Divas and Scholars
Page 97
opera conventions, nineteenth-century, 39–40, 43, 219, 247–48, 260–61
opera in Italian society, 33–36, 68, 79–80, 108–9, 457
Opera News, 365–67, 531
Opera Orchestra of New York, 426, 581n68
opera overtures, 59, 416
Opéra (Paris)
conductors at, 73
declamatory style at, 120
Donizetti productions, 60–61, 158, 394, 430
eighteenth-century stagings at, 452
gas illumination at, 469
Handel productions, 566n48
Italian composers performed at, xii
nineteenth-century set designs, 461–62
nineteenth-century stagings at, 454–55, 458–59
particelle kept by, 63
rehearsal time at, 73
Rossini productions, 18, 153, 267, 289, 299–300, 431
timpani available at, 417
Verdi productions, 264, 402
opera singers. See also interpolations; specific names
as collaborators with composers, 69–70, 225–27, 293–94, 296–97, 323–24, 330–31
cuts and, 231, 260, 281–82
modifications and demands of, 7–8, 12–13, 16–17, 69–70, 74, 94, 105–6, 124–27, 131–32, 195–96, 211–12, 228, 238–39, 242–43, 246, 294, 300, 324–27
ornamentation by, 70, 74, 119, 265, 290–91, 294, 298–300, 309, 322–23, 328–30
rehearsal schedules of, 58–59
as repertory members, 35–36, 39–40, 230, 238, 325
salaries of, xv
“stagione” system for, 230, 238
operatic season, nineteenth-century, 35
ophicleide, 428–29
Opus 111, 409
oral tradition, 73
orchestra. See also instrumentation, original first
violinist as leader of, 72–73, 410
low brass instruments, 426–29
physical location of, 4–5, 72, 433, 468
rehearsals, 60, 69
string player number and placement, 429–33
Orchestra of the Age of Enlightenment, 410–11
orchestration techniques, 63–68, 96, 294, 425–26
original instruments. See instrumentation, original
ornamentation
of arias, duets, and ensembles, 306–20
in Bellini operas, 265, 272, 320, 321
of cabalettas, 245, 265–69, 272, 321
in Donizetti operas, 265, 281, 297–98, 320–21
by nineteenth-century singers, 70, 74, 119, 265, 294, 298–300, 309, 322–23, 329–30
of recitatives, 301–6
in Rossini operas, xiv, 119–20, 179, 182, 185–86, 195, 196–99, 265, 269, 290–331
taste and, 300–301, 307–8, 327–30, 331
tempos and, 291–92, 304–5
in Verdi operas, 197–98, 298, 322–24
Orsini, Felice, 224, 493, 499
Österreichische Nationalbibliothek (Vienna), 155–56
ottonari, 44, 87, 286, 390–91, 396
Pacini, Antonio, 583n33, 600n2
Pacini, Émilien, 379, 573n27, 583n33
Pacini, Giovanni, xii, 34, 100, 330
contributions to Matilde di Shabran, 223, 261
secco recitatives of, 438
L’ultimo giorno di Pompei, 462–63
Paër, Ferdinand, 219–20, 534n12
Paganini, Niccolò, 77–78
Paisiello, Giovanni, 54
Palafestival (Pesaro sports arena), 5, 28, 433, 475–76
palchi, 214, 215
Palianti, Louis, 456
Palli, Margherita, 28–29
Palumbo, Renato, 250
Panizza, Giacomo, 592n92
paper studies, 52–58, 150–51
Parenti, Mario, 112
Paris Review, The, 479
Parker, Roger, 131–32, 502, 543n2, 559n66, 578n38, 582n14, 592n82
parlante, 46
particelle, 63, 137, 182, 382–83
Pasta, Giuditta, xv
en travesti roles, 60
in Meyerbeer opera, 226
as Norma, 271–72, 299, 322, 345, 346
ornamentation by, xiv
Otello insertions of, 210
review of, 457
Rossini’s ornamentation for, 143, 238, 297, 308–9, 321, 572n16
La sonnambula premiered by, 354
students of, 299, 322
Patané, Giuseppe, 112, 119
Patti, Adelina, 178, 297
Pavarotti, Luciano, 16, 117, 332–33
Pavesi, Stefano, 260
Pedrazzi, Francesco, 233
Pedroni, Giacomo, 343
Pélissier, Olympe, 76, 146
Pendatchanska, Alexandrina, 10
Penderecki, Krzysztof, Paradise Lost, 443
Pepoli, Carlo, 232
performance materials, nineteenth-century, 73
Performance Practice Review, 551n1
performing traditions
alternative versions and, 205–13
“authentic” performance and, 169–75, 203–5, 207, 531–32
authorial variant versions and, 221–31
critical editions vs., xiv, 112, 118–19, 199, 207, 450
loggionisti views of, 129, 173, 327, 330, 332, 361, 363, 408, 445, 447, 448–49, 453, 546n45
nonauthorial versions and, 216–20
reorchestrations and, 294
Serafin’s justification of, 255–60, 263–64
“traditional” cuts, 241, 563n3
translations and, 393–94
written transmission differentiated from, 74, 105–6
Pergolesi, Giovanni Battista, 552n12
period instruments. See instrumentation,
original Peroni, Filippo, 466, 598n74
Pertusi, Michele, 18, 19, 20–21, 468, 514
Perucchini, Giovanni Battista, 227
Pesaro, Italy, 4–5, 25, 150
Peterseil, Michaela, 595–96n39
Petrella, Errico, 34
Petrobelli, Pierluigi, 162, 444, 445, 577n12, 601n18
Pezzi, Domenico, 435
Philipps, Colwyn, 542n65
Phillips-Matz, Mary Jane, 550n59
Piave, Francesco Maria
Attila libretto contribution, 144
Ernani libretto, 40–41, 229, 251, 374
La forza del destino libretto, 39
librettos for Verdi, 48
Macbeth libretto, 284–85, 286, 287, 471
Rigoletto libretto, 44, 93–94, 136–37, 139–40, 159
as stage director, 457
Stiffelio libretto, 136
Teatro La Fenice employment of, 37
La traviata libretto, 251, 371
Pidò, Evelino, xiv, 8–10, 307, 449, 592n81, 600n1
Pierpont Morgan Library (New York), 62, 102, 299
Pilavachi, Anthony, 492, 511
Pillet, Léon, 60–61
Pillet-Will, Elizabeth, 165
Pillet-Will, Jacques, 164–65
pitch levels, 333
Pitoiset, Dominique, 447–50, 483
Pizzi, Pier Luigi, xiv, 18, 19, 306, 453, 481, 484, 599n92
platea, 214, 215
Plato, 134
Ploumis, Damon Nester, 525
Poggi, Antonio, 341
Pollini, Maurizio, 4, 291–92
Ponchielli, Amilcare, I Lituani, 459
Poniatowski, Giuseppe, 77
Ponnelle, Jean-Pierre, xiv, 26, 116, 118, 193, 290–91, 453
Poriss, Hilary, 555n16, 579n42
Porter, Andrew, 467–68, 599n90
Portogallo, Marco, 229
Povoledo, Elena, 462, 463
Powers, Harold, 392–93, 577n24, 602n28
Prampolini, Alessandro, 466
praticabili, 455, 471
Praticò, Bruno, xiv, 29, 514
Prey, Hermann, 545n31
private collections, manuscripts in, 144–48
productions. See stagings
Puccini, Giacomo
autograph manuscripts of, 109–10
La Bohème, 244, 489
La fanciulla del West, 109
Madama Butterfly, 109, 244–45
Manon Lescaut, 109, 277, 459, 596n42
Ricordi firm and, 97, 100
role in printing of his operas, 109–10
Suor Angelica, 109
Tosca, 245, 564n25 puntature, 7, 226, 294, 300, 324–27, 351–52.
See also opera singers; transpositions Puttick & Simpson auction house, 146
Pysall, Markus, 512
Quarenghi, Giacomo, Trattato di Violoncello, 440
Queler, Eve, 426, 581n68
quinari, 92, 281, 401
quinari doppi, 47–48
Racine, Jean
Andromaque, 6, 11, 36–37
Polyeucte, 158
Radiciotti, Giuseppe, Gioacchino Rossini, 259, 535n19, 565n33, 582n19
Ragni, Sergio, 370
Raimondi, Ruggero, 156, 162, 365, 524
Rame, Franca, 516–17
Rameau, Jean-Philippe, Les Indes galantes, 452
Ramey, Samuel, xiv, 18, 19, 24, 156, 176, 179, 186, 195–96, 197–98, 249, 302
Rampal, Jean-Pierre, 172
ranz des vaches, 385
Ratti, Leopoldo, 79–80, 99, 177
Rattle, Simon, 410–11
Rauch, Rudolph, 531
Reale Accademia d’Italia (Rome), 580n49
recitatives
accompanied, 247–54
cuts to, 192
French verse structure for, 386–87
functions of, 248, 251
Italian verse structure for, 43–45, 386–87
ornamentation of, 301–6
secco, 247–50, 252–54
secco, instruments accompanying, 410, 438–42, 551n4
recordings, early, analysis of, 204
Regazzo, Lorenzo, 409
Regietheater, 446, 480–84. See also stagings
Reina, Domenico, 359, 360, 575n47
Reinhard, Max, 600n106
Rennert, Günther, 220
repubblica, La, 477
Respighi, Ottorino, La Boutique fantasque, 146
Ricci, Luigi, Il diavolo a quattro, 459
Ricciardi, Simonetta, 559n70
Ricciarelli, Katia, 156, 292, 365, 514
Ricordi, Giovanni, 77, 85, 97–100, 377–78, 406, 451
Ricordi, Giulio, 460–61, 469–70, 570n80
Ricordi, Tito, 72, 378, 431–32, 554–55n7
Ricordi firm. See Casa Ricordi Rifkin, Joshua, 171
Righetti-Giorgi, Geltrude, 72, 174, 259, 558n51
Rilling, Helmut, 161
Risi, Clemens, 483
Ristori, Adelaide, 324
Rizzi, Carlo, 7, 29, 325–27
Robertson, Anne Walters, 603n45
Robertson, David, 243
Robinson, James, 515–16, 521
Rockstro, William Smith, 440–41
Rockwell, John, 581n5
Rolla, Alessandro, 227, 560n86
Roller, Andreas Leonhard, 466, 598n74
Romani, Felice
Anna Bolena libretto, 44–45
Beatrice di Tenda libretto, 49
Bianca e Falliero libretto, 38
I Capuleti e i Montecchi libretto, 42, 211–12
Ernani libretto, 60
La Scala employment of, 37
Norma libretto, 471 Parisina libretto, 49
Il Turco in Italia libretto, 218, 295–96
wife of, 290
Romani, Pietro, “Manca un foglio,” 116, 217–18, 259
romanza; romance, 280–81, 397
Rome, Italy
copisterie in, 79–80, 90–91, 95–96, 177
opera season in, 35
opera theaters in, 33, 37
political situation in, 79
Rome Conservatory library, 154–55, 356–57
Ronconi, Luca, xiv, 20, 27–29, 129, 156, 267, 452, 453, 481, 482, 484, 513–15
rondò, 39–40, 318
Ronzi De Begnis, Giuseppina, 212, 228
Rosbaud, Hans, 442
Rosen, Charles, 173, 175, 207
Rosen, David, 113, 161
Rosenthal, Albi, 144
Rosich, Paolo, 217–18
Ross, Alex, 444, 446, 447
Rosselli, John, xvi, 580n53
Rossetti, Dante Gabriel, 547n3
Rossi, Gaetano, 37, 38, 149
Rossi, Luigi, 592n92
Rossini, Gioachino. See also Index of Principal Operas Discussed
“Alle voci della gloria” (concert aria), 24–25
appoggiaturas used by, 301–2, 304–5
“Ariette Pompadour,” 379
autograph manuscripts of, 9–10, 22–23, 26, 52, 64, 74–79, 86–89, 105, 143, 145, 149–50, 154–55, 177, 183–84, 216, 292, 294–97, 537n44, 539n70, 576n1
Bellini’s puritani and, 234
as businessman, 34, 73–74, 76
cabalettas of, 265–69, 313, 315–20
cadential formulas of, 268–69, 306–10, 318–19, 529
Cantata in onore del Sommo Pontefice Pio Nono, 556n28
Cantatina (spurious), 145–46
collaborators used by, 63–64, 78–79, 86–88, 223, 246, 248, 249–51, 261, 563n7, 564n18
composite Mass as memorial to, 161–62
compositional methods of, 368–70
crescendos of, 416
critical editions of, 501–2, 563n2
cuts in operas of, 265–69
double bass writing of, 414–15, 430
duets of, 267–68, 308
Duetto for violoncello and double bass, 414
dynamic markings used by, 88–89, 183–84, 188–89
Edipo Coloneo, 61–62
Edizione critica delle opere di Gioachino
Rossini, xiii, 122–23, 153, 178, 555–56n17
farse written for Venice, 22, 77
French career of, xii–xiii, 73, 84, 237, 381, 454–55
horn writing of, 420–23
hundredth anniversary of death of, 113–14
letters to mother, 540n8 Messa di Gloria, 143
musical salons held by, 146, 379
as Neapolitan musical director, 34, 36, 38, 299
Le nozze di Teti, e di Peleo (wedding cantata), 258
opera overtures of, 59, 416
operas written for Naples, 5, 74, 76
operas written for Rome, 77–78
operatic conventions and, 245
orchestration techniques of, 63–65, 67, 96, 294, 425–26, 428, 430
ornamentation of operas, 119–20, 179, 182, 185–86, 195, 196–99, 265, 269, 290–331
ornamentation prepared for Bellini operas, 321–22
paper structure preferred by, 56
Péchés de vieillesse (piano music), 146–48, 378–79, 551n3, 574n41
Pesaro festival dedicated to, 4 Petite Messe solennelle, 164–65, 299
recitatives of, 44, 245, 246, 248–52, 438, 439–40, 442
revival of serious operas, 244
“Se il vuol la mulinara,” 566n40
Sei sonate a quattro, 414–15
self-borrowings of, 223, 369–70, 377–78, 566n40
set designs for operas, 461, 462, 463
skeleton scores of, 60
sketches of, 49–50
Les Soirées musicales (songs), 562n97
Stabat Mater, 143, 588n23
stagings of, 453, 481, 482, 484–85
tenor writing of, 228, 260, 580n59
text/music relationship viewed by, 375–77
Three Religious Choruses: Faith, Hope, and Charity, 62
timpani writing of, 417–19, 588n27
transpositions in operas, 334
viola writing of, 430
Rossini, Giuseppe, 150
Rossini Festival (Helsinki), 519
Rossini Opera Festival (Pesaro), 4–5, 17–18, 24–25, 27–29, 59, 155, 165, 183, 243, 246, 291–92, 303, 305–6, 331, 333, 370, 433, 439–40, 475–76, 481, 484, 513–15, 519, 52
4, 525–26, 539n67, 565n34, 599n92
Rossini sulla scena dell’Ottocento, 463–64
Rost, Andrea, 592n81
Rouget, Eugénie, 572n15
Rousseau, Jean-Jacques, Lettre sur la musique française, 380
Royal Opera (Stockholm), 494–95
Royer, Alphonse, 584n59
Rubini, Giovanni Battista, xv
as Puritani Quartet member, 232, 577–78n25
range of, 325, 355–56, 358–62, 575n47
Rossini and, 299–300, 321
in La sonnambula premiere, 354
Ruzzante, Il (Angelo Beolco), 517–18
Ryden, John, 160
Saariaho, Kaija, 518
Sachs, Charles, 147
Sadler’s Wells Opera House (London), 495
St. Hill, Krister, 508
Sala, Emilio, 434
Sala Pedrotti (Pesaro), 4–5, 433
Salieri, Antonio
arias of, 411
Prima la musica, e poi le parole, 367
Sallinen, Aulis, 518
Salminen, Matti, 518
Salonen, Esa-Pekka, 518
Salvini-Donatelli, Fanny, 228
Salzburg Festival, 442
Sandström, Jan, Macbeth2, 502
Sanquirico, Alessandro, 462–63, 464
Santa Fe Opera Festival, 3, 4, 5, 8–11, 14–17, 307
Saraste, Jukka-Pekka, 518
Savage, Roger, 477, 480, 482
Scaparro, Maurizio, 23
Scaramelli, Giuseppe, 440, 586n7
Scarlatti, Alessandro, Il trionfo dell’onore, 408
scene changes. See set changes
scenery. See set designs
Schippers, Thomas, 119, 121–22, 231, 290–91
Schubert, Franz, 173, 281
Schumann, Robert, 118, 173
Schütz-Oldosi, Amalia, 227
Scipioni, Fabrizio, 246, 370
scordatura tuning, 415
Scott, Walter, The Lady of the Lake, 215, 231
Scribe, Eugène, 37, 60, 456, 492, 496, 584n59
Scriptorium (manuscript dealer), 146–48
Searcy, David, 589n33
secco recitative. See recitatives
Selk, Jürgen, 559n69
selva, 38–39
senari, 44, 46, 399, 401
Senici, Emanuele, 580n54, 580n57
Serafin, Tullio
as conductor, 178, 205, 271–77, 411–12, 564–65n26
Style, Traditions, and Conventions of Italian Melodrama of the Eighteenth and Nineteenth Century, 205, 250, 255–60, 263–64, 278, 283
serpentone, 96, 427, 590n52
Servandoni, Giovanni Niccolò, 452
Servile, Roberto, 468
set changes
a vista, 185, 471
cuts and, 262
operatic structure and, 251–52, 470–76
set designs
Baroque, 452
for French operas, 455
nineteenth-century, 461–66, 470–71
three-dimensional, 473–74
for Verdi operas, 445–46
settenari, 43–47, 46, 47, 87, 149, 247, 281, 386–87, 389, 392, 403–4