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Celestina, a Tragic Music Comedy, by Bond, New York, 1999
Reviewed Celestinesca23.1-2 (1999)Songs (courtesy of Brad Bond)Press on the song to hear themHERE AM I
In this number, Melibea is in her moonlit garden waiting for Calisto to arrive. This demo features the new orchestration accompaniment. The singer…
Poster of editions of La Celestina and Lazarillo, Academia Mexicana (2018)
Poster of a conference in which editions of La Celestina and El Lazarillo will be announced.
Image of Celestina taking from one of the early illustrated editions to which a child, presumably Lazarillo, has been added.
Image of Celestina taking from one of the early illustrated editions to which a child, presumably Lazarillo, has been added.
Eclogue of Placida and Vitoriano, by Encina (1518, c.)
Same illustration used for the argument opening Fadrique de Basilea's Burgos 1499 edition of the Comedia de Calisto y Melibea.
Other title: Egloga nueuame[n]te trobada por juan d[e]l enzina : En la qual se introduzen dos enamorados llamada ella…
Other title: Egloga nueuame[n]te trobada por juan d[e]l enzina : En la qual se introduzen dos enamorados llamada ella…
Bookmark Calisto and Melibea, Codex Manesse (2018, c.)
Bookmark with an image of a couple taken from the Codex Manesse (Zurich, 1304) and the words describing love in La Celestina "it is a hidden fire" etc
Cover of the Antwerp edition (1574)
Cover that looks like a rotated copy from theZaragoza edition (1545)but from a much less careful production. See the description on Zaragoza's cover. It is an edition with illustrations that can be seen here.Very similar to the laterreeditionAntwerp…
Engraving from act 1 of Antwerp, 1574
Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.
Engraving from act 2 of Antwerp, 1574
Tres hombres hablando en la calle y. No está muy claro a qué escena de la obra se refiere pues la imagen es demasiado genérica.Copia girada y modificada de la deZaragoza, 1545. de la que cambia en que no hay una mujer en la…
Engraving from act 3 of Antwerp, 1574
Sempronio, acompañado de Celestina, llega a casa de ésta, donde está Elicia en el interior, ocupada en una labor.No tiene equivalente en la reedición deAmberes 1616Copia girada y alterada de la deZaragoza, 1545.
Engraving from act 4 of Antwerp, 1574
Se vuelve a usar en el acto 10. Es copia del acto 10 de la deZaragoza, 1545, que presenta una dirferente para el acto III.
Engraving from act 5 of Antwerp, 1574
Copia girada de la ilustración del acto V de laedición de Zaragoza(1545). Escena doble en que se presenta a la izquierda a Calisto sentado y Pármeno de pie, y a la derecha a Celestina llegando a casa de Calisto acompañada…
Engraving from act 6 of Antwerp, 1574
Copiada girada y alterada de la deZaragoza, 1545
Engraving from act 7 of Antwerp, 1574
Variación de la escena delacto VII de Zaragoza (1545). Celestina hablando con Pármeno a la puerta de Areúsa, que yace en la cama. Nótese que en esta versión, adiferencia del caso de la imagende Zaragoza (1545),la…
Engraving from act 8 of Antwerp, 1574
Escena doble. A la derecha Pármeno se ha levantado para ir a casa de su amo tras pasar la noche con Areúsa.Esta copiada de la deZaragoza, 1545. No tiene equivalente en la reedición deAmberes 1616
Engraving from act 9 of Antwerp, 1574
Escena del banquete en casa de Celestina. Es copia girada y simplifiicada (falta el gato) de la deZaragoza 1545.La ilustración usada en la reedición deAmberes 1616es muy diferente.
Engraving from act 10 of Antwerp, 1574
Esta copiada girada y cambiada de la edición deZaragoza, 1545.Se ha usado ya en el acto 4. No tiene equivalente enAmberes 1616en este capítulo, pero si en el 4.
Engraving from act 12 of Antwerp, 1574
It is copied with changes from theZaragoza 1545edition.
First engraving from act 13 of Antwerp, 1574
Está copiada con cambios notables de la edición deZaragoza, 1545. No tiene equivalente en la reedición deAmberes 1616
Second engraving from act 13 of Antwerp, 1574
Está copiada de laZaragoza 1545pero hay cambios notables. No existe equivalente en la reedición deAmberes 1616Sosia y Tristán hablan a la puerta sobre la ejecución de Pármeno y Sempronio mientras Calisto yace en su…
Second engraving from act 14 of Antwerp, 1574
Ejecución de Pármeno y Sempronio. A la izquierda el juez y tres personajes, uno de ellos probablemente Sosia. A la derecha la ejecución, con uno de los reos decapitados y otro siendo decapitado. Dos personajes con barba a la…
First engraving from act 14 of Antwerp, 1574
Es copia de la ilustración del acto XIV de la edición de Zaragoza(1545).Calisto subiendo por una escalera mientras Melibea y Lucrecia están asomadas a dos arcos, y dos criados de guardia afuera.
Engraving from act 15 of Antwerp, 1574
Elicia y Areúsa conciertan la venganza contra Calisto con Centurio, representado con espada. De fondo una cama y escaleras. Se vuelve a usar la imagen en el acto XVIII.
Engraving from act 16 of Antwerp, 1574
Es copia delgrabado del acto XVI en la edición de Zaragoza(1545).Lucrecia y Melibea, sobre un cojín, al otro lado de una puerta escuchan la conversación entre Pleberio y Alisa, sentados en otra habitación.
Engraving from act 17 of Antwerp, 1574
Es copia del grabado delacto XVII de la edición de Zaragoza(1545). Areúsa en su casa, que recibe a Sosia, mientras Elicia escucha escondida. Cama y escaleras de fondo.
Engraving from act 18 of Antwerp, 1574
Es copia de lailustración del acto XV de la edición de Zaragoza (1545). Representar a Elicia ayudando a Areúsa a hacer las paces con Centurio.
Engraving from act 19 of Antwerp, 1574
Es copia de lailustración del acto XIV de la edición de Zaragoza(1545).Calisto subiendo por una escala mientras Melibea y Lucrecia están asomadas a dos arcos. A la derecha, Sosia y Tristán, de guardia afuera
Engraving from act 20 of Antwerp, 1574
Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.
Engraving from act 21 of Antwerp, 1574
Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.
Cover of the Antwerp edition, 1574
Tragicomedie van Calisto ende Melibea. Anónimo trad. TʼHantwerpen: HeyndricHeyndricz, 1574.
Traducción anónima al holandés.
La mayoría de lasilustraciones son copias giradas de las ilustraciones deZaragoza…
Cover of Random House Mondadori edition: Barcelona, 2010
A depiction of the scene in the garden, with the silhouette of Calisto cut out.
Procuress publicly punished, magazine Fray Verdades (1909)
A procuress being publicly displayed and punished. A daughter of Celestina is watching the event
Cover of Seville, 1550
The second picture is of a similar edition dated 1543
Poster of he Market of Celestina, Puebla de Montalban (2018)
Poster announcing the celebration of a public market within the annual celebrations of the yearly Celestina Festival organized by the city of Puebla de Montalban
Love arias around La Celestina Concert, Puebla de Montalbán, 2018
Original title: Arias de amor en torno a la Celestina ("Love arias around La Celestina").
Concert of a repertoire of love songs related to the world and period of La Celestina
Concert of a repertoire of love songs related to the world and period of La Celestina
Representation Shades of Green, Laramie, Wyoming, 1993
Adaptation of La Celestina to the modern world, in English. This version was the departing point for the musical Celestina, a Music Tragic Comedy
Cover of the Edebé edition: Barcelona, 2018
Edition for young readers.
The cover features an illustration of an anatomically correct heart, a key, and windows.
This is the first edition in this format.
The cover features an illustration of an anatomically correct heart, a key, and windows.
This is the first edition in this format.
Tin bas-relief of a Celestina type scene, by anonymous (1900, c.)
Bas reliefi in tin of a plate to hang. It represents a scene of lovers in a garden and an older woman looking upon them from a window. It may be part of the Celestina tradition, but this exact distribution of the characters is not traditional.
The Procuress, by Rosso (1885)
Original Italian statue titled La ruffiana.
The procuress whipped, with a crest on her head, by Mitelli (c. 1696)
Engraving depicting a procuress on a donkey, whipped while wearing a crest. An inscription in Italian reads: The procuress whipped while wearing a crest on her head, Bologna, June 1696.
Cover of the Ramón Rico Sastre edition: Madrid, 1976
A combined edition of La Celestina and La Lozana Andaluza. The cover image seems to correspond to La Celestina.
Image of act 3 of the edition of Lisbon (1540)
Factotums of two characters and their names above. Sempronio with a sword, Celestina and Elicia.
Image of act 1 of the edition of Lisbon (1540)
Three factotums, Calisto with flowers, Melibea with girdle and Pármeno
Image of act 2 of the edition of Lisbon (1540)
Factotums of Calisto, Pármeno and Sempronio
Image of act 5 of the edition of Lisbon (1540)
Three factotums and four names: Sempronio, Celestina, Pármeno and Calisto
Image of act 6 of the edition of Lisbon (1540)
Three factotums and four names of the characters in this act: Calisto, Celestina, Pármeno and Sempronio. Same image of Calisto with flowers of act 1.
Image of act 7 of the edition of Lisbon (1540)
Factotums of Pármeno, Celestina, Areúsa and Elicia. Image of Areúsa with a girdle, used before for Melibea
Image of act 8 of the edition of Lisbon (1540)
Factotums of three characters and four names: Areúsa, Pármeno, Sempronio and Calisto
Image of act 9 of the edition of Lisbon (1540)
Three factotums and the names of Sempronio, Pármeno and Celestina
Image of act 10 of the edition of Lisbon (1540)
Four factotums and the names Melibea, Celestina, Alisa and Lucrecia
First image of act 12 of the edition of Lisbon (1540)
Three factotums and the names Calisto, Melibea, Lucrecia, Pármeno
Second image of act 12 of the edition of Lisbon (1540)
Death of Celestina. While one of the male characters holds her, the other is ready to stab her. Elicia is pulling her hairs. Curiously, there is a window or door with two characters outside. Shelves with cups and glass containers.
Image of act 13 of the edition of Lisbon (1540)
Execution of Pármeno and Sempronio with Sosias present.
Image of act 14 of the edition of Lisbon (1540)
Calisto on the stairs accessing the garden where Melibea and Lucrecia are waiting. Outside Sosia and Tristán armed.
Image of act 15 of the edition of Lisbon (1540)
Three factotums with the names of Elicia, Centurio and Areúsa.
Image of act 16 of the edition of Lisbon (1540)
Four names of Melibea, Lucrecia, Pleberio and Alisa. Three factotums
Image of act 17 of the edition of Lisbon (1540)
Three factotums with the names of Elicia, Areúsa and Sosia
Image of act 18 of the edition of Lisbon (1540)
Centurio, Areúsa and Elicia Factotums
First image of act 19 of the edition of Lisbon (1540)
Same illustration as the one used in act 14 of Calisto entering the garden.
Second image of act 19 of the edition of Lisbon (1540)
Calisto dead at the foot of the ladder is carried by Sosia and Tristan
First image of act 20 of the edition of Lisbon (1540)
Pleberio, Lucrecia and Melibea Factotums
Second Image of act 20 of the edition of Lisbon (1540)
Melibea's suicide with her and Pleberio. Two unidentified male characters on the margin are included. There is also an image of an object in the sky that may be Melibea's girdle or cord falling or another object.
Representation A selfie with Melibea, by Unpingüino Producciones, 2018
Original title: Un selfie con Melibea ("A selfie with Melibea")
Adaptation for young audiences
Adaptation for young audiences
Horrors of war: "What is Celestina carrying in her bag?...", by Sancho Piqué (1939)
Drawing as part of the collection "Horrors of war". A person completely covered is carrying the body of a hanged person in a bag. Two female characters are watching in horror.
Sheer Merchandise!, by Sancho Piqué (1939)
Ink drawing on paper, 24,5 x 32 cmRich man talks to a procuress while a naked young woman covers her face
Courtesan and Procuress, by Lama (1720 c. )
Young woman and procuress talking
Oil on canvass, 20 1/2 x 25 3/4 inches (52 x 65.5 cm)
Oil on canvass, 20 1/2 x 25 3/4 inches (52 x 65.5 cm)
Woman with a Lapdog, Accompanied by a Maidservant, by Mieris (1660)
Woman with a Lapdog, Accompanied by a Maidservant (probably Bathsheba with King David’s Letter)
La Celestina, by Monedero (1970 c.)
Oil on canvas 29'5 x 23'5 cm. Three people at the light of a candle. They may be Celestina, Areúsa and Pármeno, or other characters
Engraving of Celestina, by Hijo (2019)
Engraving of Celestina, description by author: ¨El último encargo de 2018 lo hizo @carlos_disfruta y fue esta #Celestina para regalar a @Aradhriel. Me sonaba que ella había interpretado al personaje. Así era, así que basé el diseño en su propia…
The Prodigal Son Driven Out, by Murillo (1660, c.)
On the left, in the shadows, a character of Celestinesque descent.See TAGGARD, MINDY NANCARROW. “A Source for the Interpretation of Murillo’s ‘Parable of the Prodigal Son’: The Golden Age Stage.” RACAR: Revue d’art Canadienne / Canadian Art Review,…
The Prodigal Son Driven Out, by Callot (1635)
The prodigal son driven out of the house of the prostitutes. It is an engraving in a series of five. Notice the procuress on the stairs, the only engraving portraying a procuress in the series. This engraving influenced Murillo's painting of the same…
Maja and Celestina waiting under an arch, by Goya (1794, c.)
Image 1 is a drawing in Album B or Madrid album. The original title of the second image is "La Bella y la Celestina" ("The Beauty and the Celestina").
In both images, a young woman and an old procuress are under an arch. The young woman rests on a…
In both images, a young woman and an old procuress are under an arch. The young woman rests on a…