* 1600 – Jacopo Peri's Euridice, the earliest surviving opera, receives its première performance in Florence, signifying the beginning of the Baroque Period

The proxy wedding ceremony in Florence was celebrated with lavish entertainments, including examples of the newly-invented musical genre of opera, Jacopo Peri's Euridice.

Duke Cesare d ' Este hired Vecchi in 1598 to be his maestro di corte, i. e. the master of music at his court, and Vecchi accompanied him to Rome and Florence in 1600 ; while in Florence he heard Jacopo Peri's opera Euridice.

Only fragments of its music still exist, but several other Florentine works of the same period — Rappresentatione di Anima, et di Corpo by Emilio de ' Cavalieri, Peri's Euridice and Giulio Caccini's identically titled Euridice — survive complete.

On 6 October 1600, while visiting Florence for the wedding of Maria de ' Medici to King Henry IV of France, Duke Vincenzo attended a production of Peri's Euridice.

For help in creating a dramatic form, Striggio drew on other sources — Poliziano's 1480 play, Guarini's Il pastor fido, and Ottavio Rinuccini's libretto for Peri's Euridice.

Florence's ruling Medici family was sufficiently taken with Dafne to allow Peri's next work, Euridice, to be performed as part of Marie de ' Medici and Henry IV's wedding celebrations in 1600.

However the 1600 celebrations also included a portent of things to come in the form of performances of Jacopo Peri's opera Euridice, the earliest surviving example of the form.

His rivalry with both Emilio de ' Cavalieri and Jacopo Peri seems to have been intense: he may have been the one who arranged for Cavalieri to be removed from his post as director of festivities for the wedding of Henry IV of France and Maria de ' Medici in 1600 ( an event which caused Cavalieri to leave Florence in fury ), and he also seems to have rushed his own opera Euridice into print before Peri's opera on the same subject could be published, while simultaneously ordering his group of singers to have nothing to do with Peri's production.

* The pastorale, Euridice, used as the libretto for Peri's opera, Euridice, and Giulio Caccini's opera of the same name.

The staging in 1600 of Peri's opera Euridice as part of the celebrations for a Medici wedding, the occasions for the most spectacular and internationally famous intermedi of the previous century, was probably a crucial development for the new form, putting it in the mainstream of lavish courtly entertainment.

( Caccini wrote his own " Euridice " even as he supplied music to Peri's opera, published this version before Peri's was performed, in 1600, and got it staged two years later.

When Caccini discovered that Peri intended to publish the opera with the added Caccini pieces, he rushed to finish his own version of Euridice using the same libretto, and managed to have his published before Peri's.

Peri's critics have observed that within the score of Euridice, he created no musically remarkable examples of either.

* Peri's Black Russian is the same as the Dirty Black Russian, but with the addition of Vanilla Vodka instead of the plain Vodka used.

It started in Italy at the end of the 16th century ( with Jacopo Peri's lost Dafne, produced in Florence around 1597 ) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century.

As opera developed, the dramatic pastoral came to the fore with such works as Jacopo Peri's Dafne and, most notably, Monteverdi's L ' Orfeo.

Despite Yellow Peri's contrary advice, Doctor Occult trusts her with the Unspoken Principum, a mysterious and universal truth that every condemned soul knows, but s / he can never communicate by any means.

Beginning with the story Timelash, and continuing through the Trial season, Peri's mode of dress became more conservative.

Both this and the changes in their appearances, particularly Peri's hairstyle and mode of dress suggest a long gap between this story and their previous on-screen appearance in Revelation of the Daleks and allowing for " unseen " adventures in the spin-off media to be placed there.

As the operation is being prepared, the Doctor sneaks away and frees Yrcanos, urging him on for Peri's safety.

The Doctor is not keen to treat Lang, more concerned for his own life, but eventually agrees to Peri's persuasion.

* Libretto for Jacopo Peri's opera Dafne, first performed early in 1598

Peri composed all of the music for the first production, but owing to the integral involvement of Caccini and his performers, some of Peri's music was finally replaced by that of Caccini.

Peri's influence on those later composers, however, was large.

Peri's sister, Patti Jo Wynne, and her step-siblings by her mother's second marriage, Marc and April Gilpin, also are actors.

She is godmother to Frasier co-star Jane Leeves's daughter Isabella, and Jane is godmother to Peri's daughter Stella.

The first Italian opera was Jacopo Peri's Dafne of 1598.

Despite the Doctor claiming that the Time Lords ' interference has put Peri's life in danger, the Valeyard rebuffs this, stating that the Doctor shouldn't have become involved in the first place, and Peri's life is the cost of his involvement.

The graphic novel The Age of Chaos, written by Colin Baker ( who played the Sixth Doctor ) revealed that Frobisher and the Sixth Doctor visited Peri's descendants several times, so Frobisher must have rejoined the Doctor after Trial in an unseen story.

Most of Peri's music has been lost, despite its popularity and fame in Europe at the time of its composition, but the 455 line verse libretto was published and survives.

" Though Peri's Dafne was the first performed opera, its music has been lost to the centuries.

Comparing himself to Caccini, he said of their two styles: " music moves people to pleasure and sadness, while theirs Caccini's and Peri's moves them to boredom and disgust.

The work clearly followed in Gluck's footsteps and embraced his reform of serious opera begun with Orfeo ed Euridice and Alceste.

On 5 October 1762, Orfeo ed Euridice was given its first performance, with music by Gluck to words by Calzabigi.

On 2 August 1774 the French version of Orfeo ed Euridice was performed, with the title role transposed from the castrato to the tenor voice.

* February 6 – Contralto Kathleen Ferrier, already terminally ill with cancer, leaves Covent Garden Opera House on a stretcher after being taken ill on the second night of her run in Gluck's Orfeo ed Euridice.

Orfeo ed Euridice is the first of Gluck's " reform " operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a " noble simplicity " in both the music and the drama.

Beginning with Orfeo ed Euridice, Gluck drastically cut back on the possibilities for vocal virtuosity afforded to singers, abolished secco recitative ( thereby heavily reducing the delineation between aria and recitative ), and took great care to unify drama, dance, music, and theatrical practice in the synthesis of Italian and French traditions.

The US premiere followed a month after Covent Garden's at the Grand Opera House in New York on 15 June, while the Metropolitan Opera first staged the work on 11 December of the same year ( along with Orfeo ed Euridice ), the Nedda being sung by Nellie Melba.

* Gluck, Orfeo ed Euridice with Karl Richter

Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza.

Notable productions were Lulu ( 1962 ; conducted by Karl Böhm, staged by Otto Schenk, designed by Caspar Neher, starring Evelyn Lear ), Haydn's Orfeo ed Euridice ( 1967 ; conducted by Richard Bonynge, staged by Rudolf Hartmann, with Nicolai Gedda, Joan Sutherland ), Fidelio ( 1970 ; conducted by Leonard Bernstein, staged by Schenk, with Gwyneth Jones, James King ), Il ritorno d ' Ulisse in patria ( 1971 ; conducted by Nikolaus Harnoncourt, staged by Federik Mirdita ), L ' elisir d ' amore ( 1973 ; conducted by Silvio Varviso, staged by Schenk, with Nicolai Gedda, Reri Grist, Eberhard Wächter ), Die Fledermaus ( 1975 ; conducted by Mstislav Rostropovich, staged by Michael Kehlmann, with Wiesław Ochman, Reri Grist, Elizabeth Harwood, Waldemar Kmentt ), La clemenza di Tito ( 1976 ; conducted by Julius Rudel, staged by Mirdita, with Werner Hollweg, Teresa Berganza, Arleen Augér, Edda Moser ), Fierrabras ( 1988 ; conducted by Claudio Abbado, staged by Ruth Berghaus, with Thomas Hampson, Karita Mattila, László Polgár ), Die Entführung aus dem Serail ( 1989 ; conducted by Harnoncourt, staged by Ursel Herrmann, Karl-Ernst Herrmann ), Don Giovanni ( 1990 ; conducted by Abbado, staged by Luc Bondy, with Ruggero Raimondi, Karita Mattila, Marie McLaughlin, Cheryl Studer ), Le nozze di Figaro ( 1991 ; conducted by Abbado, staged by Jonathan Miller, with Ruggero Raimondi, Marie McLaughlin, Cheryl Studer ) and the world premiere of Adriana Hölszky's Die Wände ( 1995 ; conducted by Ulf Schirmer, staged by Hans Neuenfels ).