Although he was a
pupil of Giuseppe Guami, organist of St. Mark's, himself an organist of
St. Michele in Bologna, and a serious theoretician, he was none the less
the author of several comedies and satires, which he wrote under the
pseudonym of Camillo Scaligeri della Fratta. He states in the title page
that his comedy, "Il Studio Dilettevole" (for three voices) produced in
1603, is after the manner of Vecchi's "Amfiparnaso." His "Saggezia
Giovenile," produced somewhat later, is equipped with a preface
containing full directions as the method of performing a madrigal drama.
He says:

"Before the music begins one of the singers will read in a loud
voice the title of the scene, the names of the personages and the
argument.

"The place of the scene is a chamber of moderate size, as well
closed as possible (for the quality of the sound). In an angle of
the room are placed two pieces of carpet on the floor and a pleasing
scene. Two chairs are placed, one at the right, the other at the
left. Behind the scene are benches for the singers, which are turned
toward the public and separated from one another by the breadth of a
palm. Behind these is an orchestra of lutes, clavicembali, and other
instruments, in tune with the voices. From above the scene falls a
large curtain which shuts off the singers and instrumentalists; the
rule of procedure will be according to the following order:

"The invisible singers read the music from their parts. They will be
three at a time, or better, six, two sopranos, two tenors, one alto
and one bass, singing or remaining silent according to the occasion,
giving with spirit the lively words and with feeling the sentimental
ones and pronouncing all with loud and intelligible voices according
to the judgment of prudent singers.

"The actors alone on the scene, and reciting, should prepare their
parts so as to know them by heart and in every detail of place and
time follow the music with all care as to time. It will not be a bad
idea to have a prompter to aid the singers, instrumentalists and
reciters."

The words, carefully chosen by the writer, prove conclusively that the
actors did not sing; they spoke. The only music was that which came from
behind the curtain at the rear.

Further directions for the performance of a madrigal drama by Vecchi
tell us that when a single person speaks on the stage, all the musical
parts join in representing him