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INDEX OF PRINCIPAL OPERAS DISCUSSED
Bellini, Donizetti, Rossini, and Verdi
VINCENZO BELLINI
Beatrice di Tenda, 37, 49
Bianca e Fernando, productions: Genoa, 1828 (Teatro Carlo Felice), 208
Bianca e Gernando, productions: Naples, 1826 (Teatro San Carlo), 359
I Capuleti e i Montecchi
alternative versions of, 211–212, 228, 229
critical edition, 363
libretto of, 37, 42
ornamentation by Rossini, 321–322
productions: Venice, 1830 (Teatro La Fenice), 211–212, 218, 226–227, 545n34; Milan, 1830 (La Scala), 227; Milan, 1966 (La Scala), 117–18; Dallas, 1977 (Civic Opera), 229
Ernani, 60
Norma
autograph of, 269, 272–273, 569n78, 569–70n79
Callas/Serafin recording, 271–277
cimbasso used in, 428–429
composition of, 271–272
cuts to, 271–277, 568n65
falsified edition of, 83–84
Kalmus edition, 578n36
ornamentation for, 299, 301, 302, 322–323, 330
paper used for, 58
set changes in, 470–471
style of, 245
transpositions of arias in, 333, 338, 345–48, 357, 358
productions: Milan, 1831 (La Scala), 69, 271–72, 345; Bergamo, 1832 (Teatro Riccardi), 272; Bologna, 1966–1967 (Teatro Comunale), 470; Rome, 2000 (Teatro dell’Opera), 412; Parma, 2001 (Verdi Festival), 83–84, 173, 274, 408–409, 411–413
Il pirata
autograph of, 269
composition of, 545n27
paper used for, 54
serpentone used in, 428
productions: Milan, 1827 (La Scala), 359
I puritani
alternative versions of, 211, 221, 231–237, 241, 344–345
autograph of, 561n94
censorship of, 91
composition of, 370–371
critical edition, 234–237, 561n94
“Malibran” version, 233, 235–236, 355, 359
puntature for, 325
transpositions of arias in, xv, 344–345
productions: Paris, 1835 (Théâtre Italien), 232–234, 370–71; Boston, 1993 (Lyric Opera), 236
La sonnambula
autograph of, 354
cabaletta in, 570n80
commissioning of, 35
composition of, 34
English adaptation of, 354–355, 356–357
falsified edition of, 82–83
textual issues, 216
transpositions of arias in, 353–358
productions: Milan, 1831 (Teatro Carcano), 60, 82, 354; Naples, 1833 (Teatro del Fondo), 354; London, 1833 (Drury Lane and Covent Garden), 354–55; Milan, 1955 (La Scala), 481
La straniera, 358–362, 570n80
productions: Milan, 1829 (La Scala), 359; Milan, 1830 (La Scala), 359–60; Wexford Festival, 1987, 453; New York, 1993 (concert performance), 581n68
Zaira, 37,
42
productions: Parma, 1829 (Teatro Ducale), 211
GAETANO DONIZETTI
Adelia, 103, 244
L’Ange de Nisida, 60–61, 145
Anna Bolena
alternative versions of, 222
autograph of, 269
commissioning of, 35
cuts to, 255, 270–271
Donizetti’s revisions to, 71
libretto of, 44–45
structure of, 40
productions: Milan, 1830–1831 (Teatro Carcano), 60, 222
Belisario, 37, 84–85
Buondelmonte, 158, 227, 560n88
Il castello di Kenilworth, productions: Naples, 1829 (Teatro San Carlo), 434
Caterina Comoro, 244
Le convenienze ed inconvenienze teatrali, 39, 502
Il diluvio universale, productions: Naples, 1830 (Teatro San Carlo), 35
Dom Sébastien, 595n36
Don Pasquale
autograph of, 269, 568n63
composition of, 34
cuts to, 255
Donizetti’s revisions to, 71
dramaturgy of, 260–261
horn part, 435–437
paper used for, 57
transpositions of arias in, 342–343
productions: Paris, 1843 (Théâtre Italien), 342–43, 435–37; Vienna, 1843 (Kärtner-tortheater), 343
Le Duc d’Albe, 60
L’elisir d’amore
falsified edition of, 82
Gilbert and Sullivan parody, 21
ornamentation for, 297–298
recitatives in, 438
romanza in, 280–281
Fausta, productions: Naples, 1832 (Teatro San Carlo), 579n42
La Favorite
autograph of, 145
censorship of, 394–396, 542n55
critical edition, 396, 585n60
Italian antipathy toward original French version, 365
Italian translations, 394–396, 542n55
livret de mise en scène for, 595n36
ophicleide used in, 428
vocal score prepared by Wagner, 101
productions: Paris, 1841 (Opéra), 60–61, 394
La Fille du Régiment
Italian translations, 394–401
livret de mise en scène for, 595n36
modified ending of, 400–401
Tonio tessitura, 126
transpositions of arias in, 332–333
Divas and Scholars Page 92