Vallicella. Music and influence Curiously, Landi's secular music is more conservative than most of his sacred music, and his first book of madrigals, for five voices and basso continuo, is almost indistinguishable in style from many late 16th-century collections, except for the basso continuo part. His other secular music consists of strophic airs, arias, and other songs for voice and basso continuo. Landi's masses, of which there are only two, are in the simple, 16th-century style encouraged (and sometimes demanded) by the Counter-Reformation. However he uses the Venetian concertato style for some of his motets, as well as his Magnificat and Vespers psalm settings, probably as a result of the years he spent in northern Italy. By far his most famous composition, and one of the most significant operas of the early Baroque, is his setting of the life of fifth-century Saint Alexis, Il Sant'Alessio. Not only is it the first opera to be written on a historical subject, but it carefully describes the inner life of the saint, and attempts psychological characterization of a type new to opera. Most of the interspersed comic scenes, however, are anachronistically (and hilariously) drawn from contemporary life in 17th-century Rome. The part of Sant'Alessio himself is extremely high, and was meant to be sung by a castrato. At the initial performance, half of the singers were from the papal choir, and there were several soprano parts sung by other castrati. The accompanying orchestra is up-to-date, dispensing with the archaic viols and using violins, cellos, harps, lutes, theorbos, and harpsichords. The opera includes introductory canzonas which function as overtures; indeed they are the first overtures in the history of opera. Dances and comic sections mix with serious arias, recitatives, and even a madrigalian lament, for an overall dramatic variety which was extremely effective, as attested by the frequent performances of the opera at the time. Sant'Alessio was one of the first staged dramatic works successfully to mix both the monodic and polyphonic styles. References and further reading Arnaldo Morelli, "Landi, Stefano", in Dizionario Biografico degli Italiani Margaret Murata: "Stefano Landi", Grove Music Online ed. L. Macy (Accessed January 9, 2005), Grove Music Online Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. Donald Jay Grout, A Short History of Opera. New