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Di, Vol. III: from Don Carlos to Versity Press, 1981. X, 546 Pp. Now COMPLETE, Julian Budden's Previously Available English-Lan

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Di, Vol. III: from Don Carlos to Versity Press, 1981. X, 546 Pp. Now COMPLETE, Julian Budden's Previously Available English-Lan REVIEWS 577 go a long way research, toward Budden is able-and ea-being worthy of its extremely ger-to pass on the high fruits and con- price. As it stands, we cancerns of recent consult scholarship to the the original sources, make general reader. up Thus weour now have own minds about the "debates," available this synoptic (but and by no forage for our own bibliographies, means inerrant) compilation of de-but we must also admit that tails, and its completionthese here attests 500 pages of documents have to the degree enriched of sophistication that our under- standing of the Verdi research issues has attained. involved in this period of extraordinary The third volume, dealing with change. And we can wait for Volume II. the last four operas in four massive chapters, is in part an explicit contin- ELAINE R. SISMAN uation of the second. Budden clearly Columbia University intends the two introductory chap- ters of Vol. II (1978), "The Collapse of a Tradition (Italian Opera 1840- Julian Budden. The Operas of Ver- 70)" and "Formation of the Mature di, Vol. III: From Don Carlos to Style," to serve as a general back- Falstaff. New York: Oxford Uni- drop for the first two operas of Vol. versity Press, 1981. x, 546 pp. III as well, Don Carlos and Aida. The final two works, Otello and Falstaff, Now COMPLETE, Julian Budden's are preceded by a separate, and high- three-volume, i,6oo-page magnum ly successful, introduction, Chapter opus seems destined, for better or 3, "A Problem of Identity (Italian worse, to become the monumental Opera i870-9o)." Here Budden doc- handbook for present-day Verdi en- uments the effects of European poli- thusiasts and scholars. The Operas of tics and economics, the 1871 reform Verdi is this generation's more com- of the conservatories and theaters, prehensive addition to the several the economic wars of the publishers, previously available English-lan- the introduction of potent foreign guage walks through the Verdian influences (Wagner and Massenet) to euvre-those, for instance, by Fran- the Italian stage, the rise of verismo cis Toye, Dyneley Hussey, Spike (detailed here without mention of the Hughes, and Charles Osborne. Bud- strong realistic literary currents of den's discussions make a stronger bid the time, particularly the work of for permanence than do those of his Emile Zola and Giovanni Verga), predecessors. In the first place, he and the impact of Verdi's contempo- has widened the range of Verdian raries in Italy, notably Ponchielli, discourse by treating historical con- Gomes, and Catalani. text as central. His special contribu- The discussion of each of the four tion has been to call attention to the operas divides into two portions of European operatic traditions within roughly equal length: a generally which Verdi's works were intro- well-informed compositional/theatri- duced and to remind us that the cal history and a set of quasi-analyti- operatic repertory of that time was cal observations about the music substantially different from that itself. As in the preceding volumes which is marketed throughout the Budden brings to his task a formida- world today. Moreover, by writing ble knowledge of the operatic and in the midst of a renaissance of Verdi concert repertory. This is, of course, This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms 578 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY his trump suit, and he generally Carlos, Aida is the stuff of classical plays it extremely well. Few readers tragedy. The balance of [the lat- will fail to be impressed by such ter's] plot finds a corresponding bal- ance in the musical structure which casual observations as, "the only in- stance I have been able to find of a for the Verdi of 1870 is surprisingly symmetrical . (pp. 197-98). duet cabaletta of the [Aida] period with a triple statement of the main idea is 'Ed ora, Contessa' in Ca- Budden's greatest strengths lie in gnoni's Un Capriccio di Donna (1870)" the sheer breadth of his repertory (p. 243n). Occasionally, however, knowledge and his ability to synthe- Budden overplays this suit, and in size over a century of published ma- these instances the repository of terial, ranging from Abramo Basevi's knowledge threatens to degenerate Studio sulle opere di Giuseppe Verdi and into exhibitionism. When he writes the Ricordi disposizioni sceniche (avail- (p. 234) that the flute solo at the able for many of the later Verdi beginning of Aida, Act III "recalls" operas) to most of the latest research. [sic] that in Holst's Beni Mora, we Nor may one discount his splendid may suspect that his motives are sense of the theater, which pervades other than explanatory. So also his every page; the reader never forgets assertion that the beginning of Fal- that these operas trade in vivid, con- staf, Act I, Part ii (1893) foreshadows crete action. Clearly, Budden is a Reznicek's Donna Diana Overture practical man writing for practical readers. So attractive are these (1894), perhaps because, as Budden would have it, "the Leipzig-trained strengths that one regrets having to Reznicek, like our own Sullivan, rep-point out that for the scholar they are resented the Mendelssohnian aspect frequently counterbalanced, and of the German academic tradition sometimes overbalanced, by a corre- that Verdi admired in Ferdinand sponding pair of weaknesses: an eva- Hiller" (p. 457). sion of the problems posed by Yet, at his best Budden can sum- available primary-source material, marize the spirit of an opera in a few and the quality of the musical analy- sis. incisive sentences. His comparison of Don Carlos with Aida is a paragon of common sense: Budden's tendency to restrict his gaze to secondary sources (perhaps Both works are played against the with the exception of his reporting background of a closed society: both on the disposizioni sceniche) is less take as their starting-point the same problematic where the published re- tragic conflict-that of private emo- search on a given work has already tion versus public duty-but pro- been strong. Thus, the discussions pound it very differently. [In Don of Don Carlos and Aida are valuable Carlos] the claims of individual feeling indeed: here Budden is able to draw threaten the disruption of society. ... on the recent work of Ursula Giin- In Aida, on the other hand, the two ther, Andrew Porter, David Rosen, opposing forces are held in equilibri- um, and the conflict arises only Marc Cl6meur, and Hans Busch. through special circumstances. At no The Otello summary, however, is point is society or government put at fundamentally traditional, based risk through the deliberate actions of largely on long-available materials the principals. In contrast to Don by Alessandro Luzio, Piero Nardi, This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms REVIEWS 579 and Frank Walker authorship of the libretto,(although Budden sprin- kled with extracts points out that Boitofrom brought a Medici'sdraft and Conati's recent of Acts Carteggio I and II to Sant'Agata Verdi-Boito). in Yet Luzio's important November 1889, but does not "I1 go on libretto di Otello" in Carteggi to suppose that Boito verdiani, and Verdi Vol. II, needs correcting must also have worked and on much amplifying,of some of the Verdi-Ricordithe entire text together in winter Otello cor- respondence 1889 andhas spring I890,never when they been pub- lished, and no study of the were neighbors, Verdi in Genoa and autograph score has yet appeared. A Boito in Nervi. Yet their collabora- more closely constructed Otello his- tion seems probable, particularly tory remains a project to be fulfilled. since Verdi quoted from the text Similary, with Falstaff, for which before 8 March i890, the date on little of the new research was public- which Boito gave the completed li- ly available in the late 1970s, Budden bretto to him.2 The composer, that transmits the traditional, unrecon- is, could have begun the sketching structed history. This he does with process before 8 March. great thoroughness, to be sure, but Budden furnishes little precise in- his secondary-source approach ne- formation about the stages of compo- glects the most compelling source sition as revealed by the autograph documents, notably Boito's auto- score. Thus, he does not report that graph libretto (which is treated only three portions of the manuscript are by reference to Luzio's flawed dis- insertions, interpolated folios with cussion of it in Carteggi verdiani, Vol. passages added only during the rela- II), Verdi's autograph score (which tively late orchestration stage of G. Ricordi & C. published in facsim- composition (September 189 i-Octo- ile in 1951), and the early published ber 1892): a seventeen-measure in- scores. The result is an account with troduction to the Act I, scene 2 significant lacunae and, in a few women's quartet, "Quell'otre! quel instances, errors. tino!" (fols. 65r-66v); Quickly's en- No specific mention, for example, tire narrative in Act II, scene 2, is made of the translations of Shake- "Giunta all'Albergo," along with a speare that guided Boito's word- choice for the Falstaff libretto: those of Carlo Rusconi (1838) and Giulio X (Milan: Hoepli, 1878 and i881). Compare, Carcano (1875-82), although Bud- e.g., Boito's version of Ford's monologue, "E den does make the more esoteric sogno? o realtY," near the end of II.i, with Carcano's translation, from the relevant por- point that "the Italian translation [sic] tions of Le donne allegre (II.ii and Il.v): "Oh! consulted by Boito must have been oh! e questa una visione? un sogno? Sono io based on the now discredited quarto che dormo? Svegliati, Ford! Ser Ford, ti sve- text" (p.
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