productions: Paris, 1840 (Théâtre de l’Opéra-Comique), 396–97; Italian version, Milan, 1840 (La Scala), 397; New York, 1995 (Metropolitan Opera), 332–33; Bologna, 2003–2004 (Teatro Comunale), 576n4
Il furioso all’isola di San Domingo, 102, 438
Gabriella di Vergy, 37
Gemma di Vergy, productions: Milan, 1834 (La Scala), 84
Gianni di Calais, 397
Lucia di Lammermoor
alternative versions of, 205–206, 350–351, 353, 490, 578n36
autograph of, 351–352, 434–435
critical edition, 435, 578–79n38
cuts to, 241, 255, 568n65
death scene, 287
glass harmonica vs. flute used in, 434–435, 579n45
interpolated cadenza with flute, 308, 320, 352
keys used in, 349
libretto of, 37
livret de mise en scène for, 595n36
ornamentation for, 302, 320–321, 330
set changes in, 252
structure of, 40
transpositions of arias in, 333, 348–353
productions: Naples, 1835 (Teatro San Carlo), 434, 457–58; Venice, 1836–1837 (Teatro Apollo), 350–51; Paris, 1839 (Théâtre de la Renaissance), 350–351, 578n36, 600n1; New York, 1992 (Metropolitan Opera), 443, 592n81; New York, 1999 (Metropolitan Opera), 593n2; Lyon, 2002, 600n1; London, 2003 (Covent Garden), 579n38, 592n81; Chicago, 2004 (Lyric Opera), 579n44, 593n1
Lucrezia Borgia
alternative versions of, 222
cuts to, 271
death scene, 287
libretto of, 37
ornamentation for, 303
structure of, 40
productions: Milan, 1833 (La Scala), 222; Milan, 1840 (La Scala), 40, 222; Milan, 1998 (La Scala), 303
Maria di Rohan, 244
critical edition, 555n10
ornamentation for, 303–304
revisions to, 208
productions: Venice, 1998 (Teatro La Fenice tent), 303–304
Maria di Rudenz, 37
Maria Padilla, 244
Maria Stuarda (see also Buondelmonte, above)
censorship of, 158, 227, 492, 584n45
critical edition, 502
Marino Faliero, 555n16
falsified edition of, 84–85
staging of, 597n58
productions: Paris, 1835 (Théâtre Italien), 84–85
Les Martyrs
livret de mise en scène for, 595n36
Poliuto as basis for, 158, 221
productions: Paris, 1840 (Opéra), 430
Le nozze in villa, 33
Parisina, 49, 82, 102
Pia de’ Tolomei, 37
Poliuto (see also Les Martyrs, above)
censorship of, 91, 158, 492
material used in Les Martyrs, 221
Roberto Devereux, 102–103
La romanziera e I’uomo nero, productions: Naples, 1831 (Teatro del Fondo), 90
Rosmonda d’Inghilterra, 350–351
Torquato Tasso, 438
GIOACHINO ROSSINI
Adelaide di Borgogna, productions: Rome, 1817 (Teatro Argentina), 78
Adina, 538–39n64, 548n19
Andremo a Parigi?
text modification in, 521–522
Il viaggio a Reims and, 155
productions: Paris, 1848 (Théâtre Italien), 153–154
Armida
alternative versions of, 212–213
autograph of, 76
critical edition, 556n28
instrumentation of, 590n52
material used in Otello, 209
set changes in, 472–473
three-act structure of, 251
productions: Milan, 1836 (La Scala), 212–13; Florence, 1950s (Maggio Musicale), 114
L’assedio di Corinto (see also Le Siège de Corinthe, below)
alternative versions, 231
productions: Genoa, 1828, 231, 386; Venice, 1829 (Teatro La Fenice), 545n34; Florence, 1949 (Maggio Musicale), 122; Milan, 1969 (La Scala), 119–122, 266; New York, 1975 (Metropolitan Opera), 119, 176, 231, 327
Aureliano in Palmira, productions: Milan, 1813 (La Scala), 217, 297
Il barbiere di Siviglia
Abbado recording, 242
autograph of, 78, 105, 114–116
cavatinas in, 574n36
composition of, 34, 49, 369
critical edition, 115–119, 290–291, 565n32
cuts to, 255, 256–260
farsa version of, 90
libretto of, 369
longevity of, 68
nonauthorial version of, 217–218
ornamentation for, 290, 302, 305–306, 307, 315–318, 328–329, 330
recitatives in, 249–250, 438
reorchestration distributed by Ricordi, 74, 114–116
set changes for, 473
transpositions of arias in, 328, 332
productions: Rome, 1816 (Teatro Argentina), xv, 69, 72, 78, 174, 258, 444–45; Florence, 1816 (Teatro della Pergola), 217–18; Venice, 1819 (Teatro San Samuele), 563n4; Florence, 1942 (Maggio Musicale), 105; Milan, 1976 (La Scala), 290–91; Milan, 1969 (La Scala), 116–117, 118–119, 290; Amsterdam, 1987 (Opera), 519; Santa Fe, 1994, 307; Pesaro, 1997 (Rossini Festival), 565n34; New York, 2002 (Metropolitan Opera), 260; Helsinki, 2003 (Finnish Opera), 519
Bellezza e Cuor di ferro, 223 (see also Matilde di Shabran, below)
Bianca e Falliero
cabaletta in, 567n54
en travesti role in, 117
libretto of, 38
material inserted into Paris La donna del lago performance, 226
recitatives in, 249, 438
secco recitative in, 248
transpositions of arias in, 333
productions: Milan, 1819–1820 (La Scala), 213–214, 248; Pesaro, 1986 (Rossini Festival), 333, 484; Miami, 1988 (Greater Miami Opera), 117
La cambiale di matrimonio, 77
La Cenerentola
Agolini contributions, 27–29, 78–79, 249, 261
autograph of, 26, 78
critical edition, 26
cuts to, 261
English adaptation of, 354
farsa version of, 90
Kalmus edition, 26
libretto of, 374
material from Armida used in, 556n28
material from Il barbiere di Siviglia used in, 256, 258–260
material inserted into Paris Il Turco in Italia performance, 220
ornamentation for, 318–319
puntature for, 325–326
recitatives in, 249, 438
reorchestration of, 97, 104
Rossini’s revisions to, 78–79
productions: Rome, 1817 (Teatro Valle), 78, 259; Rome, 1818 (Teatro Apollo), 78–79; Rome, 1821 (Teatro Apollo), 78; Paris, 1822 (Théâtre Italien), 220, 573n27; Milan, 1973 (La Scala), 26; Bologna, 1992, 318; New York, 1997 (Metropolitan Opera), 26–27; Pesaro, 1998 (Rossini Festival), 27; Pesaro, 2000 (Rossini Festival), 5, 27–29; Helsinki, 2003 (Finnish Opera), 519
Ciro in Babilonia
arie di sorbetto in, 245
cabaletta inserted into Siège de Corinthe, 121–122
material inserted into Mosè in Egitto, 262
recitative functions in, 248
Le Comte Ory
Berlioz’s views on, 269
instrumentation of, 590n52
material from Il viaggio a Reims used in, xii, 153, 154, 155, 268, 521, 530
sketches for, 50
productions: Paris, 1828 (Opéra), 153
Demetrio e Polibio, 566n40
La donna del lago
autograph of, 76, 292
banda sul palco in, 65, 183
Breitkopf edition, 99
cabaletta in, 567n55
concert performances of, 484
contributions by other composers in, 62
critical edition, 123, 291–292, 573n27
duettino in, 268
en travesti role in, 117
keys used in, 349
material inserted into Robert Bruce, 600n2
paper used for, 53
Radiciotti’s views on, 565n33
recitatives in, 250
stagings of, 484
structure of, 40
productions: Naples, 1819 (Teatro San Carlo), 250–51; Naples, 1820 (Teatro San Carlo), 573n27; Milan, 1821 (La Scala), 215, 238; Paris, 1824 (Théâtre Italien), 183, 210, 226; Florence, 1950s (Maggio Musicale), 114; Houston, 1981 (Grand Opera), 53, 231; Pesaro, 1981 (Rossini Festival), 4, 291–92; Pesaro, 1983 (Rossini Festival), 291–92; Pesaro, 2001 (Rossini Festival), 539n67
Eduardo e Cristina, 548n19
Elisabetta, regina d’Inghilterra
autograph of, 76
composition of, 369
critical edition, 250
material used in Otello, 210
paper used for, 53
recitatives in, 250
productions: Pesaro, 2004 (Rossini Festival), 250
L’equivoco stravagante, 33, 89, 557–58n47
Ermione
autograph of, 9–10, 76, 295
cabaletta in, 567n54
critical edition, 7, 8–9
duettino in, 10, 566n41
importance of, 6
length of, 176
libretto of, 36–37
oboe part, 588n25
overture for, 59
published excerpts from, 80
recitatives in, 250
productions: Naples, 1819 (Teatro San Carlo), 5; Pesaro, 1987 (Rossini Festival), 5–8; Rome, 1991, 8, 327; London, 1992 (concert performance), 410–11; Glyndebourne Festival, 1995, 8, 411; Santa Fe, 2000, 5, 8–11; New York, 2004 (City Opera), 10
La gazza ladra
critical edition, 309–310
cuts to, 255
oboe part, 588n23
orchestration discrepancies in, 65
ornamentation for, 309–310, 311–312, 319–320
recitatives in, 249, 438
Sanquirico set design for, 462
variants for Patti, 572n17
productions: Pesaro, 1818, 4; Paris, 1867 (Théâtre Italien), 572n17; Pesaro, 1941, 220
La gazzetta
autograph of, 143
composition of, 369–370
critical edition, 246–247, 370, 520
Neapolitan dialect used in, 536n26
productions: Naples, 1816 (Teatro dei Fiorentini), 246–247, 369, 430; Oxford, 2001 (Garsington Festival), 520; Pesaro, 2001 (Rossini Festival), 246–247, 253, 370, 519, 520–521
Guillaume Tell
cadenzas in, 309
censorship of, 383–386, 391–392
composition of, 267
critical edition, 18, 267, 364, 594n15
cuts to, 192, 241, 267
instrumentation of, 431, 590n52
Italian translation, 364–365, 381–394
keys used in, 349
original sets and staging for, 455–456, 462, 472
overture, 431
paper used for, 53, 55
payment for, 34
ranz des vaches motif in, 385
romanza in, 280
Rossini’s revisions to, 71, 73
productions: Paris, 1829 (Opéra), xii–xiii, 267, 299, 431; in Italian, Florence, 1972 (Maggio Musicale), 123–24; in Italian, Milan, 1988 (La Scala), 267, 364–365, 381–382, 482; San Francisco, 1992, 391; Pesaro, 1995 (Rossini Festival), 18, 303; Paris, 2003 (Opéra), 289
L’inganno felice, 77, 409–410, 412
L’Italiana in Algeri
alternative versions of, 221–222
autograph of, 86–88, 105, 576n1
cadential phrases in, 268–269
censorship of, 90–94, 224–225
composition of, 34, 36
critical edition, 86, 96–97, 565n38
cuts to, 243
farsa version of, 89–90
horn part, 420–421, 424
libretto of, 37, 46, 260
material written by associate, 261, 563n7
recitatives in, 249, 438
reorchestration of, 95–97, 104, 430–431
Rosich in, 557–58n47
Rossini’s revisions to, 85–86, 94–95
transmission of, 86–92, 94–97
productions: Venice, 1813 (Teatro San Benedetto), 85–86, 218–219, 222; Vicenza, 1813, 94, 222; Milan, 1814 (Teatro Re), 85, 94, 218, 430–431, 563n7; Naples, 1815, 85; New York, 1984 (Metropolitan Opera), 86; Pesaro, 1994 (Rossini Festival), 243, 519–520
Ivanhoé, productions: Paris, 1826 (Odéon Theater), 490; Martina Franca, 2001, 490
Maometto II
autograph of, 9, 76
cuts to, 273
instrumentation of, 590n52
length of, 176
material used in Il viaggio a Reims, 157, 221, 567n50
recitatives in, 250
score of, 113
Siège de Corinthe compared with, xii, 120–121, 300
sketches for, 49
structure of, 19, 120
tonal structures in, 336–337
productions: Naples, 1820 (Teatro San Carlo), 18, 119–20; Venice, 1822–1823 (Teatro La Fenice), 18, 119, 208, 463; Pesaro, 1986 (Rossini Festival), 18; Pesaro, 1993 (Rossini Festival), 18, 484
Matilde di Shabran
autograph of, 77–78, 143
critical edition, 559n69
cuts to, 261
material borrowed from other operas, 223
Pacini contributions, 223, 261
recitatives in, 249
productions: Rome, 1821 (Teatro Apollo), 77–78, 223; Naples, 1821 (Teatro del Fondo), 223; Pesaro, 1996
(Rossini Festival), 59; Pesaro, 2004
(Rossini Festival), 59
Moïse et Pharaon autograph of, 145
instrumentation of, 590n52
material from Armida used in, 556n28
Mosè in Egitto as basis for, xii, 300, 376
sketches for, 50
productions: Paris, 1827 (Opéra), 145; Pesaro, 1997 (Rossini Festival), 18, 475–76; Milan, 2003 (La Scala), 365, 482
Mosè in Egitto
autograph of, 76, 145, 537n44, 539n70
banda sul palco in, 65
Carafa contributions, 261
cuts to, 261, 262, 267
instrumentation of, 590n52
libretto of, 375–376
material written by associate, 564n18
Moïse compared with, xii, 300
paper used for, 53
recitatives in, 254
set changes in, 472–473
three-act structure of, 251
productions: Naples, 1818 (Teatro San Carlo), 35, 262, 546n40, 566n39; Naples, 1819 (Teatro San Carlo), 262
Voccasione fa il ladro, 77
Otello
alternative versions of, 209–210, 222, 229, 490
autograph of, 76, 295
critical edition, 305–306, 564n21
duet in, 268
horn part, 420–423
keys used in, 349
orchestration of, 96
paper used for, 55
Pasta’s insertion of La donna del lago material, 210
recitatives in, 250
set changes in, 472–473
three-act structure of, 251–252
variants for Grisi, 572n16
productions: Naples, 1816 (Teatro del Fondo), 209; Rome, 1820 (Teatro Argentina), 209, 556n28; Paris, 1821 (Théâtre Italien), 210; London, 1822 (King’s Theatre), 252; Paris, 1833 (Théâtre Italien), 572n16; Pesaro, 1988 (Rossini Festival), 305–306, 484; Chicago, 1992 (Lyric Opera), 306; Martina Franca, 2000, 229, 490
La pietra del paragone
critical edition, 502
horn part, 420–421
oboe part, 416
recitatives in, 249
timpani part, 417–419
Ricciardo e Zoraide
autograph of, 76
banda sul palco in, 64
instrumentation of, 590n52
material used in Matilde di Sh
abran, 223
material used in Otello, 209
productions: Naples, 1818 (Teatro San Carlo), 223
Robert Bruce, productions: Paris, 1846 (Opéra), 490; Martina Franca, 2002, 490
Rodolfo di Sterlinga, 394
La scala di seta
autograph of, 22–23, 77, 294–295, 296
critical edition, 22–23, 502
oboe part, 588n23
recitatives in, 249
productions: Venice, 1812 (Teatro San Moisè), 22; Senigaglia, 1813, 22; Siena, 1818, 22; Lisbon, 1825, 22; Rome, 1976 (Teatro Olimpico), 535n20; Pesaro, 1988 (Rossini Festival), 22, 23; Pesaro, 2000 (Rossini Festival), 5, 23–25
Semiramide
accompanied recitative in, 248
autograph of, 177
banda sul palco in, 64–65, 182–183, 189–91, 193
cabaletta in, 567n55
composition of, 34, 265
critical edition, 54, 177-99
cuts to, 191–196, 263, 268, 270
dissemination of, 177–178
duettino in, 268
en travesti role in, 117
libretto of, 38, 548n19
material inserted into Paris La donna del lago performance, 210
orchestration of, 590n47
ornamentation for, 197-99
paper used for, 54, 150–151
particelle for, 63
Rossini’s revisions to, 180
sketches for, 49–50
Sutherland /Horne recording, 148, 268
productions: Venice, 1823 (Teatro La Fenice), 36, 75, 175, 208, 248, 463; Paris, 1825 (Théâtre Italien), 180, 556n18; Paris, 1860 (Opéra), 299; New York, 1892, 1894, 1895 (Metropolitan Opera), 178; Florence, 1940 (Maggio Musicale), 178; Milan, 1962 (La Scala), 178, 179, 181; New York, 1989–1990 (Metropolitan Opera), 54, 175–178, 185–199, 266, 302, 425; Pesaro, 1992 (Rossini Festival), 28; Pesaro, 2003 (Rossini Festival), 183, 486
Le Siège de Corinthe (see also L’assedio di Corinto, above; Maometto II above)
autograph of, 9–10
instrumentation of, 590n52
lack of acceptable edition, 18–19
Maometto II as basis for, xii, 119–121, 221, 273, 300
material from Ermione used in, 9–10
structure of, 19, 120–121
productions: Paris, 1820 (Opéra), 18; Florence, 1982 (Teatro Comunale), 567n51; Pesaro, 2000 (Rossini Festival), 5, 11, 18–22
Sigismondo, productions: Venice, 1815 (Teatro La Fenice), 463
Il signor Bruschino
autograph of, 77, 216, 295
productions: Pesaro, 1985 (Rossini Festival), 6
Tancredi
cadenzas in, 308–309
cavatinas in, 574n36
critical edition, 123, 151–152, 154–155, 566n40, 572n16
cuts to, 255, 262
en travesti role in, 117
horn part, 423–424
libretto of, 36
oboe part, 416
ornamentation for, 312–314, 330
Divas and Scholars Page 93