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6.5 X 11 Double Line.P65 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 © in this web service Cambridge University Press www.cambridge.org 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 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 © in this web service Cambridge University Press www.cambridge.org 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 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:
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