ABSTRACT
Although the general drift of Malipiero's stylistic development during the early 1950s can conveniently be traced in instrumental works such as the ones we have just been considering, the culminating point of his evolution during these years was to be reached, rather, in a work for the stage. Venere prigioniera (1955), probably the most intense (though not the most perfect) of Malipiero's post-war operas, may also be regarded as the real 'point of arrival' in which his finalperiod style, now fully fledged, at last came completely into its own. Before we turn to Venere prigioniera, however, some consideration must be given to two relatively slight stage pieces which immediately preceded it and in some ways paved the way for it. Donna Urraca (1953-4) and Ii capitan Spavento (1954-5) are both short one-act operas (the latter lasting barely twenty minutes); and although Ii capitan, all things considered, is much the better work of the two, they both nevertheless repay investigation for the light they throw on Malipiero's continuing development, both as composer and as music dramatist.
