempted assassination

Running away

Apparition

Clouds

Il Costantino Pio

Constantine the Pious

Pulcinella and Death have a daughter, Baby, who suffers from the difficulties of her parents' separation: Pulcinella is now engaged to Teresina and wants Death to leave him alone. Death would like Baby to become a great actress, so she has enrolled her in an acting class: the end-of-year recital is the next day. During the night, Pulcinella steals the poem Baby was supposed to recite and she loses her voice. In an attempt to get it back, Baby enters Pulcinella's belly to retrieve the poem. When Baby emerges from Pulcinella's belly, Teresina, who had prayed to San Gennaro to give her a child with Pulcinella, thinks that Baby is their longed-for child. So, when Death is about to take Baby back, Teresina makes a jealous scene and gets angry at Pulcinella. Death begs Pulcinella to return, but to no avail. Finally, Baby grows up and manages to do the job she wanted: driver of the Neapolitan underground called "Circumvesuviana".