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Rossini-Russo Gioachino Rossini Io proteggo! E questo detto aria per Baritono e Orchestra nell’opera Il bello piace a tutti di Valentino Fioravanti Edizione critica e riduzione per canto e pianoforte a cura di Francesco Paolo Russo Società Editrice di Musicologia Opera [1] Comitato scientifi co: Mariateresa Dellaborra Francesco Paolo Russo Lucio Tufano © Società Editrice di Musicologia 2019 Lungotevere Portuense 150 00153 Roma C.F. 97701420586 [email protected] www.sedm.it Progetto grafi co: Venti caratteruzzi Impaginazione: Giacomo Sciommeri Traduzione in inglese: Marcello Piras #$%&: 979-0-705061-77-2 La presente pubblicazione è sotto copyright e tutti i diritti di utilizzo rimangono dell’editore. L’acquirente non è autorizzato a duplicare, condividere pubblicamente e riprodurre le pub- blicazioni, se non per uso privato o per le esigenze stretta- mente connesse con le esecuzioni musicali. Ogni violazione sarà perseguita a termini di legge. This publication is copyright. All rights reserved. The buyer is not authorized to duplicate, share, or disseminate it. Single du- plicates may only be made for personal use or concert perfor- mance. Copyright infringement will be prosecuted. Società Editrice di Musicologia Gioachino Rossini Io proteggo! E questo detto aria per Baritono e Orchestra nell’opera Il bello piace a tutti di Valentino Fioravanti Edizione critica e riduzione per canto e pianoforte a cura di Francesco Paolo Russo Società Editrice di Musicologia Indice Table of contents VII Introduzione VII Vicende di un’aria rossiniana VIII Testo e musica X Apparato critico X Criteri editoriali XI Fonti XII Varianti e note XIV Introduction XIV ! e adventures of a Rossini aria XV Text and music XVII Apparatus XVII Editorial criteria XVIII Sources XVIII Variants and notes 1 Io proteggo! E questo detto aria per baritono e orchestra 51 Io proteggo! E questo detto riduzione per canto e pianoforte Società Editrice di Musicologia Introduzione Vicende di un’aria rossiniana come punto di riferimento non soltanto per gli impresari che gli a4 davano il compito di “rappezzare” libretti teatrali e scri- Testimone della frenetica attività del Pesarese nel primo anno verne altri a rotta di collo per ogni evenienza, ma anche per del suo debutto teatrale e rivelatrice del suo precoce legame i compositori di passaggio nella capitale ponti" cia – formi- con la capitale ponti" cia, l’aria per baritono Io proteggo! E que- dabile ad esempio la sua amicizia con Donizetti – ponendosi sto detto fu composta da Rossini alla " ne del #$#%. 1 Il musicista al contempo come collettore di suppliche e raccomandazioni aveva appena licenziato la sua prima farsa, La cambiale di ma- per questo o quel musicista desideroso di distinguersi nell’a- trimonio su libretto di Gaetano Rossi, la cui rappresentazione gone teatrale capitolino. 3 era avvenuta al Teatro San Moisé di Venezia il ( novembre #$#% in un allestimento che prevedeva la presenza di Rosa A questa “tentacolarità” ferrettiana non si sottrasse nemmeno Morandi, moglie del celebre compositore Giovanni, nel ruolo il giovane Rossini il cui rapporto col librettista romano non di Fanny. L’intercessione dei coniugi Morandi, decisiva per la si rivelò a5 atto semplice. Il primo contatto documentato fra i scrittura veneziana del debuttante Rossini, fu fondamentale due avvenne probabilmente in occasione di una delle celebri anche in occasione di questa aria romana, qui pubblicata per “licenze” che Rossini aveva chiesto all’impresario Domenico la prima volta integralmente e in edizione critica. Dobbia- Barbaja durante il suo lungo soggiorno napoletano. La “licen- mo infatti la composizione del brano al coinvolgimento del za” che qui ci interessa è quella chiesta per poter rappresentare giovane operista in una operazione di borrowing organizzata a Roma un’opera commissionata da Francesco Sforza Cesarini da un altro amico di famiglia dei Rossini, il baritono Luigi per il carnevale del #$#2: L’Almaviva o sia L’inutil precauzione. Zamboni che nel #$#% si era stabilito a Roma per calcare, e «Per l’occasione – secondo la testimonianza di Geltrude Ri- con certo successo, le scene dei principali teatri cittadini. Fu ghetti Giorgi – il poeta Ferretti fu incaricato di comporre un probabilmente Morandi, in quel periodo impegnato al Teatro libro pel Teatro Argentina la cui parte principale fosse per il Valle di Roma, a suggerire a Zamboni il nome del Pesarese per tenore Garzia. Ferretti presentò l’argomento di un u4 ciale in- la composizione di un’aria da inserire nell’opera di Valentino namorato di un’ostessa e contrariato ne’ suoi primi amori da Fioravanti Il bello piace a tutti che si doveva rappresentare al un curiale. Parve all’impresario che l’argomento fosse alquan- Valle nel gennaio del #$##. Il giovane compositore lo acconten- to vile, e lasciato Ferretti si andò in traccia dell’altro poeta sig. tò inviandogli un brano il cui tema principale è contenuto già Sterbini ». 4 Lo screzio tra i due fu comunque ricomposto ab- nell’Introduzione della Cambiale di matrimonio . bastanza in fretta. L’anno successivo, grazie alla commissione di una nuova opera per il Teatro Valle da rappresentarsi nel Notizia dell’esistenza dell’aria in questione è stata rinvenuta da carnevale #$#3 che l’impresario Pietro Cartoni fece a Rossini, chi scrive in un sorta di bilancio sullo stato delle sorti del me- musicista e librettista ebbero " nalmente l’occasione di lavorare lodramma a Roma nel primo quarto del XIX secolo, stilato dal insieme alla Cenerentola. La collaborazione tra Rossini e Fer- librettista Jacopo Ferretti sotto forma di relazione, in occasio- retti si concluse, com’è noto, con la composizione della Matilde ne di un’adunanza nel #$(+ dell’Accademia Tiberina di cui era uno dei soci fondatori. 2 La “memoria” ferrettiana dal titolo Al- cune pagine della mia vita altro non è che la testimonianza di 3] La “memoria” ferrettiana è stata rinvenuta nel corso di un’indagine prima mano di uno dei protagonisti delle stagioni operistiche sulle carte del librettista promossa dall’Accademia di Santa Cecilia e dal dei principali teatri romani, una " gura in grado di proporsi compianto Bruno Cagli negli anni Novanta del secolo scorso. I risultati di questa ricerca sono stati illustrati in un convegno di studi i cui atti sono stati editi nelle pubblicazioni dell’Accademia: Jacopo Ferretti e la cultura del suo tempo. Atti del convegno di studi Roma, #$-#% novembre 1] Il suo rinvenimento è stato segnalato in Francesco Paolo Russo, Una &%%( , a c. di Annalisa Bini e Franco Onorati, Milano, Skira, #111 (L’arte sconosciuta aria di Rossini su testo di Ferretti , «Bollettino del Centro ros- armonica, +. Serie III, Studi e testi). Si rimanda a questo volume per la siniano di studi», XLII, /%%/, pp. +-0(. Si rimanda a questo saggio per bibliogra" a – ormai copiosa – sul letterato romano. ulteriori approfondimenti sulla genesi dell’aria. 4] Geltrude Righetti-Giorgi, Cenni di una donna già cantante sopra il mae- 2] Jacopo Ferretti, Alcune pagine della mia vita. Delle vicende della poe- stro Rossini, in risposta a ciò che ne scrisse nella state del &$## il giornalista sia melodrammatica in Roma. Memoria seconda, a c. di Francesco Paolo inglese in Parigi e fu riportato in una Gazzetta di Milano dello stesso anno, Russo, «Recercare», VIII, #112, pp. #+3-#10. Bologna, Sassi, #$/(, pp. (%-(#. Gioachino Rossini, Io proteggo! E questo detto Società Editrice a cura di Francesco Paolo Russo di Musicologia VII Introduction The adventures of a Rossini aria Young Rossini could not escape Ferretti’s octopus-like grip. w eir relationship had an uneasy start though. w eir " rst w e baritone aria, “Io proteggo! E questo detto” (“I protect! documented contact probably took place on one of those so- And this statement”), appearing here in its " rst integral schol- called furloughs Rossini got, during his prolonged Neapolitan arly edition, was written by Gioachino Rossini by late #$#%. 1 stay, from impresario Domenico Barbaja. w is one occurred It attests both his frantic activity in the year of his theatrical when L’Almaviva o sia L’inutil precauzione , commissioned by debut and his early activity in Rome. Francesco Sforza Cesarini for the #$#2 Carnival, was to be staged in Rome. As contralto Geltrude Righetti Giorgi wit- w e composer had then just penned La cambiale di matrimo- nessed, «For the occasion, poet Ferretti was commissioned nio , his " rst opera bu4 a , libretto by Gaetano Rossi, staged at a libretto for the Argentina w eater, with the main part for San Moisè w eater, Venice, on November (, #$#%, featuring tenor Garzia . Ferretti presented a plot about an o4 cer in love noted composer Giovanni Morandi’s wife, Rosa, as Fanny. w e with an innkeeper girl and having a priest getting in the way Morandis’ recommendation had been instrumental for nov- of his courtship. w e impresario regarded the story as quite ice Rossini to land a job in Venice, and so it was in Rome as mean, and Ferretti was discarded to seek the other poet, Si- well. Baritone Luigi Zamboni, another Rossini family friend, gnor Sterbini ». 4 had settled in Rome in #$#% and was appearing with good suc- cess in the main theaters in town. Morandi, then working at w e ri| between the two quickly healed. w e following year, Valle, likely suggested him Rossini’s name to have a new aria impresario Pietro Cartoni commissioned Rossini a new work, inserted in Valentino Fioravanti’s opera, Il bello piace a tutti , to be staged at Valle during Carnival #$#3. At last, Rossini and scheduled at Valle for January #$##. Rossini obliged with a Ferretti had a chance to work together on Cenerentola . w eir piece built on a theme drawn from La cambiale di matrimonio " nal collaboration was Matilde di Shabran ossia Bellezza e introduction. cuor di ferro , staged at Apollo by spring #$/#, when Rossini was also to come to Rome for La donna del lago , scheduled at I found such aria cited in an #$(+ report librettist Jacopo Fer- Argentina.
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