Seydelmann, Franz, 218
Shakespeare, William, 133, 138
Hamlet, 513
King Lear, 207
The Tempest, 447–50
Shakespeare’s R & J (film), 479–80, 489
Shaw, Fiona, 476, 489
Sibelius, Jean, 518
Sills, Beverly, 119, 121–22, 219, 231, 271, 327, 328, 592n81
Simionato, Giulietta, 178, 563n4
Sinclair, John, 182
Siragusa, Antonino, 514
Sitzprobe, 187
“skeleton scores,” 51, 52, 58–63, 64. See also specific composers
sketches, 49–52. See also specific composers
Slatkin & Fils, M., 157
Slim, H. Colin, 560n80, 564n18
Smart, Mary Ann, 434, 578n36
Solera, Antonio, 38, 41
Solomé, Jacques, 454, 455, 567n52, 594n15
Somma, Antonio
Un ballo in maschera libretto, 37, 224, 372–74, 478, 492–93, 496–500, 504, 506–7, 513
Nabucco libretto, 536–37n30
Re Lear libretto, 471–72
Sondheim, Stephen, Sunday in the Park with George, 465
Sontag, Henriette, 210
Sophocles, 134
Oedipus at Colonus, 61–62
sources, finding, 142–48
Souvaine, Gerry, 295
Spadaro Del Bosch, Luigi, 84–85
Spagnoli, Pietro, 409 spartitini, 54, 55, 181
Spontini, Gasparo, 250
La Vestale, 534n14
Staatsoper (Vienna), 11–13
stabili, 455
Staël, Madame de, Corinne, ou l’Italie, 525
stage directors. See also specific names
cuts and, 231
ornamentation decisions and, 290
Regietheater and, 19–20, 446–47, 452, 480–84
version choice and, 231, 504–5
stagings. See also set changes; set designs
censorship and, 477–78, 492–94
critical editions and, 450–52
decisions about, xiv, 443–44, 483–86, 490–91
displaced, 11, 14, 446, 476–80, 493–513
disposizioni sceniche, 451–52, 453, 457–61, 467–68, 474–75, 521
ironic, 20–22, 517–31
livrets de mise en scène, 453, 454–56, 458–59, 469, 594n15
naturalistic, 452–53
nineteenth-century, 450–66
of plays, 476, 489–90
radical, 447–51, 477, 480–84, 486
reenactments of nineteenth-century, 466–76
use of flashbacks, 482–83
“stagione” system, 230, 238
Stanislavski, Constantin, 600n106
Steane, John, 206
Steinberg, Michael, 593n97
Stendhal, 175, 214
La Chartreuse de Parme, 215
reviews by, 226
Vie di Rossini, 219–20, 552n16
Stephan, Rudolf, 12
Sterbini, Cesare, 49, 369
Stokowski, Leopold, 118, 171
Stolz, Rosine, 60–61
Storace, Nancy, 239–40
Strauss, Richard, 4
Capriccio, 367, 443
Stravinsky, Igor
Jeu de cartes, 288–89
neo-Baroque music of, 173
Petrushka, 98
Pulcinella, 552n12
The Rake’s Progress, 4, 442
Strehler, Giorgio, 19–20, 452, 481
Strenna marchigiana, 309–10
Strepponi, Giuseppina, 160, 499–500
string instruments
double basses, 414–15, 430, 440–41, 586n10, 587n15
gut strings used for, 409, 412
number of, 429–32
orchestral placement of, 432–33
in secco recitative accompaniment, 439–41
substitute arias, 144, 209–10, 211, 217–18, 221, 238–40, 239–40, 328, 350–51
supertitles, 29, 192, 368
Supervia, Conchita, 563n4
Sutcliffe, Tom, Believing in Opera, 453
Sutherland, Joan, 178, 180, 199, 236, 268, 271
Swenson, Ruth Ann, 20–21, 27
Szell, Georg, 118
Tacchinardi Persiani, Fanny, 349, 350–51, 435
Tadolini, Eugenia, 343
Takova, Darina, 325–27
Talvela, Martti, 518
Tamagno, Francesco, 533n6
Tamberlick, Enrico, 126–27
Tamburini, Antonio, 232, 360, 577–78n25
Taruskin, Richard, Text and Act, 173, 175
Taylor, Elizabeth, 591n66
Teatro alla Scala (Milan), 33
Bellini productions, 69, 117–18, 227, 271, 345, 359–60, 481
cello section at, 431
configuration of, 214
Donizetti productions, 84, 222, 303, 397
first conductor at, 590n49
lighting at, 599n85
Muti directorship, 229
nineteenth-century performance lengths, 213–14
nineteenth-century set designs, 462–63, 466, 467
opening night at, 127
opera season, 35
orchestral personnel of, 592n92
orchestra’s location in, 433
Pavesi production, 260
recitative performance at, 438
Romani’s association with, 37
Rossini productions, 26, 96, 116–17, 118–19, 178, 179, 206, 212–13, 217, 218–19, 220, 248, 249, 266, 267, 290–91, 297, 364–65, 381–82, 431, 482, 533n2
score archive, 98, 99
Stendhal on, 215
Verdi productions, 72, 124, 127–32, 243, 298, 308, 330, 445, 460–61, 463, 467, 470, 476–77, 576n8, 598n70, 598n74
Teatro Apollo (Rome)
Rossini productions, 33, 77–79, 223
Verdi productions, 430, 431–32, 459, 466, 494, 499–500
Teatro Apollo (Venice), 350–51
Teatro Argentina (Rome), 33, 35, 69, 72, 78, 258, 444–45
Teatro Carcano (Milan), 33, 35, 60, 82–83, 222, 354
Teatro Carlo Felice (Genoa), 208
Teatro Carolino (Palermo), 82
Teatro Comunale (Bologna), 29, 33, 470, 482, 544n7, 576n4
Teatro Comunale (Florence), 124–27, 567n51
Teatro Comunale (Modena), 433, 467, 468–69, 553n18
Teatro dei Fiorentini (Naples), 33, 246–47, 369, 430
Teatro del Fondo (Naples), 33, 90, 209, 223, 354
Teatro della Canobbiana (Milan), 33
Teatro della Pergola (Florence), 80, 217–18, 283–84, 537n55, 546n49
Teatro dell’Opera (Rome), 229
Teatro Ducale (Parma), 211, 222
Teatro Eliseo (Rome), 206
Teatro Grande (Trieste), 159
Teatro La Fenice (Venice), 33
archives, 63, 177, 181
Balzac’s description of, 552–53n16
Bellini productions, 211–12, 218, 545n34
fire at, 304, 445
lighting at, 469
Meyerbeer production, 542n60
particelle kept by, 63
recitative performance at, 438
Rossini productions, 36, 149, 175, 208, 248, 463, 545n34
Rossi’s and Piave’s association with, 37
Stravinsky production, 442
Verdi productions, 40–41, 68, 72, 128, 136–38, 222, 464–65, 466, 469
Verdi’s dealings with, 100
Teatro Nuovo (Naples), 33
Teatro Nuovo (Rimini), 546n49
Teatro Olimpico (Rome), 535n20
Teatro Ponchielli (Cremona), 220
Teatro Re (Milan), 33, 85, 94, 430–31, 563n7
Teatro Regio (Parma), 159
configuration of, 214
Teatro Rossini (Lugo), 565n37
Teatro Rossini (Pesaro), 4, 433
configuration of, 214
Teatro San Benedetto (Venice), 36, 85–86, 218–19, 222, 338
Teatro San Carlo (Naples), 33
Bellini productions, 359
Cammarano’s association with, 37
configuration of, 214
Donizetti productions, 158, 434–35, 457–58, 579n42
gambling at, 34, 76
horn players at, 421
Lenten operas at, 35
Pacini production, 463
principal tenors employed by, 36
recitative performance at, 438, 439
Rossini productions, xii, 18, 75–76, 119–20, 223, 250, 262, 284, 546n40, 566n39
standard chorus size at, 537n55
string section seating plan, 432
Verdi productions, 465
Verdi’s dealings with, 478, 493, 496
Teatro San Moisè (Venice), xii, 22, 77, 296, 409–10
Teatro San Samuele (Venice), 563n4
Teatro Valle (Rome), 33, 35, 78, 438
Teatro Vecchio (Mantua), 33
Tebaldi, Renata, 122
“tempo d’attacco” indication, 567–68n58
tempo di mezzo, 19, 306, 311, 568n58
terzettone, 19, 120
textual criticism, 133–34, 207
Theater and Music Museum (St. Petersburg), 466
theaters, nineteenth-century Italian
audience behavior in, 174–75, 214, 444–45
ballets programmed by, 213–14
configuration of, 34–35, 214, 468–69, 471, 546n45
conventions of, 39–40
copyists employed by, 74, 76–77, 79–80, 86–90, 177
first performances in, 69, 71–74
gaming rooms in, 34, 215
hiring of performers, 35–36
illumination of, 214–15
librettos chosen by, 37–38, 493
opera seasons, 35
performance length, 213–15
performance schedules, 215–16
political conditions and, 223–24
recitative performance in, 438–39
rehearsal schedules in, 58–60, 63, 68, 69–71, 73
stagings in, 457–61
Théâtre de la Renaissance (Paris), 60–61, 600n1
Théâtre de l’Académie Royale de Musique (Paris), 381, 600n2
Théâtre de l’Odéon (Paris), 381
Théâtre de l’Opéra-Comique (Paris), 396–97
Théâtre Italien (Paris)
Bellini productions, 232–34
Donizetti productions, 84–85, 208, 342–43, 435
double basses at, 414
particelle kept by, 63, 143, 153
Pasta’s performances, 457
“ Puritani” Quartet at, 232, 577–78n25
Rossini productions, 152–53, 180, 210, 219–20, 299, 332, 534n12, 572n16, 572n17, 573n27
Rossini’s directorship of, xii–xiii, 237
Théâtre Lyrique (Paris), 283–85, 466
timpani, 416–19, 586n11
tonal structures in Italian operas, 334–38, 340–41, 349, 353
Toni, Alceo, 250, 255–60, 278
Torelli, Vincenzo, 452, 478
Toscani, Claudio, 556n24, 556n27
Toscanini, Arturo, 105, 109
Tottola, Andrea Leone, 6, 10, 37
Tourel, Jennie, 563n4
Tragédie de Carmen, La, 204, 531
translations, 364–406
authorial versions, 401–4
Italian metrics and, 386–94, 395–97, 403–5
nineteenth-century, 382–94
nineteenth-century English adaptations, 354
nonauthorial versions, 364–65, 381–401
reasons for choosing, 364–65, 368, 380–81, 405–6
transmission of written sources
alternative versions and, 205–13
censors’ role in, 90–94, 136–37, 158–60, 162–63
composers’ modifications and, 94–97
copyists’ role in, 76–77, 86–90, 177
performing traditions differentiated from, xiv, 73–74, 105–6
pirated or false editions, 80–86, 98–99
publishers’ role in, 98–106
transpositions, 328, 332–63
at-sight adjustments, 576n1
in Bellini operas, 334, 344–48, 353–62
in Donizetti operas, 342–43, 348–53
irresponsible, 343–44
pitch levels and, 333
in Verdi operas, 338–42, 343–44
Treccani degli Alfieri family, 145
trombones, 426–29, 591n58
Troupenas (publishing firm), 18–19, 62, 71, 155, 569n73, 591n66
tuba, 426, 429, 537n51
Ungher, Carolina, 555n16
University of Chicago library, 318
University of Chicago Press, 13, 132, 160
Vaccai, Nicola, Giulietta e Romeo, 211–12, 229
Vaëz, Gustave, 143, 584n59, 600n2
Valente, Mario, 146
Valentini-Terrani, Lucia, 151, 156, 292, 365
van der Straeten, Edmund, 552n12
Vaness, Carol, 391
Varesi, Felice, 69, 225, 285, 287, 338–39
Vargas, Ramon, 27
variations, 310–20, 324, 327–28. See also ornamentation
Vasselli, Antonio, 585n67, 601n8
vaudeville, 481
Vaughan, Denis, 107–12, 140, 255, 426
Velluti, Giambattista, 226, 297, 299
Venice, Italy
opera theaters in, 33, 214
political situation in, 79
Verdi, Giuseppe. See also Index of Principal Operas Discussed
Adelia degli Adimari libretto viewed by, 478, 493
adjustments made for singers, 225
appoggiaturas used by, 301–2
autograph manuscripts of, 64, 100, 101–2, 107–12, 137–38, 139–41, 159, 216, 227–28, 340, 366, 498–99, 557n44
as businessman, 74, 100, 103
cabalettas of, 245, 277–80
cadential formulas of, 282
cadenzas of, 264, 283, 307–8, 323
career length of, 277
censors and, 158, 492–501, 504–5, 513
centennial celebration, 446–50
compositional methods of, 371–74
Copialettere (copybooks) of, 38, 103
cuts in operas of, 277–88
death scenes in, 287
duets of, 283
dynamic markings used by, 426–27
“galley years” comment, 34
horn writing of, 424–25
letters of, 145, 537n34
“Libera me” from composite Mass, 161–62
manuscripts in family archives, 160–62, 164
Messa da Requiem, 102, 107–12, 161–62, 411, 555n12
orchestration techniques of, 63, 64, 65, 67, 428
ornamentation of operas, 197–98, 298, 322–24
paper structure preferred by, 56–57
Paris Opéra viewed by, 73
participation in editorial process, 102, 110
participation in librettos, 38–39, 40–41, 48
pitch levels viewed by, 333
political role of, 108, 510
“Racconto autobiografico,” 597n52
Re Lear project, 471–72
recitatives of, 249, 438, 439 romanze of, 280–81, 397
set changes viewed by, 471–72
set designs for operas, 445–46, 463, 464–66
skeleton scores of, 60, 62–63, 224, 498–501, 502–8, 509
sketches of, 49, 50–52, 372, 496–98
stagings of, 444–50, 453, 458–61, 467–70, 477–79, 481, 482
superfluous sound effects viewed by, 324
tenor writing of, 124–26, 228, 356
theaters’ changes viewed by, 209, 451
timpani writing of, 419, 588n27
transpositions in operas, 334, 338–44
variants of operas introduced by, 216–17
The Works of Giuseppe Verdi critical editions, xiii, 13, 51, 123–32, 136, 160–62
Verdi family, 160–62, 164
Verdi Festival (Copenhagen), 502, 504–5, 507
Verdi Festival (Parma), 83–84, 173, 274, 325–27, 361, 363, 380–81, 408–9, 446–50, 453, 474–75, 483, 496
Vernoy de Saint-Georges, Jules-Henri, 393
Verona, Congress of, 514
verse structures, French, 386–87, 395–96, 397, 403–4
verse structures, Italian, 41–48, 149, 286, 374–75, 382, 385–94, 395–96, 402, 403–5. See also specific types
versi lirici, 247, 306
versi sciolti, 44, 46, 247, 306, 386–87
version, choice of, 203–40
aesthetic considerations, 221–22, 237, 238
alternative versions and, 205–13
authorial versions and, 221–31
composers’ wishes and, 230–31
conductors’ and directors’ decisions concerning, 231, 509–13
cross-cultural adaptations, 221
historical circumstances and, 222–28, 237–38
modern performers and, 203–5
nonauthorial versions, 216–20, 490–91
practical considerations of modern performance, 228–31, 490
singers’ capabilities and, 225–27, 228–29, 238
social context and, 213–16
three-dimensional conceptual grid for, 221, 237, 239, 243–44, 294
Viale Ferrero, Mercedes, 462
Viardot, Pauline, 229, 288
Vick, Graham, 8, 475–76, 483–84
Victor Emanuel II, King of Italy, 510
Vienna, Austria, 12
Vienna, Congress of, 514
Viganò, Salvatore, 213
Villa Verdi (Sant’Agata), 160, 536n17
Vinci, Leonardo, 583n32
Vinciguerra, Piero, 512
Virgil, 134
Virgin Classics, 409
Visconti, Luchino, 19, 452, 481, 564n25
Vitali, Giuseppina, 309–10, 312, 319–20, 575n43
Vitoux, Fréderic, Fin de saison au Palazzo Pedrotti, 148
Vivaldi, Antonio, Le quattro stagioni, 409
Voltaire
Candide, 553n20
Sémiramis, 176
Tancrède, 36, 149
von Rhein, John, 443, 480
Von Stade, Frederica, 290–91
Wagner, Richard
autobiography of, 293
at Bayreuth, 433
Der fliegende Holländer, 481
music dramas of, 277
Opera and Drama, 334
performances of operas in France and Italy, 381
stagings of, 444, 481
Tannhäuser, 443
text primacy viewed by, 368
Tristan und Isolde, 293, 334, 482
vocal score of La Favorite prepared by, 101
Wagner, Wieland, 473
Walter, Bruno, 442
Warner, Deborah, 476, 489
Weber, Carl Maria von, 380
Weber, Samuel, 482–83
Weinstock, Herbert, 157
Weiss, Piero, 374–75
Wertmüller, Lina, 481
Westergaard, Peter, 577n12
Wiklund, Anders, 22, 501–2
Wild, Nicole, 596n49
Wills, Simon, 429
Divas and Scholars Page 98