Divas and Scholars
Page 94
paper used for, 55
recent performances of, 176
recitatives in, 248, 249, 250–251, 302, 438
Rossini’s revisions to, 81
string parts, 430
timpani part, 417–419
tragic finale, 148–152, 211, 222, 238, 481
productions: Venice, 1813 (Teatro La Fenice), 149, 463; Ferrara, 1813, 149; Florence, 1950s (Maggio Musicale), 114; Houston, 1977 (Grand Opera), 149, 151; Pesaro, 1982 (Rossini Festival), 331, 439–440, 481, 484
Torvaldo e Dorliska, 78
productions: Rome, 1815–1816 (Teatro Valle), 78
Il Turco in Italia
critical edition, 123, 206
cuts to, 206, 262, 564n22
Kalmus edition, 13, 220
material used in La gazzetta, 369–370
material written by associate, 223
nonauthorial versions, 218–219
recitatives in, 249, 253, 254, 564n23
Rennert adaptation, 220
productions: Milan, 1814 (La Scala), 96, 218–19; Rome, 1815 (Teatro Valle), 219; Paris, 1820 (Théâtre Italien), 219–220, 534n12; Rome, 1950 (Teatro Eliseo), 114, 206; Milan, 1955 (La Scala), 206; New York, 1977 (City Opera), 206, 219; Pesaro, 1983 (Rossini Festival), 249; Cremona, 1997 (Teatro Ponchielli), 220; Milan, 1997 (La Scala), 220
Il viaggio a Reims
Abbado recording, 242
autograph of, 154–155, 216
critical edition, 123, 156–158, 603n44
cuts to, 267- 268
libretto of, 382, 521–531
material from Armida used in, 556n28
material used in Le Comte Ory, xii, 153, 154, 155, 521
paper used for, 58
particelle for, 63
recitatives in, 249
sources for, 143, 160
productions: Paris, 1825 (Théâtre Italien), xii, 152–153, 299; Pesaro, 1984 (Rossini Festival), 4, 155, 156–157, 482, 513–515, 524, 525–26; Milan, 1985 (La Scala), 156; Newport, 1988 (concert performance), 157; Ferrara, 1992, 156, 162, 513–14; London, 1992 (Covent Garden), 7, 515; Pesaro, 1992 (Rossini Festival), 513–14; New York, 1999 (City Opera), 157, 515–516, 521; Pesaro, 1999 (Rossini Festival), 514; Helsinki, 2003 (Finnish National Opera), 491, 518–31; Chicago, 2004 (Opera Theater), 479
Il viaggio a Vienna
manuscript of, 156
text modification in, 522–523
Zelmira
autograph of, 76
duettino in, 268
recitatives in, 250
productions: Naples, 1822 (Teatro San Carlo), 75–76
GIUSEPPE VERDI
Aida
cabalettas in, 245
cimbasso used in, 428
composition of, 34
disposizione scenica, 468
libretto, 48
planned critical edition, 164
revisions to, 555n12
stagings of, 477
productions: Cairo, 1871, 277; Verona, 1913 (Arena), 598n80; Frankfurt, 1981, 482–83
Alzira
autograph of, 557n44
overture for, 59
paper used for, 55
piano reduction of, 102
sketches for, 537n37, 597n61
productions: London, 1996 (concert performance), 411
Aroldo
lack of production book for, 459
Stiffelio material used in, 160, 162, 283, 477–78
productions: Rimini, 1857 (Teatro Nuovo), 546n49
Attila
set design for, 464–465
substitute aria for, 144
productions: Venice, 1846 (Teatro La Fenice), 144, 464–65; Trieste, 1846 (Teatro Grande), 144; Chicago, 2000–2001 (Lyric Opera), 144
Un ballo in maschera (see also Gustavo III, below; Una vendetta in dominò, below)
autograph of, 159, 498–499, 557n44
banda sul palco in, 65, 450
Boston setting, 495
censorship of, 91, 584n45
composition of, 340, 492–494
critical edition, 164, 446, 450–451, 496, 555n12, 559n70
disposizione scenica for, 459, 460, 474–475
earlier versions of, 224, 372, 478
English translation, 495
libretto of, 37, 494, 500–501, 504
romanze in, 282
sketches for, 51, 496–498
stagings of, 495–496
transposition of arias in, 576n8
productions: Rome, 1859 (Teatro Apollo), 459, 494, 499–500; London, 1952 (Covent Garden), 495; Stockholm, 1958 (Royal Opera), 494–95; London, 1965 (Sadler’s Wells), 495; New York, 1980s (Metropolitan Opera), 495; Copenhagen, 2001 (Verdi Festival), 502, 504–505, 507; Parma, 2001 (Verdi Festival), 380–381, 446, 474–475, 496; Chicago, 2003 (Lyric Opera), 443
La battaglia di Legnano, 108, 557n44
Il corsaro
autograph of, 557n44
critical edition, 426
instrumentation of, 590n53
productions: New York, 2004 (concert performance), 426
Don Carlos
alternative versions of, 221, 283
cuts to, 192
instrumentation of, 431–432
Italian translation, 406, 470
original French version, 364–365
productions: Rome, 1885 (Teatro Apollo), 431–432
I due Foscari, 227–228, 537n37
Ernani
alternative versions of, 222, 228–229
cabaletta controversy, 127–132
censorship of, 584n45
composition of, 340
critical edition, 131, 366, 577n18
cuts to, 278
dissemination of, 101
Gilbert and Sullivan parody, 21
horn part, 424
libretto of, 366
ornamentation for, 302
paper used for, 56
recitatives in, 251
structure of, 40
timpani part, 419
verse structures in, 286
productions: Venice, 1844 (Teatro La Fenice), 40–41, 128, 222, 226, 469, 540n27; Vienna, 1844 (Kärtnertor-theater), 226, 325; Milan, 1844, 128; Parma, 1844 (Teatro Ducale), 222; Milan, 1982 (La Scala), 127–32; Modena, 1984 (Teatro Comunale), 433, 467, 468–469, 553n18; Chicago, 1984–1985 (Lyric Opera), 229
Falstaff
disposizione scenica for, 596n39
libretto of, 48
orchestral score published by Ricordi, 208, 554–55n7
planned critical edition, 164
purported errors in, 107–108
La forza del destino
copyists’ errors, 104
critical edition, 164
original set designs for, 466
revisions to, 208, 283, 576n8
selva for, 38–39
set design for, 598n74
sketches for, 51
transpositions of arias in, 576n8
productions: St. Petersburg, 1862 (Imperial Theatre), 466, 467, 576n8; Milan, 1869 (La Scala), 208, 467, 576n8, 598n74; Irvine, 1980, 467–68; Seattle, 1984, 467–468
Un giorno di regno
autograph of, 557n44
libretto of, 37
recitatives in, 249, 439
two-act structure of, 251
productions: Milan, 1840 (La Scala), 72
Giovanna d’Arco, 598n70
Guglielmo Wellingrode, 159 (see also Stiffelio, below)
Gustavo III (see also Un ballo in maschera, above; Una vendetta in dominò, below)
censorship of, 224, 513
composition of, 372–374, 511
libretto for, 372–374, 496–497
reconstruction of, 159, 502–513
sketches for, 497–498
productions: Gothenburg, 2002 (National Opera), 490–491, 501–502, 511–513, 559n72; New York, 2004 (concert performance), 509
Jérusalem
ophicleide used in, 428
sketches for, 145, 537n37
productions:
Paris, 1847 (Opéra), 458
I lombardi alla prima crociata
composition of, 341–342
material used in Jérusalem, 458
success of, 40
verse structures in, 286
productions: Senigallia, 1844, 341
Luisa Miller
autograph of, 216, 557n44
dissemination of, 101
first-act finale, 566n46
style of, 244
productions: Berlin, 2000 (Deutsche Oper), 476; Milan, 2001 (La Scala), 476–77; Munich, 2001 (concert performance), 476–477
Macbeth
alternative versions of, 241, 283–288
chorus in, 537n55
composition of, 69, 225
costume and set designs for, 465
critical edition, 446, 502
cuts to, 288
dissemination of, 101
particelle for, 63
revisions to, 208, 221, 448–449, 555n12, 596n42
set changes in, 471
Verdi’s staging changes, 469
productions: Florence, 1847 (Teatro della Pergola), 283–284, 465–466, 537n55, 557n46; Venice, 1847 (Teatro La Fenice), 466; Naples, 1848 (Teatro San Carlo), 465; Dublin, 1859, 288; French version, Paris, 1865 (Théâtre Lyrique), xiv, 208, 221, 283–288, 324, 596n42; Chicago, 1999 (Lyric Opera), 443, 480; Parma, 2001 (Verdi Festival), 361, 363, 446, 447–450, 483, 502
I masnadieri
autograph of, 557n44
composition of, 70
critical edition, 165
productions: London, 1847 (Covent Garden), 323–324
Nabucco
banda sul palco in, 65
critical edition, 243
death scene, 287
libretto of, 38, 536–37n30
ornamentation for, 302
patriotic sentiments in, 108
reception of, 278
Rossini’s influence on, 120–121
success of, 40
verse structures in, 286
productions: Milan, 1842 (La Scala), 298, 463; Florence, 1977 (Maggio Musicale), 482; Milan, 1986 (La Scala), 243
Oberto, Conte di San Bonifacio, 251
productions: Barcelona, 1842, 131–132
Otello
autograph of, 138
disposizione scenica for, 460–461
libretto of, 48
orchestral score published by Ricordi, 104, 208, 554–55n7
set design for, 598n74
productions: Chicago, 2001 (Lyric Opera), 445–446
Rigoletto
appoggiaturas in, 197, 198, 293
autograph of, 137–138, 139–141, 216, 557n44
banda sul palco in, 182
censorship of, 91, 93–94, 136–137, 158–159, 492, 584n45
composition of, 34, 136–138
critical edition, 11–13, 14 –17, 130–131, 132, 136–142, 160–161, 426–427
cuts to, 241, 278–279, 282–283, 570n81
death scene, 287
dissemination of, 101
duet in, 568n58
orchestral score published by Ricordi, 141
orchestration discrepancies in, 65–67
paper used for, 54
publishing fees earned, 103
recitatives in, 251
rights retained by Verdi, 100
romanza in, 282
set changes in, 599n91
settenari verses in, 43–44
skeleton score for, 62
sketches for, 50–52, 496
stagings of, 447, 453, 477, 479, 493
Stiffelio sketches and, 163–164
style of, 264
tonal structures in, 335–336
Verdi’s revisions to, 70–71
productions: Venice, 1851 (Teatro La Fenice), 62, 68, 136–38; Vienna, 1983 (Staatsoper), 11–13, 155; Chicago, 2000 (Lyric Opera), 443; Los Angeles, 2000, 14; Santa Fe, 2000, 5, 14–17; Parma, 2001 (Verdi Festival), 447
Simon Boccanegra
costume designs for, 598n70
disposizione scenica for, 460
lack of production book for, 459
libretto of, 48
planned critical edition, 164
revisions to, 241, 245, 253, 283, 288, 460, 555n12, 566n49, 570n80
productions: Reggio Emilia, 1857, 466, 598n70; Naples, 1858 (Teatro San Carlo), 432, 493; Chicago, 1974 (Lyric Opera), 254; London, 1994 (concert performance), 411
Stiffelio
censorship of, 91, 159–160, 162–163, 283, 492, 584n45, 587n20
composition of, 340
critical edition, 162–163, 587n20, 587n21
double bass writing in, 415
material used in Aroldo, 283
revisions to, 241
sketches for, 51
stagings of, 477–478
productions: Trieste, 1850 (Teatro Grande), 136, 159; Parma, 1968 (Teatro Regio), 159; New York, 1993 (Metropolitan Opera), 162, 587n21
La traviata
composition of, 34, 371–372
critical edition, 164, 338, 419
cuts to, 206–207, 241, 255, 278–282, 339
death scene, 287
dissemination of, 101
duet in, 568n58
libretto of, 251
ornamentation for, 302
prelude, 482
puntature for, 325–327
Ricordi’s engraved score for, 554–55n7
set changes for, 473–474
sketches for, 51, 496
stagings of, 453
style of, 264
transpositions of arias in, 338–340, 342
productions: Venice, 1853 (Teatro La Fenice), 72; Venice, 1854 (Teatro San Benedetto), 338; Kent Opera, 1980s, 453; London, 1994 (Covent Garden), 453; Gothenburg, 1998 (National Opera), 492; Parma, 2001 (Verdi Festival), 325–327, 446
Il trovatore
alternative versions of, 241, 264
autograph of, 366
composition of, 34
critical edition, 124–127, 308, 566n45
cuts to, 278, 282
death scene, 287
dissemination of, 101, 237
double bass writing in, 415, 587n15
libretto of, 46–47, 365–367
Manrico tessitura, 124–127, 243
staging of, 594n22
style of, 245, 264
tonal structure of, 577n12
transpositions of arias in, 343–344
productions: Rome, 1853 (Teatro Apollo), 430, 466; Florence, 1853 (Teatro della Pergola), 546n49; Florence, 1977 (Teatro Comunale), 124–27; Chicago, 1993 (Lyric Opera), 324; Milan, 2000 (La Scala), 124, 308, 330, 445; New York, 2000 (Metropolitan Opera), 483–484
Una vendetta in dominò (see also Un ballo in maschera, above; Gustavo III, above) censorship of, 224, 372, 493–494, 499–500, 504–5, 513
Verdi’s skeleton score and sketches for, 496–501, 502–508, 509
Les vêpres siciliennes
Italian translation, 386, 401–404, 458–459, 478
libretto of, 60
original French version, 365
set changes in, 472
staging of, 594n22
style of, 264
productions: Paris, 1855 (Opéra), 402, 458–459
GENERAL INDEX
Note: For operas of Bellini, Donizetti, Rossini, and Verdi, please consult the Index of Principal Operas Discussed.
Abbado, Claudio, xiv
Ferrara performances, 162, 514
La Scala performances, 26, 116–19, 290, 291
Pesaro performances, 4, 156, 514, 526–27
recordings of, 242, 364–65
Abbado, Roberto, 433, 468, 561n90
Abbate, Carolyn, 577n11
Abbiati, Franco, 586n2
Accademia Filarmonica di Bologna, 78, 102, 162
Adamo, Maria Rosaria, 556n25
Adler, Guido, 594n21
Aeschylus, 134
Agolini, Luca, 27–29, 78–79, 261
Aix-en-Provence Festival, 4
42
Alagna, Roberto, 600n1
Alaimo, Simone, 26–27
Alberti, Luciano, 473
Albertini, Augusta, 546n49
Alden, Christopher, 443
Alden, David, 480
alexandrines, 386, 395–96, 403–4
Alice Tully Hall (New York), 551n71
Allévy, Marie-Antoinette, 594n22
Alva, Luigi, 545n31
Amsterdam Opera, 519
Anderson, June, 176, 186, 305, 412–13
Anelli, Angelo, 37, 86, 87, 260
Ansermet, Ernest, 288–89
Antonacci, Anna Caterina, 411
Appia, Adolphe, 600n106
appoggiaturas, 197–98, 293, 301–5
Araiza, Francisco, 156
Arditi, Luigi, 288
Arena (Verona), 598n80
arias
cadenzas in, 306–10, 315–16
da capo, 310–11, 485, 566n48
form of, 306, 310, 529
French verse structure for, 389–92
Italian verse structure for, 43, 45–48, 389–92
ornamental variations in, 310–20
arie di baule, 24
arie di sorbetto, 39, 64, 214, 245, 252, 261–62
Aristotle, 134
Arruga, Lorenzo, 599n92
Artaria firm, 75, 82, 382
Ashbrook, William, 113, 578n36, 592n76
Ashman, Mike, 481
Auber, Daniel
Fra Diavolo, 456
Gustave III, 37, 492, 496
La Muette de Portici, 455, 461
Auden, W. H., 207
Aulenti, Gae, 484
“authentic” performance. See performing traditions
autograph manuscripts, 52–58, 64. See also specific composers
Azevedo, Aléxis, 145
Bach, Johann Sebastian
Brandenburg Concerto No. 3, 552n8
critical edition of works, 113, 170–71
Bajetti, Rinaldo, 78
ballet de cour, 594n21
Ballets russes, 146
Balocchi, Luigi, 153, 155, 382, 514, 524–29
Balzac, Honoré, 175
Massimilla Doni, 215, 552–53n16
banda sul palco, 64–65, 182–83, 189–91, 193, 450
Barbaja, Domenico, 5, 34, 75–76, 102–3, 359
Barbieri-Nini, Marianna, 69, 225, 285
Barcellona, Daniela, 151, 412–13
Barenboim, Daniel, 172
Barezzi, Antonio, 70, 101, 284, 597n61
Barezzi, Margherita, 72
Baroque music, performance practice of, 169–72, 293
Bartlet, M. Elizabeth C, 18, 143, 153, 267, 364, 382–83, 455, 563n1, 594n15
Bartoletti, Bruno, xiv, 259
Bartoli, Cecilia, xiv, 23, 26, 27, 197, 239–40, 318, 325, 328, 353, 411, 564n10
Basevi, Abramo, Studio sulle opere di Giuseppe Verdi, 567–68n58
Bass, Robert, 509
basset horn, 592n84
Bassi, Calisto, 382–94, 397, 398–400, 457, 585n60
Battle, Kathleen, 242