From 1680 to 1682, as part of the Carnival, Venice hosts three seasons of puppet operas written by Acciaiuoli and performed at the Teatro San Moisè. The theatre has been partly dismantled, but a temporary stage is set up for the occasion. Acciaiuoli stages three drammi per musica on this stage, using large counterweighted figures animated from beneath the stage, while singers and musicians play behind the stage. Following Il Leandro, the first performance of this kind shown at Venice the previous year, these three plays – Damira placata, L'Ulisse in Feaccia, and Il Girello – help Acciaiuoli (whose name never appears in the libretti) win a learnt and aristocratic audience, that reads the texts in printed libretti handed out before the performances. These libretti give many indications about the musicians, set designs, machines and dances of the shows.

L’Ulisse in Feaccia, a libretto by Acciaiuoli staged in 1681 with music by Antonio del Gaudio (whose score has unfortunately been lost), follows the example of the successful Damira placata, put on the year before: the aim is to entertain the Venetian audience again, perhaps even more this time. However, Acciaiuoli makes a significant change, building his puppets according to a Venetian tradition: in the preface intended to the “Amico lettore” (dear readers), he announces that the audience is about to see “human behaviours well shown”, with puppets no longer made of wood, but of wax. This material has been used in Venice for the processions of the parish of Santa Maria Maggiore since the 16th century, and the Jesuits also use it for their automated figures during the 17th century. This technique would also be used in Il Girello, which prompts us to believe that it met with great success.

The play is written in verses of varying metres. It is based on the Odyssey, with a plot largely resembling that of Il Novello Giasone and of Damira placata: like his predecessors, Ulisse (Ulysses) is torn between two women, one of whom is chaste, and the other fickle. Here, the women vying for his love are the two daughters of Ulisse’s host, Alcinoo (Alcinous). The story takes place at Court and features farcical elements through the characters of Delfo, introduced as a “ridiculous servant”, and of Lisa, the visionary nurse. In addition to the dance of male and female gardeners at the end of Act I, several scenes showcase the skills needed to manipulate the puppets: for instance, Cirene is seen in a mirror, stressing the beauty of her hair, as her servants are styling it; and Ulisse is seen boarding his boat. Other spectacular elements which probably required great technique are found in the sinking scene at the beginning of the play, when Delfo is rescued on the back of a dolphin, or at the show climax, when Minerva arrives on a machine, creating a dreamlike universe distinctive of the baroque performance of Venetian drammi per musica.

The play begins with the sinking of Ulisse’s (Ulysses’) boat. Ulisse is saved by Almira, who was making a sacrifice to Minerva on the beach with a choir of young girls. The young woman falls in love with Ulisse and has him escorted to the Court of her father, Alcinoo (Alcinous). In the following scene, Delfo, Ulisse’s hunchback servant, comes out of the water on a dolphin’s back. Cirene, Almira’s fickle daughter, also falls in love with Ulisse, who is now staying at Court. The two sisters fight for the stranger’s love, while Ormindo, Cirene’s unhappy lover, learns that she is wooing Ulisse. The first act ends with a dance of gardeners, both male and female.

Cirene speaks to Ulisse as she stands before her mirror: the prince confesses that he loves her, after Delfo made a few bawdy innuendos. Ormindo denounces his fickle lover to Ulisse, while Almira also confesses her love; her confession is echoed by Lisa’s farcical innuendos. Ulisse hesitates between the two sisters. Taking revenge on Cirene, Almira exposes her sister’s debauchery to Alcinoo, who swears that he will punish her. During a scene in which Ormindo draws Cirene’s portrait, the old nurse Lisa believes that the young man is pining for her. Disappointed when she learns the truth, she decides to take revenge on her rival by speaking in favour of Almira to Ulisse. Cirene’s father walks in on her as she is writing a letter to confess her love to the Prince of Ithaca. To save herself, she accuses Almira of having written the letter: Alcinoo disowns (his daughter) Almira.

Ulisse, who received the letter which Delfo says was written by Almira, is at a loss to understand the situation, and he falls asleep. In his sleep, Minerva speaks to him and reminds him of his duty to his country and to his wife Penelope: when he wakes up, he decides to leave Phaeacia. Cirene, wearing a mask, dismisses Ormindo. Ulisse takes leave of Alcinoo and of his daughters. Alcinoo decides to marry Ormindo and Cirene, who refuses herself to her suitor: the king then offers him to marry his daughter Almira.