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Cambridge University Press 978-0-521-88998-8 - Fashions and Legacies of Nineteenth-Century Italian Opera Edited by Roberta Montemorra Marvin and Hilary Poriss Index More information

Index

Note: page numbers in italics indicate illustrations or musical examples; page numbers followed by t indicate tables.

Abbate, Carolyn, 235n6 Alzira (Verdi), 152 Abbey, Henry, 123, 124 Ambassadeur, L’ (Scribe), 179 Académie Royale de Musique. See Paris ami malheureux, Un (Royer and Vaëz), 44t Opéra Ancona, opera performances in, 78 Acis and Galatea (Handel), 10, 24, Anglo American, The, 119–20 27n29 Anna Bolena (Donizetti), 41, 115 acting treatises, 191, 220–21, 222, 230 Anne, Théodore, 51nn29–30 Adam, Adolphe, 31, 43t Anselmi, Giuseppe, 247, 259n10 Admeto (Handel), 10 Antoldi, Gaetano, 106n20 Agrippina (Handel), 11 appoggiatura performance, 240–41, 254 Aida (Verdi), 152–75; allegorical imperialist Arblaster, Anthony, 165 readings of, 158–59, 160, 161, 162; allegorical Arena Sferisterio (Macerata), 266 nationalist readings of, 155–56, 157; Cairo Ariosto, Ludovico, Orlando furioso, 23 premiere, 164–65; commissioning of, 157, Armida (Rossini), 39, 142–43, 144, 145, 158; consecration scene, 173n42; disposizione 150n35 sceniche for, 231; Ethiopians’ plea in, 166–69; Arnold, Samuel, edition of Handel works, 10, exoticism and, 152–69, 170n2; fauxbourdon 11, 13, 21, 24, 27n22 use in, 164, 167, 175n59; imperialism and, arrangements: decontextualization of meaning 155–56, 158–59; Khedive’s scenario request, through, 53; orchestral, 14–15; piano-vocal, 163; libretto and stage directions, 162; literal 53–75, 76–77, 102; text substitution reading of, 153, 155, 156, 159–60; in, 53–75 metaphorical readings of, 155, 160–62; art nouveau style, 224 metronome markings in, 267; Milan Artaria ﬁrm: piracy and, 77, 81; Ricordi’s premiere, 165; multiple agendas of, 169; nine actions against, 78–79, 107n29; as Rossini’s possible readings of, 154t; piecemeal publisher, 101 performances of, 123; rhythmic alterations assedio di Corinto, L’ (Rossini), 115 in, 255, 255–56; Said’s readings of, 156–62; Atalanta (Handel), 11 stereotypical reading of, 158, 160, 162, Attila (Verdi), 156 171n19, 172n32; traditional readings of Auber, Daniel-François-Esprit, 43t; empire and Otherness in, 153, 155–56; “Englishing” of excerpts by, 54; triumphal scene in, 159, 163–69; use of Masaniello, 119 straight trumpets in, 165–66, 168; Verdi’s auberge des trois pins, L’ (Royer), 42t political views and, 163; Vienna Festival Augier, Emile, 14 production, 164 Austin, Elizabeth, 119, 130n34 “Air of the Troubadour” (Churchill adaptation Austro-Hungarian Empire, 155–56 of Verdi), 61 avventura di Scaramuccia, Un’ (Ricci), 191 Airs italiens du XVIIIe siècle (Viardot), 25n6 Albani, Emma, 240–41, 249 Bach, Johann Sebastian: “Du Hirte Albion, The, 119 Israel, höre,” BWV 104, 10; Gounod’s Alceste (Gluck), 9 adaptation of C-major prelude, 15; Viardot’s Alcina (Handel): Chrysander edition, 17; interest in, 9 “Verdi prati,” 10, 14, 16–17, 18, 19, 21, 22, 23, ballet-pantomime, 119 28n36 ballo in maschera, Un (Verdi): disposizioni Alessandro (Handel), 10 sceniche for, 193n5; metronome markings in, Alexander’s Feast (Handel), 27n29 266–67 “allegory” (term), 170n8 Balocchi, Luigi, 30, 40 Almira (Handel), 10 Barbier, Auguste, 42t

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272 Index

barbiere di Siviglia, Il (Rossini): character of Boito, Arrigo: libretto for Verdi’s Otello, 197; Figaro in, 176; Introduzione in, 194n11; Mefistofele, 193n5 lesson scene, 52n39; Mauceri production, Bologna, opera performances in, 78, 80, 116–17, 262, 265–66; Moscow Opera Studio 129n24, 131n44 production, 221; Patanè’s performance, 241; Bolshoi Theater (Moscow), 219, 220 piecemeal performances of, 111, 120–21, Bonci, Alessandro, 247, 256, 259n10 130n31; “Una voce poco fà,” 21, 41 Bonnaire, Félix, 34 Barbò di Castelmorano, Giacomo, 103n8 Borghese, Eufrasia, 120 barcarolles, 66–67 Bori, Lucrezia, 126, 131n54 Barroilhet, Paul-Bernard, 50n21, 106n20 Boris Godunov (Musorgsky), 221, Basadonna, Giovanni, 106n23 237n32 Beauvoir, Roger de, 42t Bourdieu, Pierre, 73n12, 75n30, 158 beaux hommes de Paris, Les (Royer), 42t Bourgeois, Anicet, 44t Beecham, Sir Thomas, 263–64, 269n7 bourgeois des métiers, Les (Vaëz), 44t Beethoven, Ludwig van: Handel edition owned bourgeois grand seigneur, Le (Royer and by, 11; Symphony No. 6, 174n55 Vaëz), 43t Belisario (Donizetti), 116 Brambilla, Marietta, 115 belle écaillère, Le (Vaëz), 42t Breitkopf & Härtel, 15 Bellini, Vincenzo: Bianca e Fernando, 119; “Bright Harvest Moon” (adaptation of Verdi), I Capuleti e i Montecchi, 40, 41, 113, 65–66 127n6, 131n44; critical edition of works, British empire, Verdi’s views on, 160–61, 162 178, 193n6; death of, 76; “Englishing” of broadcasts, live high-definition, 2 excerpts by, 54; high notes added to works of, brodequins de Lise, Les (Vaëz), 42t 251; letter to uncle, 102n2; Norma, 111, Brown, Matthew, 216n13 118–19, 120–21, 127n6, 165, 193n7, 244; Buckingham, Leicester S., 73n11 Paris performances of operas by, 30; Budden, Julian, 164, 216n7, 217n15 piracy concerns of, 77–78, 104n11; Il pirata, burlesques, 55, 72–73n11 193n7; I Puritani, 76–110, 113, 115, 116, Byron, Henry J., 72n11 127n6, 128n20, 251; La sonnambula, 111, 243–44 cadenza performance, 245–48 benefit concerts, 111–12, 113–14, 116–18, 120, Cadet le perle (Royer), 45t 131n44 Caecilien fest (Handel), 13 Benoist, François, 33, 38–39, 48n10, 51n31 Callas, Maria, 242, 263 Bergonzi, Carlo, 256 Calvé, Emma, 123 Berio di Salsa, Marchese, 35, 38 Cammarano, Salvatore, 34–35 Berlioz, Hector: as critic, 50n18; Gluck’s operas camp de Fontainebleau, Le (Royer), 42t revived by, 9, 21–22, 251; operas of, 9; Les Campana, Alessandra, 216n11 Troyens, 23; version of Weber’s Der Cantanti celebri (Monaldi), 197 Freischütz, 30, 31 capitaine Henriot, Le (Vaëz, music by Bernstein, Leonard, 263; A Quiet Place, 265 Gevaert), 45t Berton, Henri-Montan, 52n40 Capriccio (Strauss), 127 Best, Thomas, 74n23, 74–75n29 Capuleti e i Montecchi, I (Bellini): French Bianca e Fernando (Bellini), 119 version, 40, 41; piecemeal performances of, Bianchi, Francesco, Semiramide, 117 113, 127n6, 131n44 Bizet, Georges, Carmen, 123, 124, 221, 223 caractères rhythmiques, 133, 143 Blasis, Virginia, 114 Carafa, Michele, 31, 43t Blaze, Ange-Henri, 31 Carmen (Bizet): Moscow Opera Studio Boccabadati, Luigia, 106n19 production, 221; Nemirovich-Danchenko bohème, La (Puccini): Beecham’s recording of, production, 223; piecemeal performances of, 263–64, 269n7; Mamontov Private Opera 123, 124 Theater production, 222, 230; Meiningen Caruso, Enrico: cadenza for “Una furtiva Court Theater production, 230–31; lagrima,” 247, 248, 259nn10–11;influence of, Toscanini’s recording of, 263–64, 269n7 246–48 bohème, La (Stanislavsky production), 221–34; Casini, Claudio, 165, 175n60 Act II, Café Momus scene, 226–27, 230–31, Castil-Blaze, 31, 40, 41, 52n39 237n28; Act II, Musetta’s entrance, 228–29; Castor et Pollux (Winter), 30, 40 Act III, tavern scene, 227; Act IV horseplay, Catalani, Angelica, 118, 130n28 229–30; character of Mimì in, 231–34; Cavalieri, Rainieri Pocchini, 115 concept for, 223; lighting, 228, 237n32; sets Cazotte, Jacques, Le diable amoureux, for, 225–27; stage directions, 224–25 135–37, 136 Boisselot, Xavier, 31, 43t, 44t Cella, Giuseppina, 128n20

Index 273

Cenerentola, La (Rossini): duet for two buffi, dame aux caméllias, La (Dumas), 62 194n14; English version, 119; Ferretti libretto dame de trefle, La (Royer and Vaëz), 44t for, 194n10; Mauceri performance, 267–68; Dans une armoire (Vaëz), 44t performing editions of, 262; piecemeal Dante, 23 performances of, 131n44 Darnton, Robert, 137 censorship, French libertine fiction and, 134–37 Davidson, Arnold I., 147n10 Chabanon, Michel, 146n9 Davison, James William, 120 Chapeau, Armand, 42t “Day Dreams” (Enoch adaptation of Chapelle, Paul-Adolphe, 42t Verdi), 69 Chekov, Anton, 220 De Begnis, Giuseppe, 120 Chernisheva, Olga, 235n13 De Gaitis, Bartolomeo, 106n21 Cherubini, Luigi, Medea, 263 De Jorio, Andrea: Gesture in Naples, 195n20; La cheval de Grammont, Le (Vaëz), 42t mimica degli antichi investigata nel gestire Chi dura vince (Ricci), 179, 180, 181, 188, napoletano, 192, 195n19 194n15 De La Grange, Henri-Louis 240 Chiara di Rosenbergh (Ricci), 176 De l’Amour (Stendhal), 142–43 Chodruc-Duclos (Royer and Vaëz), 44t De Lucia, Fernando, 247, 256, 259n10, Chopin, Frédéric: interest in eighteenth-century 260n19 music, 9, 11; Sand and, 15–16; Viardot Dean, Winton, Handel’s Dramatic Oratorios and, 24 and Masques, 26n10 Chrysander, Friedrich, edition of Handel works, Décade philosophique, 132–33 17, 21, 24 Delestre-Poirson, Charles-Gaspard, 31 Chung, Myung-Whun, 260n17 Della Seta, Fabrizio, 155, 168, 175n61 Churchill, Charles, 61 Dell’arte rappresentativa (Riccoboni), 191 Chusid, Martin, 262, 266 Dell’opera in musica sul teatro italiano e de’suoi Ciannella, Giuliano, 256 difetti (Tacchinardi), 181 Cimarosa, Domenico, Il matrimonio Déménagé d’hier (Royer and Vaëz), 44t segreto, 221 Demery, Giuseppina, 106n20 civette in apparenza, Le (Gambale), 114 Deschamps, Émile, 31 class strata: Italian operas and, 55, 56–58, 67; Desnoyers, Louis, 50n18, 51n25 piecemeal opera performances and, 124 Desvergers, 42t Cleveland Orchestra, 262 Deutsches Landestheater (Prague), 243 Coccia, Carlo, Rosmonda, 115 devin du village, Le (Rousseau), 138–39, 140 Coe, Doug, 215n5 diable amoureux, Le (Cazotte), 135–37, 136 coffre-fort, Le (Vaëz), 42t disposizioni sceniche, 178, 193n5, 196–214, comte Ory, Le (Rossini), 30–31 215n4, 220, 231, 237n39 comtesse d’Altenberg, La (Royer and Vaëz), 43t divan, Un (Royer), 42t Conati, Marcello, 196 Divas and Scholars: Performing Italian Opera Confessions (Rousseau), 134–35 (Gossett), 7–8, 235n5, 264 connêtable de Bourbon, Le (Royer), 42t domestic music-making in England: class and, constitutionnel, Le, 51nn31–32 56–57, 58, 67; copyright and, 54–55; cultural Consuelo (Sand), 9, 13 acquisition and, 55–56, 67, 71; morality and, contrafacta of Verdi opera excerpts: cultural 54–55, 60–67; operatic song as “gentlemen’s acquisition and, 55–56, 67, 71; music,” 57; popularity of Verdi, 54; rise of, misperceptions of operas through, 56, 59–67; 53, 54 morality and, 55; popularity of, 54, 67, 71; Domingo, Placido, 260n17 reasons for, 54–56; text purposes, 58; text Don Carlos (Verdi), 166, 174n53; French vs. underlay techniques, 58–59 Italian versions, 249 copyright issues, 54–55, 101–2 Don Giovanni (Mozart), 9, 30, 31; French cor-de-chasse, 133 version, 40, 41 Corelli, Franco, 253 Don Pasquale (Donizetti), 31, 43t; duet for two Correspondence d’Eulalie, 141 buffi, 194nn13–14; Moscow Opera Studio Corri, Domenico, anthologies by, 16–17 production, 221 Cortis, Antonio, 252 Donizetti, Gaetano: Anna Bolena, 41, 115; Cotogni, Antonio, 220, 240–41, 254 Belisario, 116; critical edition of works, 178, Covent Garden (London), 16, 53, 72n9, 120–21 193n6; Don Pasquale, 31, 43t, 194nn13–14, Crispino e la comare (Ricci), 183, 190, 194n12, 221; L’elisir d’amore, 194n13, 245–48, 259n9; 194n15 “Englishing” of excerpts by, 54; Fausta, 115; crociato in Egitto, Il (Meyerbeer), 114 La favorite, 31, 43t, 72n6, 115, 123, 128n20; Cryle, Peter, 135, 141 La fille du régiment, 1–3, 243–44; Gemma di Culture and Imperialism (Said), 156 Vergy, 112; high notes added to works of, 251;

274 Index

Donizetti, Gaetano (cont.) Fausta (Donizetti), 115 Lucia di Lammermoor, 31, 32t, 33, 34–35, favorite, La (Donizetti), 31, 43t, 72n6, 115, 123, 37–38, 42t, 47n8, 112, 120, 123, 124, 129n24, 128n20 130n31, 239–40, 264–65; Lucrezia Borgia, Ferlito, Vincenzo, 102n2 116–17; Maria di Rohan, 130n31; Paris Ferrara, opera performances in, 111–12, 114 performances of operas by, 30; Pia de’ Ferretti, Jacopo, 176, 181, 194n10 Tolomei, 115, 128n20; Poliuto, 47n6; Rita, ou fiction, French libertine, 134–37, 140–43, 145, Le mari battu, 31; Roberto Devereux, 112; 147n16, 147n18, 148n23 Rosamonda d’Inghilterra, 37 fidelity, concepts of, 36–37 donna del lago, La (Rossini), 33, 38, 39, 50n21 Filippi, Filippo, 155, 158, 164–65, 166, 170n3 Donzelli, Domenico, 115, 247 fille du régiment, La (Donizetti), 1–3, 243–44 Du Locle, Camille, 153, 155, 157 films, opera, 235n5 due Foscari, I (Verdi), 38, 115, 128n20 Fleming, Renée, 126–27 Dumas, Alexandre, La dame aux caméllias, 62 fliegende Höllander, Der (Wagner), 223 Dumont firm, 42t, 43t Florence: falsified manuscript of Bellini’s I Duporte, Michel, 44t Puritani in, 81, 108n39; opera performances Duprez, Gilbert, 130n31 in, 78, 80, 114 Flórez, Juan Diego, 1–3, 8n5 “early music” revival, 240 Florimo, Francesco, 77, 107n29 École classique du chant (Viardot), 14, 23–24, Flotow, Friedrich von, Stradella, 31, 45t 28n40 Folies-Dramatiques (Paris), 44t École Niedermeyer, 33 Fontainebleau, Palais de, 42t Egypt, Aida and, 152–69 France, La, 51nn29–30 elephants at Paris zoo, 132–34, 141, 142, 143 France musicale, La, 36 elisir d’amore, L’ (Donizetti), 194n13; “Una Francesca da Rimini (Generali), 115 furtiva lagrima” cadenzas, 245–47, 245–48, Franck, César, 44t 259n9 Freischütz, Der (Weber), 30, 31 empiriques, Les (Vaëz), 44t Fried, Michael, 148n25 encores, solo, in contemporary performance, 1–3 Gambale, Luigi, Le civette in apparenza, 114 enfant du bordel, L’ (Pigault-Lebrun), 140, 142 Garcia, Manuel, 17 Engel, Johann Jakob, Ideen zu einer Gauss, Rebecca B., 219 Mimik, 191, 192 Gautier, Théophile, 34, 48n10 English National Opera, 266 Gelb, Peter, 2 “Englishing” opera excerpts, 54–56. See also Gemma di Vergy (Donizetti), piecemeal contrafacta of Verdi opera excerpts performances of, 112 Enoch, F., 69 Generali, Pietro, Francesca da Rimini, 115 Eran due or sono tre (Ricci), 179, 183, 186–87 Genoa, opera performances in, 78 Ernani (Verdi), piecemeal performances of, 116 Gentili, Pietro, 111–12, 114 Escudier, Marie, 36 Georges Brummell (Royer), 45t Essai sur la propagation de la musique en Georgette (Vaëz), 44t France, 142 Gerusalemme liberata (Tasso), 23 Ethiopia, 160–61, 162, 163–64 Gesture in Naples (De Jorio), 195n20 Eugene Onegin (Tchaikovsky), 221, 230, 234, Gevaert, François-Auguste, 31, 44t, 45t 236n24 Ghislanzoni, Alberto, 173n36, 174n54 Euryanthe (Weber), 30, 31, 40 giorno di regno, Un (Verdi), 194nn13–14 Everist, Mark, 119 Gipsy’s Vengeance, The (adaptation of Verdi, Il exoticism in Italian operas: Aida and, 152–69, trovatore), 55 170n2; popularity of, 152 Girard firm, 108n41 Ezio (Handel), 11 Giulietta e Romeo (Vaccai), 41, 131n44 Giulio Cesare (Handel), 10, 11, 24 “Fair Life’s Morning Dawn’d” (Linley giuramento, Il (Mercadante), 116–17, 129n24 adaptation of Verdi), 60 Gluck, Christoph Willibald: Alceste, 9; Berlioz’s “Fair Shines the Moon” (Bellamy adaptation of revival of operas by, 9; Orphée, 9, 21–22, 23, 251 Verdi), 66–67, 68 Goethe, Johann Wolfgang von, 23 Falstaff (Verdi), 123 Goggi, Emilia, 128n20 fanatico per la musica, Il (Mayr), 118 Gogol, Nikolai, 230 fantaisies de Milord, Les (Royer and Vaëz), 44t Golden Cockerel, The (Rimsky-Korsakov), 221, farces, 55 237n32 Fauré, Gabriel, Viardot’s friendship with, 10 Gomes, Carlos, Il guarany, 152 Faust (Gounod), 123, 165 Gorki, Maxim, 220

Index 275

Gossett, Philip: on Bellini’s I Puritani, 91, Hepokoski, James, 196, 197, 203, 212, 214, 106–7n26; critical editions viewed by, 261; 215n4, 216n11, 217n15, 217n19 Divas and Scholars, 7–8, 235n5, 264;on Héquet, Gustave, 35, 40, 150n35 Ricordi, 101; three-dimensional grid Her Majesty’s Theatre (London), 53, 72n9 developed by, 214; “tradition” viewed by, 241 Hercules (Handel): performance history, 10; Goulemot, Jean-Marie, 137 scena “Where shall I fly?,” 10, 19, 20, 21–23 Gounod, Charles: arrangements of Lully by, 15; high/low culture boundaries, permeability of, Faust, 123, 165; Handel’s aria “Verdi prati” 124–25 reorchestrated by, 10, 14, 16–17, 18, 19, 22; high notes, emphasis on, 1, 248, 250–53, 258 operas of, 9; Sapho, 14, 23; Viardot and, 24–25 Hiller, Johann Adam, 27n29 grand opéra, Aida and, 156–57 Hohenstein, Adolfo, 227 Granda, Alessandro, 252 Homer, 23 Grandeur et décadence de M. Joseph Hughes, Spike, 217n16 Prudhomme (Vaëz), 44t Hugo, Victor, 34 Grau, Maurice, 123, 124 Huguenots, Les (Meyerbeer), 38 Greenblatt, Stephen, 169, 175n64 Hunt, Lynn, 134 Grisi, Giuditta, 106n24, 115 Grisi, Giulia, 76, 109n48, 120–21 Ideen zu einer Mimik (Engel), 191, 192 grivoiserie, 135 Illustrated London News, The 120 guarany, Il (Gomes), 152 illustration, L’ 35, 40 Guillaume Tell (Rossini), 38, 129n24; overture, India, 160–61 116–17, 131n54 insertion arias. See substitution arias internet, 1–2 Haldey, Olga, 230 Ismail, Khedive of Egypt, 157, 158–60, 163 Halévy, Jacques, 31, 43t Italian opera, audience expectations and, 267, Hallez, Emilia, 116–17 268–69 Hamburg Opera, 10 Italian operas: appeal of, 7; “best-text” score Hamburgisches Staatstheater, 243 and, 264–65; between-act insertions, 114; Hampson, Thomas, 175n57 critical editions and, 261–64; “Englishing” Handel, George Frideric: Acis and Galatea, 10, and contrafacta of, 53–71; exoticism in, 24, 27n29; Admeto, 10; Agrippina, 11; Alcina 152–69; French naturalization of, 33–41; aria “Verdi prati,” 10, 14, 16–17, 18, 19, 21, gesture in, 191–92; Gypsies portrayed in, 152; 22, 23, 28n36; Alessandro (or Rossane), 10; mid-twentieth-century performance Alexander’s Feast, 27n29; Almira, 10; Arnold practices, 244; orchestra’s positioning in, edition of works, 10, 11, 13; Atalanta, 11; 267–68; pasticcio 39–40, 52n40, 111, 113; Caecilien fest, 13; chamber cantatas, 10, 11, performance conveniences and practicalities, 12, 13, 21; classical literature adapted by, 23; 242–44; piecemeal performance of, 111–27; Ezio, 11; Giulio Cesare, 10, 11, 24; Hercules piracy and, 76–101; repertory formation, 117; scena “Where shall I fly?,” 10, 19, 20, 21–23; secondary characters’ personnel Jephtha, 22–23; Joshua, 24, 29n51; Messiah, substitutions, 244; stage directions for, 11, 15, 27n29; Mozart’s reorchestrations of, 176–92; staging manuals for, 178, 193n5, 14–15; nineteenth-century study of works by, 196–214, 215n4, 220; Stanislavsky directing 9; Ode for St. Cecilia, 27n29; operas’ approach, 219–34; style internationalization disappearance from nineteenth-century and, 264–65; substitution (insertion) arias, repertory, 10; Orlando, 11; Ottone, 11; Il 37, 38–39, 111, 113; “tradition” and, 239–58; pastor fido, 11; La resurrezione, 24; Riccardo visual elements as current focus, 249–50; primo, 11; Rinaldo, 15–16, 21, 23, 24; voice types and ranges in, 250. See also Rodelinda, 11; Sei pur bella (Handel), 13, “tradition” in Italian operas; specific 27n22; Sento là che ristretto, 12, 13, 27n22; composers and operas Sosarme, 11; Susanna, 24; Te Deum, 24; italiana in Algeri, L’ (Rossini), 38, 43t, 152 Terpsicore, 11; Teseo, 11; text substitutions by, 54; Tolomeo, 11 Jane Eyre (Royer), 44t Handel Commemoration of 1784, 10–11 janissaires, Les (Royer), 43t Handel’s Dramatic Oratorios and Masques Jardin des Plantes (Paris), 132–34 (Dean), 26n10 Jephtha (Handel), 22–23 Hapgood, Elizabeth Reynolds, 222 Jérusalem (French version of Verdi, I Lombardi Haydn, Franz Joseph, music used in pasticcio, alla Prima crociata), 31, 32t, 33, 36, 37–38, 52n40 43t, 47n8 Hazlewood, Colin, 73n11 jeu d’amour et de la cravache, Le (Royer), 44t Henderson, William James, 124–26 Joshua (Handel), 24, 29n51 Henri V et ses compagnons (Royer), 42t Jouhaud, Auguste, 42t

276 Index

jour et la nuit, Le (Royer and Vaëz), 44t Lucrezia Borgia (Donizetti), piecemeal Journal des Débats, 22, 50n18 performances of, 116–17 Jouy, Victor-Joseph-Étienne de, 30 Lully, Jean-Baptiste, 9; Gounod’s arrangements July monarchy, foreign opera during, 30–52 of, 15; Persée, 14, 24 Lurieu, Gabriel de, 42t Karajan, Herbert von, 242 lustigen Weiber von Windsor, Die (Nicolai), Kennedy Center of the Performing Arts 235n11 (Washington, D.C.), 262 Lyle, Horace, 63 key characteristics, 167, 174–75n55 Kiepura, Jan, 252 Ma conversion, ou le libertin de qualité King’s Theatre (London), 76, 117–18, 130n28 (Mirabeau), 140–41, 143, 145, 148n26 Komissarzhevski, Fiodor, 220 Macbeth (Shakespeare), 23 Konwitschny, Peter, 164 Macbeth (Verdi), piecemeal performances of, 116 Kraakman, Dorelies, 148n23 Macerata, 266 Kreutziger-Herr, Annette, 159 MacKenzie, John M., 160–61, 162 Kupfer, Harry, 223 Madama Butterfly (Puccini), 221, 235n11 Mademoiselle Beata (Royer), 43t La Scola, Vincenzo, 256 Mademoiselle Rose (Royer and Vaëz), 43t Lablache, Luigi, 76 Mahler, Gustav, 240, 241, 242–43, 244 laboureur chinois, Le (pasticcio), 52n40 Malibran, Maria, 78, 118–19; biography of, Lachnith, Ludwig Wenzel, 52n40 121–22, 131n44 Lacy, Fanny E., 70 Malinkovskaya, Elena, 221 Lambert, Théaulon de, 42t Malipiero, Giovanni, 256 Langeac, Théodore de, 45t Mamontov Private Opera Theater (Moscow), Laporte (King’s Theatre manager), 118–19 220, 222, 230 Laurencin, 42t Mancinelli, Signor, 155 Leclerc, Jean Baptiste, 142 Manoel (Royer), 42t lecteur y mettra le titre, Le (Mirabeau), 148n26 Manon (Massenet), piecemeal performances of, Ledoux firm, 42t 126, 131n54 Lefèvre, Victor, 44t Manon Lescaut (Puccini), disposizione sceniche Lei, Pietro, 106n19, 106n23 for, 231 Lellou (Royer), 42t Mantua, opera performances in, 78, 80 Leoncavallo, Ruggero, I pagliacci, 248 Maometto II (Rossini), 30 Levin, David J., 235n6 Marcello, Benedetto, Psalms, 9 Levine, Lawrence W., 124–25 Mareste, Baron de, 142, 149n31 libertine fiction, French, 134–37, 140–43, 145, Maria di Rohan (Donizetti), 130n31 147n16, 147n18, 148n23 Mariette, Auguste, 153, 155, 157, 160, 170n2 Lichtenthal, Pietro, 174–75n55 Marini, Ignazio, 116, 117 Linley, George, 60 Mario, Giovanni, 120–21; cadenzas of, Lippmann, Friedrich, 81 245–56, 246 Litta, Antonio, 81 Marliani, Marco Aurelio, 48n10 livrets de mise en scène, 178, 220 Martinelli, Giovanni, 252 Lombardi alla Prima crociata, I (Verdi): French martyrs, Les (Donizetti), 47n6 version Jérusalem, 31, 32t, 33, 36, 37–38, 43t, Masaniello (Auber), 119 47n8; piecemeal performances of, 116 Massenet, Jules: Manon, 126, 131n54; London: opera performances in, 53, 54, 67, 71, Werther, 221 72n9, 117–19, 120–21; prejudices toward Matilde di Shabran (Rossini), 114 foreign opera, 57–58 matinées du Palais Royal, Les, 137 “Long Thursdays,” 120–21 matrimonio segreto, Il (Cimarosa), 221 Lorenzani, Brigida, 114 Maurel, Victor, 123 Lucas, Hippolyte, 35 mauvais garçons, Les (Royer), 42t Lucca firm: Bellini’s accusation of piracy by, 77; May Night (Rimsky-Korsakov), 221 piano-vocal scores published by, 194n15 Mayr, Simone, 114; Il fanatico per la Lucia di Lammermoor (Donizetti): Act I musica, 118 cabaletta, 248; French version, 31, 32t, 33, Mazilier, Joseph, 48n10 34–35, 37–38, 42t, 47n8; glass armonica part, Medea (Cherubini), 263 264–65; performing traditions and Mefistofele (Boito), 193n5 interpretive flexibility, 239–40, 242; Meiningen Court Theater, 230–31 piecemeal performances of, 112, 120, 123, melodramma, French adaptation of, 35–37 124, 129n24, 130n31; score vagaries, 240; Memoirs of Madame Malibran (Merlin), Tosca and, 249 121–22

Index 277

Mendelssohn, Felix: Handel editions, 11, 15; Musorgsky, Modest, Boris Godunov, 221, interest in Bach, 9; interest in eighteenth- 237n32 century music, 13; Viardot and, 11 Muti, Riccardo, 256 Mercadante, Saverio, 178; Il giuramento, My Life in Art (Stanislavsky), 219 116–17, 129n24; Orazi e Curiazi, 115–16 mystères d’Isis, Les (adaptation of Mozart Die Merlin, Countess de, Memoirs of Madame Zauberflöte), 30, 40, 41 Malibran, 121–22, 131n43 Messiah (Handel), 11; Hiller’s reorchestration Nabucco (Verdi), 38, 156, 174n53 of, 27n29; Mozart’s reorchestration of, 15, Naples, opera performances in, 78 27n29 Narrey, Charles, 44t Metropolitan Opera (New York): gala naturalization of operas, process of, 33–41; celebrations, 125; piecemeal performances in, dramatic considerations, 33–35; 123–27; solo encores at, 1–3 interpolations, 38; language considerations, Meyerbeer, Giacomo: Il crociato in Egitto, 114; 35–37; morality and, 67; pasticcios, 39–40 “Englishing” of excerpts by, 54; Gounod Ne touchez pas à la reine (Vaëz, music by influenced by, 15; Les Huguenots, 38; operas Boisselet), 31, 43t of, 9; Le prophète, 16, 38, 165, 166; Negrini, Vincenzo, 106n23 reorchestration of Handel’s “Lascia ch’io Nemirovich-Danchenko, Vladimir, 220–21, pianga,” 21; Robert le diable, 38; Viardot and, 223, 225 16, 25 New York, piecemeal performances in, 119–20, Meyerhold, Vsevolod, 234 123–27 Mila, Massimo, 165 New York Times, 1, 123 Milan: Aida premiere, 165; falsified manuscript Newark, Cormac, 174n52 of Bellini’s I Puritani in, 81–83, 85, 87–89, 91, Nicolai, Otto: Die lustigen Weiber von Windsor, 93–96, 98–100, 108n39; opera performances 235n11; Il templario, 116 in, 78–80, 101, 107n29, 176, 191, 265 Niedermeyer, Louis, 33, 39–40, 52n34 Mills firm, 77 Nina, pazza per amore (Paisiello), 118 La mimica degli antichi investigata nel gestire Nordica, Lillian, 123 napoletano (De Jorio), 192, 195n19 Norma (Bellini): piecemeal performances of, Mirabeau, Count: Le lecteur y mettra le titre, 111, 118–19, 120–21, 127n6, 165; stage 148n26; Ma conversion, ou le libertin de directions, 193n7; Viardot’s performance qualité, 140–41, 143, 145, 148n26 of, 244 Molière (Sand), 14, 15 Nouvelles d’Espagne (Vaëz), 43t Mon parrain de Pontoise (Vaëz), 43t nozze di Dorina, Le (Sarti), 117 Monaldi, Gino, Cantanti celebri, 197 nozze di Figaro, Le (Ricci), 191 Monnier, Henry, 44t Nuitter, Charles, 40 morality and music: French views on ca. 1800, nuovo Figaro, Il (Ricci): Act I Terzetto, 187; 132–45; Italian operas and, 55, 57–58, 60–67, character of Figaro in, 176; Duetto 72n6, 74n23, 74–75n29 Barone–Amalia, 184, 185t, 186; Duetto morcellements, 119 Barone–Leporello, 186; Finale Primo, 187, Morel de Chedeville, Étienne, 40 188–89, 189; Introduzione, 181, 182t, 183, Moriani, Napoleone, 106n24 183; Leporello’s entrance, 176, 177, 181–82; Morning Chronicle, The 120 piano-vocal score for, 194n15; plot of, 179; morte di Mitridate, La (Sografi), 118 premiere of, 176; recitativo secco in, 179, 181; Moscow: opera productions in, 219–20, sources for, 194n15; stage directions, 179, 221–34; theater in, 220–21 181, 183–91 Moscow Art Theater, 219, 220–21, 228–29 Oberto, Conte di San Bonifacio (Verdi), 116 Moscow Conservatory, 220 Ode for St. Cecilia (Handel), 27n29 Mosè in Egitto (Rossini), 30; French version, 40, Oehmann, Carl Martin, 252 119; piecemeal performances of, 112–13, 116, opéra comique, 135 119, 127n6 Opéra Comique (Paris), 43t, 44t, 45t Mosquita la sorcière (Vaëz), 44t opera di ripiego, 116 Mozart, Wolfgang Amadeus: Don Giovanni, 9, opera galas, nineteenth-century, 112 30, 31, 40, 41; music used in pasticcio, 52n40; Opéra National (Brussels), 31, 43t, 44t reorchestrations of Handel works, 14–15, Opera Studio (Moscow), 219, 221–34, 235n11 27n29; Requiem, 27n29; Die Zauberflöte, 30, Oppelt, Gustave, 31, 45t 40, 41, 124 Orazi e Curiazi (Mercadante), 115–16 Muck, Karl, 263 orchestral arrangements, use of, 14–15 Murger, Henry, 223, 224, 231–32, Orlando (Handel), 11 236n25 Orlando furioso (Ariosto), 23

278 Index

ornamentation, 248, 258 Pelly, Laurent, 8n2 Orphée (Gluck), 9, 21–22, 23, 251 Pergolesi, Giovanni Battista, 9; Sicilienne, 10, 24 Otello (Rossini): French version, 31, 32t, 33, 34, Persée (Lully), 14, 24 35, 36, 38, 43t, 48n8, 50n21, 50n24; piecemeal pertichini, 190, 243 performances of, 118–19, 130n31 Pertile, Aureliano, 252 Otello (Verdi): Act I love duet, 200, 201t, Pesci, Ugo, “Le prove d’Otello,” 197 202, 202t; Act II end scene complex, 202–3, Petit Pierre (Royer), 42t 206–7, 210; Act III, scene 8 blocking, 213; Act Petrarch, 23 III, scene 8 libretto, 208–9; Act III, scene 8 pezzo concertato, 188–90 structure, 210t, 210–14; Act IV, 216n8; Philadelphia Orchestra, 261–62 blocking diagrams, 206–7, 207, 210, 213; Pia de’ Tolomei (Donizetti), 115, 128n20 disposizioni sceniche for, 193n5, 196–214, Piano-forte Magazine, 28n36 215n4, 237n39; “Era la notte,” 203, 204, 206; Piave, Francesco Maria, 190 Jago’s brindisi, 216n7; “Ora e per sempre piecemeal performance of operas, 111–31; addio,” 203, 204, 206; orchestral note lengths changing critical opinion of, 123–27; in, 254, 254–55, 260n17; Paris premiere, 212; connoisseurship and, 121–22, 125–26; Paris version, 217n24; “Si, pel ciel,” 203, contemporary, 126–27; establishment of 205–6, 206–7; staging and form in, 196–214; practice, 113–14; in Italy, 111–17; in London, Stanislavsky’s exposure to, 220; storm scene, 117–19, 120–21; in Paris, 119, 121–22; 197–200, 198t, 199t; verse structure, reasons and occasions for, 112–16, 125–27; 197–200, 211 in United States, 119–20, 123–27 Ottone (Handel), 11 Piedmont Opera (Winston-Salem), 268 Ovid, 23 Pigault-Lebrun, L’enfant du bordel, 140, 142 Pillet, Léon, 39 Pacini, Antonio, 76–77 piracy, musical: Bellini’s concerns, 77–78; Pacini, Emilien, 31, 40 procedure in I Puritani case, 81–83, 85, Pacini, Giovanni, 178 87–89, 91, 93–95, 98–101; reception Padua, opera performances in, 78 influenced by, 80–81; Rossini’s Semiramide Paganini, Nicolò, 118–19 and, 101 pagliacci, I (Leoncavallo), 248 pirata, Il (Bellini), 193n7 painting, French, ca. 1780, 148n25 pirata, Il (newspaper), 112, 116 Paisiello, Giovanni, Nina, pazza per amore, 118 Poggi, Antonio, 128n20 Palermo, opera performances in, 78, 80, 107n29 Poliuto (Donizetti), 47n6 Palmo, Ferdinando, 119–20 Ponnelle, Jean-Pierre, 223 Palmo’s Theatre (New York), 119–20 Porter, Andrew, 218n29 Paltrinieri, Giuseppe, 106n21 Porto, Carlo, 106n24, 115 Pantanelli, Clorinda Corradi, 115 power of music, French views on, 132–45 Paris: foreign opera during July monarchy, 30–52; Powers, Harold, 200 Jardin des Plantes elephants, 132–34, 141, premiers pas, Les (Adam, Carafa, and Halévy), 142, 143; libertine fiction ca. 1800, 134–37, 31, 43t 140–43, 145, 147n16, 147n18, 148n23 presse, La, 34 Paris Opéra (Académie Royale de Musique): prophète, Le (Meyerbeer), 16, 38, 165, 166 “Comité de mise en scène,” 191; foreign Prussia, Verdi’s views on, 161 opera during July monarchy, 30–52; Puccini, Giacomo: critical edition of works, Meyerbeer’s Le prophète at, 16; piecemeal 193n6; Madama Butterfly, 221, 235n11; performances at, 119, 121–22 Manon Lescaut, 231; Tosca, 1, 249; Turandot, Park Theatre (New York), 119, 130n34 251–53 Parke, W. T., 117–18 Pugni, Cesare, 78–79, 82, 100, 104n11, Parker, Roger, 174n53, 196, 215n6, 216n13 107n30 Parma, opera performances in, 78, 80, Puritani, I (Bellini): aborted Neapolitan 107n29, 176 production, 78–79; Act I Finale, 88–89, 91, Parsifal (Wagner), 263 93–94, 94; Act III beginning, 99–100, 99–100; Passerini, Carolina, 114 Act III Finale, 89, 90, 91; Arturo’s Cavatina, Pasta, Giuditta, 115, 118, 121, 149n31, 249 91, 92–93, 93; counterfeit Milanese pasticcio genre, 39–40, 52n40, 111, 113 manuscript for, 81–83, 85, 87–89, 91, 93–96, pastor fido, Il (Handel), 11 98–100; critical edition, 81; forger identity Patanè, Giuseppe, 241 theories, 100–102; French score rights, Patti, Adelina, 123, 220 76–77; high notes added to, 251; Pavarotti, Luciano, 1, 256 Introduzione (true), 96, 96–98, 98; Italian Pedrazzi, Francesco, 106n19 performances, 1835–37, 78–80; lack of Pedrotti, Edelaide, 119 prelude, 95; London premiere, 76; musical

Index 279

piracy and falsification of, 77–110; piano- Rimsky-Korsakov, Nikolai: The Golden vocal arrangements, 76–77, 83, 85, 89, 91, Cockerel, 221, 237n32; May Night, 221; The 102; piecemeal performances of, 113, 115, Tsar’s Bride, 221 116, 127n6, 128n20; piracy procedure, 81–83; Rinaldo (Handel): “Lascia ch’io pianga,” 15–16, preghiera, 96, 98, 109n51; Prelude and 21, 23, 24; “Il vostro maggio,” 24 Introduzione (false), 95, 95–98; premiere, 76; Risorgimento, 157 printed excerpts, 82–83, 108n41; publication Rita, ou Le mari battu (Vaëz, music by of, 76–80, 82; Riccardo’s Cavatina, 83, 84–87, Donizetti), 31, 43t 85, 87–88 Rizzardi, Adelaide, 114 Rizzardi, Giuseppe, 114 Queen of Spades, The (Tchaikovsky), 221, Robert Bruce (Rossini pasticcio), 31, 32t, 33, 38, 237n32 39–40, 43t, 48n8, 50n24 Quiet Place, A (Bernstein), 265 Robert le diable (Meyerbeer), 38 Robert Macaire en Orient (Royer), 43t Racine, Jean Baptiste, 34 Roberto Devereux (Donizetti), 112 Reber, Henri, 48n10 Robinson, Paul, 159–60, 162 reception history: audience behavior and, Rodelinda (Handel), 11 121, 122; concept of familiarity in, 118–19, Rome, gestural language of ancient, 192 125; faulty pirated copies and, 80–81; Rome, opera performances in, 78, 114, 115–16, piecemeal performances and, 112, 115–16, 127n6 117, 120–27 Ronconi, Giorgio, 106n24, 128n20 recitativo secco, 179, 181 rondo, 17, 19, 21, 22–23 Redi (Bolognese impresario), 78 Rosamonda d’Inghilterra (Donizetti), 37 Regieoper, 223, 258, 268 Rosen, David, 196 Renduel firm, 42t Rosmonda (Coccia), 115 resurrezione, La (Handel), 24 Ross, Alex, 7 Revue de Paris, 34 Rossane (Handel), 10 Revue et gazette musicale de Paris, La, 50n24 Rosselli, John, 162 Reyer, Ernest, 159 Rossi, Scipione de’, 108n41 Riccardo primo (Handel), 11 Rossini, Gioachino: Armida, 39, 142–43, 144, Ricci, Federico, 183 145, 150n35; L’assedio di Corinto, 115; Il Ricci, Luigi (composer), 178; Un’avventura di barbiere di Siviglia, 21, 41, 52n39, 111, Scaramuccia, 191; Chi dura vince, 179, 180, 120–21, 130n31, 176, 194n11, 221, 241, 262, 181, 188, 194n15; Chiara di Rosenbergh, 176; 265–66; La Cenerentola, 119, 131n44, Crispino e la comare, 183, 190, 194n12, 194n10, 194n14, 262, 267–68; Le comte Ory, 194n15; Eran due or sono tre, 179, 183, 30–31; critical edition of works, 178, 193n6; 186–87; Le nozze di Figaro, 191; Il nuovo La donna del lago, 33, 38, 39, 50n21; Figaro, 176–77; stage directions in autograph “Englishing” of excerpts by, 54; French scores, 178–92 operas, 38; Guillaume Tell, 38, 116–17, Ricci, Luigi (vocal accompanist/accompanist), 129n24, 131n54; L’italiana in Algeri, 38, 43t, 240–41, 254 152; librettists of, 30–31; Maometto II, 30; Riccoboni, Luigi, Dell’arte rappresentativa, 191 Matilde di Shabran, 114; Mosè in Egitto, 30, Ricordi, Giulio, 197, 231 40, 112–13, 116, 119, 127n6; ornamentation Ricordi firm: archive of, 190; Bellini and, 77–79, for operas, 248; Otello, 31, 32t, 33–36, 38, 43t, 107n29; disposizioni sceniche published by, 48n8, 50n21, 50n24, 118, 130n31; Paris 178, 193n5, 196–214, 231; early twentieth- performances of Italian operas, 30; Robert century editions, 264; illegal publication of Bruce pasticcio, 31, 32t, 33, 38, 39–40, 43t, Rossini Semiramide excerpts, 101; piano- 48n8, 50n24; Semiramide, 101, 114; Stendhal vocal scores published by, 194n15; Verdi and, on, 149nn31–32, 150n35; Tancredi, 118; Il 211–12 viaggio a Reims, 30; Viardot’s friendship Rietz, Julius, 9, 10, 21–25, 29n51 with, 10 Rigoletto (Verdi): burlesques of, 73n11; Chusid Rousseau, Jean-Jacques: Confessions, 134–35; critical edition, 266; “Cortigiani, vil razza Le devin du village, 138–39, 140 dannata,” 253; “La donna è mobile,” 64–67, Rovigo, 112 248; French basis of, 58; London premiere of, Royal Surrey Theatre (London), 55 72n9; metronome markings in, 266; morals Royer, Alphonse: central position of, 40; in, 55, 57, 64–67; Moscow Opera Studio dramatic considerations for production, 221; self-transforming naturalization, 33–35; language performance tradition in, 256–57; considerations for naturalization, 35–37; Stanislavsky’s production, 234; Teatro la libretto for Donizetti La favorite, 31, 43t; Fenice 1851 performance, 265 libretto for Flotow Stradella, 31, 45t;

280 Index

Royer, Alphonse (cont.) settenari, 211 naturalization of Donizetti Don Pasquale, 31, Severini, Carlo, 76, 78, 104n11 43t; naturalization of Donizetti Lucia di sex and music, French views on ca. 1800, Lammermoor, 31, 32t, 33, 34–35, 37–38, 42t, 132–45 47n8; naturalization of Franck Le valet de Shakespeare, William, 169, 175n64; Macbeth, ferme, 44t; naturalization of Rossini 23; Othello, 38 L’italiana in Algeri, 43t; naturalization of Shaw, George Bernard, 155 Rossini Otello, 31, 32t, 33, 34, 35, 36, 38, 43t, sheet music, 56 48n8, 50n21, 50n24; naturalization of Rossini Shield, William, Rudiments of Thorough Bass pasticcio Robert Bruce, 31, 32t, 33, 38, 39–40, for Young Harmonists, 15 43t, 48n8, 50n24; naturalization of Verdi I Sicilienne (Pergolesi), 10, 24 Lombardi alla Prima crociata, 31, 32t, 33, 36, siècle, Le, 50n18, 51n25 43t; positive reception of, 50n18; siège de Corinthe, Le (Rossini), 40 responsibilities of, 31; theatrical and literary signor Barilli, Le (Vaëz), 42t works by, 42t-45t; theatrical career, 31; Simon Boccanegra (Verdi), 174n53; disposizioni working conditions, 37–39 sceniche for, 193n5; Milan production, rubato, 243 218n29 Rubini, Giovanni Battista, 76, 247 Simrock firm, 15 Rudiments of Thorough Bass for Young Smart, Mary Ann, 178 Harmonists (Shield), 15 “Soft on the Tranquil Deep” (Lacy adaptation of Rumyantsev, Pavel, Stanislavsky on Opera, Verdi), 70 222–34, 236n20, 236n25, 237n34 Sografi, Antonio Simeone, La morte di Rutherford, Susan, 113 Mitridate, 118 Ryan, Desmond, 64 Solera, Temistocle, 37 sonnambula, La (Bellini): piecemeal “sacralization of culture” concept, 124–25 performances of, 111; Sontag’s performance Said, Edward W.: Culture and Imperialism, 156; of, 243–44 essay on Aida, 153, 156–62, 165, 171n19 Sontag, Henriette, 243–44 Saint-George, Comte de, 48n10 Sophocles, 23 Saint-Léon, Arthur, 48n10 Sosarme (Handel), 11 Saint-Saëns, Camille, Samson et Dalila, 161 Soumet, Alexandre, 30 Salvi, Lorenzo, 130n31 sound recordings, “tradition” and, 247–48, Samson et Dalila (Saint-Saëns), 161 251, 252 Sand, George, 15; Chopin and, 15–16; Consuelo, Spontini, Gaspare, La vestale, 119 9, 13; Molière, 14, 15; Viardot and, 11, 24, 25 stage directions in Italian operas: audience Santi, 106n20 expectations and, 176; contrasting emotional Santini, Abbé Fortunato, library of, 10, 13, 24, spheres and, 184; duets for two buffi, 184, 26–27n20 186; ensemble numbers, 187–90; importance Santocanale, Filippo, 77, 107n29 of, 176, 190–92; scholarly neglect of, 176–78 Sapho (Gounod), 14, 23 staging manuals, 178, 193n5, 196–214, Sardou, Victorien, 45t 215n4, 220 Sarti, Giuseppe, Le nozze di Dorina, 117 Stanislavski on Opera (Rumyantsev), 222–34, Šauqī, Ahmad, 165 236n20, 236n25, 237n34 Scènes de la vie de bohème (Murger), 223, 224, Stanislavsky, Konstantin: approach to 231–32, 236n25 pauses, 229; La bohème production, 221–34; Schilling, Gustav, 175n55 career as opera director, 219–21, 234; Schipa, Tito, 256 “Concept” approach to opera, 223–24; My Schober, Giovanni, 106n21 Life in Art, 219; stage directions of, 224–25; Schott firm, 77 stage set preferences, 225–27 Schubert, Franz, “Unfinished” symphony, 262 Stanislavsky-Nemirovich-Danchenko Music Scott, Sir Walter, The Bride of Lammermoor, Theater, 221 34–35, 37–38 Stanislavsky “System” or “Method,” 219, Scribe, Eugène, 30–31, 34, 43t, 44t, 220–21 47n6, 179 Stendhal: De l’Amour, 142–43; letters to de Sei pur bella (Handel), 13, 27n22 Mareste, 142, 149n31; Vie de Rossini, 142, Select Collection of the Most Admired songs, 143, 150n35 Duetts, etc., A (Corri), 17 Stradella (Royer, music by Flotow), 31, 45t Semiramide (Bianchi), 117 Strauss, Richard, Capriccio, 127 Semiramide (Rossini), 101, 114 Strehler, Giorgio, 218n29 Sento là che ristretto (Handel), 12, 13, Strepponi, Giuseppina, 106n21 27n22 substitution arias, 37, 38–39, 111, 113

Index 281

Suez Canal, 158 Théâtre de la Renaissance (Paris), 30, Susanna (Handel), 24 31, 42t Suter, William E., 73n11 Théâtre de l’Odéon (Paris), 30, 43t, 44t Swieten, Gottfried van, 15 Théâtre de Panthéon (Paris), 42t Sylphide, La (ballet), 118 Théâtre des Galeries Hubert (Brussels), 45t “symbolic capital” (Bourdieu), 55, 73n12, Théâtre des Nouveautés (Paris), 42t 75n30 Théâtre des Variétés (Paris), 44t Szell, George, 262 Théâtre du Palaise-Royal (Paris), 43t Théâtre du Vaudeville (Paris), 42t, 44t Tacchinardi, Nicola, Dell’opera in Théâtre Italien (Paris), 30, 31, 37, 38, 39, 76, 82, musica sul teatro italiano e de’ suoi 109n48, 119, 121–22, 130n31, 141 difetti, 181 Théâtre Lyrique (Paris), 30, 44t Tacchinardi-Persiani, Fanny, 106n23, 128n20 Théâtre Montansier (Paris), 44t Tadolini, Giovanni, 83 Théâtre Royal (Brussels), 42t Tagliavini, Ferruccio, 256 Theatre Royal, Drury Lane (London), 55 Taglioni, Marie, 118–19 Thill, Georges, 252 Tamagno, Francesco, 220, 253 “Tho’ Our Way Be Dark” (Lyle adaptation of Tamburini, Antonio, 76, 120–21 Verdi), 63 Tancredi (Rossini), 118 Thomas, Ambroise, 48n10 Tannhäuser (Wagner), French version, 40 Timoléon le fashionable (Royer), 42t Tasso, Torquato, Gerusalemme liberata, 23 Tolomeo (Handel), 11 Tchaikovsky, Pyotr Il’yich: Eugene Onegin, 221, Tosca (Puccini): “E lucevan le stelle,” 1; 230, 234, 236n24; The Queen of Spades, 221, performances of Lucia inﬂuenced 237n32; Viardot’s friendship with, 10 by, 249 Te Deum (Handel), 24 Toscan, Georges, 132–33, 143 Teatri arti e letteratura, 79, 111, 114 Toscanini, Arturo, 242, 244; Aida Teatro alla Scala (Milan): Aida premiere, 165; interpretation, 255–56; La bohème Chiara di Rosenbergh performance, 176; interpretation, 263–64, 269n7; Otello dynamics in, 265; I Puritani performances, interpretation, 254–55 78–80, 81, 102; Ricci operas performed at, “tradition” in Italian operas, 239–58; accretions 191; Simon Boccanegra production, 218n29; and, 251–54; appoggiatura performance, Turandot performances, 252 240–41, 254; audience expectations and, 267, Teatro Apollo (Rome), 78 268–69; “best-text” score and, 264–65; Teatro Argentina (Rome), 115–16 cadenza performance, 245–48; “caricature,” Teatro Carlo Felice (Genoa), 78 242, 244, 248, 250–53, 258, 264–67; conductor Teatro Carolino (Palermo), 78, 80, 107n29 and, 267–68; crescendo and emotional Teatro Comunale (Bologna), 78, 116–17, release, 253; critical editions and, 248, 129n24, 131n44 261–64; high notes and, 1, 248, 250–53, 258; Teatro Comunale (Ferrara), 111–12, 114 information overload and, 249; Italian Teatro dei Signori Condomini language rhythms and, 255–56; metronome (Sinigaglia), 114 markings and, 266–67; mid-twentieth- Teatro della Pergola (Florence), 114 century practices, 244; negative views of, Teatro della Valle (Rome), 78 240–42; orchestral note lengths, 254–55; Teatro Ducale (Parma), 176 ornamentation and, 248, 258; performance Teatro Grande (Trieste), 78, 116, 127n6 practicalities and, 242, 243–44, 265; “purity” Teatro la Fenice (Venice), 78, 80, 101, and, 257–58; repertory stagnation and, 249; 115, 265 score vagaries and, 240, 242; “self- Teatro della Pergola (Florence), 78, 80 transforming,” 244–45, 248–49, 251–54, Teatro Muse (Ancona), 78 256–58; solo encores and, 1–3; sound Teatro Nuovo (Padua), 78 recordings and, 247–48, 251, 252; visual Teatro Regio (Parma), 78, 80 elements and, 249–50 Teatro San Carlo (Naples), 78 Travers, William, 72–73n11, 73n11 Teatro Sociale (Mantua), 78, 80 traviata, La (Verdi): audience expectations Teatro Valle (Rome), 114 in, 268; burlesques of, 73n11; “Di Tebaldi, Renata, 242 Provenza il mar,” 253; English adaptations of templario, Il (Nicolai), 116 “Libiamo, nei lieti calici,” 62–64; English Terpsicore (Handel), 11 version, 55; French basis of, 58, 62; London Teseo (Handel), 11 premiere of, 72n9; morals in, 55, 57, 62–64; Théâtre de la Gaîté (Paris), 42t, 44t, 45t piecemeal performances of, 126, 131n54; Théâtre de la Monnaie (Brussels), 43t, 45t “Sempre libera,” 248; Toscanini’s Théâtre de la Porte Saint-Antoine (Paris), 42t performance, 244, 259n7

282 Index

Trieste, opera performances in, 78, 116, 37–38, 43t, 116; London performances of 127n6 operas by, 53, 54; Luisa Miller, 40; Macbeth, trionfo dell’amor fraterno, Il (Winter), 30 116; moral codes of operas as viewed by Tristan und Isolde (Wagner), 124 English, 55, 57–58; Nabucco, 38, 156, 174n53; Troupenas, Eugène, 76 Oberto, Conte di San Bonifacio, 116; Otello, trovatore, Il (Verdi): burlesques of, 193n5, 196–219, 254, 254–55, 260n17; Paris 72–73n11; English adaptations of “Ah! che la performances of operas by, 30; Rigoletto, 55, morte ognora,” 58–62; English version, 55; 57, 58, 64–67, 72n9, 73n11, 221, 234, 248, French version, 40; Gypsy chorus in, 152; 253, 256–57, 265, 266; Simon Boccanegra, London premiere of, 72n9; morals in, 55, 57; 174n53, 193n5, 218n29; staging of operas, piecemeal performances of, 131n54 196–214; La traviata, 55, 57, 58, 62–64, 72n9, Troyens, Les (Berlioz), 23 73n11, 126, 131n54, 244, 253, 259n7; Il Tsar’s Bride, The (Rimsky-Korsakov), 221 trovatore, 40, 55, 57, 58–61, 72n9, 72–73n11, Tully, John H., 72n11 131n54, 152, 249 Turandot (Puccini), “Nessun Dorma,” Verdi, Luigi, 170n3 251–53, 252 Vernoy, Jules-Henry, 48n10 Véron, Louis-Desirée, 119 Vaccai, Nicola: Giulietta e Romeo, 41, 131n44 versi misti, 198, 199, 200 Vaëz, Gustave: Bologna sojourn, 39–40; central versification, French, 35–37 position of, 40; dramatic considerations for vestale, La (Spontini), 119 naturalization, 33–35; language viaggio a Reims, Il (Rossini), 30 considerations for naturalization, 35–37; Viardot, Pauline Garcia: 120–21; Airs italiens libretto for Donizetti La favorite, 31, 43t; du XVIIIe siècle, 25n6; École classique du libretto for Donizetti Rita, 31, 43t; chant, 14, 23–24, 28n40; Gluck’s operas naturalization of Donizetti Don Pasquale, 31, performed by, 9; Gounod and, 14; Handel 43t; naturalization of Donizetti Lucia di extracts owned by, 10, 13–17, 19, 21–25; Lammermoor, 31, 32t, 33, 34–35, 37–38, 42t, Handel’s “Lascia ch’io pianga” performed by, 47n8; naturalization of Franck Le valet de 15–16, 21, 23; interest in classical literature, ferme, 44t; naturalization of Rossini 23; music manuscripts collected by, 9–10; L’italiana in Algeri, 43t; naturalization of Norma as performed by, 244; Orphée as Rossini Otello, 31, 32t, 33, 34, 35, 36, 38, 43t, performed by, 251; performance strengths, 48n8, 50n21, 50n24; naturalization of Rossini 24; preference for rondo form, 22–23;Rosina pasticcio Robert Bruce, 31, 32t, 33, 38, 39–40, in Il barbiere di Siviglia performed by, 21; 43t, 48n8, 50n24; naturalization of Verdi I transcriptions of Handel chamber arias, Lombardi alla Prima crociata, 31, 32t, 33, 36, 13–14, 15, 21; veneration of eighteenth- 43t; positive reception of, 50n18; century music, 9–10 responsibilities of, 31; theatrical and literary Vie de Rossini (Stendhal), 142, 143, 150n35 works by, 42t-45t; theatrical career, 31; Vienna State Opera, 240 working conditions, 37–39 vocal pedagogy: Garcia family and, 16–17; high Valero, Fernando, 256 note emphasis and, 250; Ricci’s book on, valet de ferme, Le (Franck), 44t 240–41, 254 Vanderwell, William F., 73n11 Voltaire, 135 Varesi, Felice, 106n19 voyage à Pointoise, Le (Royer and Vaëz), 43t Variazioni-cadenze-tradizioni per canto (Ricci), voyeurism. See “peeping,” concept of 240–41 vaudeville, 135 Wagner, Richard: Der fliegende Höllander, 223; Venice, opera performances in, 78, 80, 115, 265 Parsifal, 263; stage directions of, 191; Verdi, Giuseppe: Aida, 123, 152–75, 255, Tannhäuser, 40; Tristan und Isolde, 124; Die 255–56; Alzira, 152; anti-imperialist views of, Walküre, 131n54 160–61, 163; arrangements of works for Wagner, Siegfried, 263 amateur performance, 53–75; Attila, 156; Un Wakin, Daniel J., 8n1 ballo in maschera, 193n5, 266–67; burlesque Walküre, Die (Wagner), 131n54 and farce adaptations of, 55; critical edition Weaver, William, 175n62 of works, 178, 193n6; Don Carlos, 166, Weber, Carl Maria von, Euryanthe, 30, 174n53, 249; I due Foscari, 38, 115, 128n20; 31, 40 “Englishing” of excerpts by, 54–55; Ernani, Weber, William, 112 116; Falstaff, 123; Un giorno di regno, “We’ll Laugh and Sing All Cares Away” (Ryan 194nn13–14; increase in use of high notes by, adaptation of Verdi), 64 251; independent English texts to works by, Welsh National Opera, 265–66 54–67, 69, 71; letters to Ricordi, 211–12; I Werdet firm, 42t Lombardi alla Prima crociata, 31, 32t, 33, 36, Werther (Massenet), 221

Index 283

Wilhelm I, King of Prussia, 161 Zauberﬂöte, Die (Mozart): adapted as Les Winter, Peter, Il trionfo dell’amor mystères d’Isis, 30, 40, 41; piecemeal fraterno, 30 performances of, 124 Zedda, Alberto, 262, 265–66 Yale University, 261 Ziliani, Alessandro, 252 YouTube, 1 Zurich Opernhaus score library, 242–44