7 Insertion Arias for L'elisir d,amore - Persiani, Tamburini, and,.. One ol thc a.ticles in the progftm€ for fie reoeft (rnd d.lighttul) producrio! of L'elisir d @oe .r C@nr (hlden nEntion.d rhar Donizctti added new dis for Aftonio Ttnburini dd F$ny [email protected] for th. pads p.oduction in 1839 Th. music for th*. additiotrll aiae c& be fourd s sppl.*,io in ,*A *," p{blish.d by Bern rd trfl€, P&iq ! copy ofwhich is hcld by ihe British Libnry." Th3l for PeBi&i cane a . $rpdrc Th. ilrds of the 6Bt serion, with the 6ingle cha.g. ol"@ngi' to "phchi" !.e still thos. for th. odsinrl."redi pcr me ci libdo". Bul lhe c.baletta b in fict thc cib.l.tr! 8on Bi&q'. &t I eia.No, tu che infelice appi€no in Ugo, Cdte di P@igt, th. music lilied without any v.ry rignificanl chang!, and with lon rcw words lpposit. to Ilril .s folloB: E/dr (for P6iei) Biss: No, cfu ir&li& Ippi@ AdiD: Nq cl'c infelie appido [email protected],o&to, @ ni hbsti, o &ro, S. nEor ni d dato S. n&quisr! m'a drlo !l mio @aggio d6. chi mi e ka. ogmr Voh d'A&lia in 3m. .! to@ a trilLmi in !@ An Eh slla sFnc o @r .I toma dl. sioj! il @r. Cnor: Ddl'Aquitalilgius. AdiB: O sioja i,Gpimibilc r!di. v!di, v!di, !!di Of oous. I shouldn l h.rc hen surpds.d B Jcmy Comons. booktct not.g fo. th. Opqd P&r CDs of Uaa infom I that Biaacsh sr,ra w.s us.d !s .n did di ,drrd by P.Biiri i^ Elisit a by Patt, in Arua Boteu. Thc rdoM of thcse suhiitute eiar wu cl.aly widceprsd ed thcy wrrc ldlpld for irstrumental worksl with tlcir titl6 .efeniry t,o the uiu' &E po3irioor. For oomptq in a coll@tion of pi6rs for hu? by Cusl.ru V Eoht Grardfathq ofrhe Holst ofPt E/Jfsrno, the v D6i4fi's f.rcudrc Cav*io "l,to, m che iGti@ .!pi@", hkodu.€d by Mnbru PEr. in A@ 8ola4 ArDlg.d for th! tlID ajd Drdieted to Mis; M.ry Ie Wiggi& ty Guehtu V tloln. Th€n th@ is r Piuo Fanoey by Att.A "Varistioc t i h vi.ttq lur un lir de l'Elisirc d'Amore", whor. thme i! rlis Uao clbaleflr And orc Lolig M..scmr.ok6 amte a "Frntabic a Vriatiom pour Pirro, sui l,rir .h&ra p0r Madame P.rsidi .ha L'EliiE d'Anorc de Do.izeni d&i€d a Monsiff l€ Co;ie c.5totr Bffiblllt de Dudzeelc . Aft...n inrroductioq tlle ih.m. of lh! pi.c. iq !gd4 rcne o er thu Bie@t cabsletl.. Tlleft &6 rhen rE! vsrinions on it aollowd by a hrgnetto i. G mino., which is simply "UB tuniva lagrima,', and a FiDle bas6d on Adim\ line Aon the Adiru/DulMr duei i. Acr II The ext6 sris for Tamburi.i lal<es B€lcore's musi6 fton rhe cabaletta of tie Nqnorinotselore duet in Act tr dd .l.boote it idto a firl-scale abalertl The ,jr,J,. (foi Tmbunni) B6vo, bavo il mio B€l@e del tuo gdo e queslo on lmpo f ompl4$, sopB e s.tto, tu mi mbn u bum Ggliuolo * ni pmde, * ni pBde ad 6on0lar @l tuo Bcdio ol tuo sdio snSoLt Ho bg6ggiilo il nio ri'de Ho ingassiato il n@ rivale echc qGra a d! onllr, si. ach. qucsts e da 6l!r, si P..smably thc rcw oiee r.rl&es the frnsl sdtion ofthe duet Cleadv Belcore is on $ase alone i. ihe rdised v.Bioir add6sinS hiNelf with .o littl€ plide \4herc oriAmly he tells N.norino flur he, Nenorino, eill soon bc a oryool, in the @ision he forese! himsolts no l.ss thd t g.rcrdl! The n music co@ntrltcs on rhe 6nt line Md th. last lwo lio.s of lexl. Thc liple$ of rhe original ar. .xlended into e .labo6t. displ.y pie.€ for the vi.tuoso bliitone. Thc utrena contains a paesag. of lixtm tripl.ts follow.d, in four lolcs! by l6p! ofs tw.lfll! ldth and..i.th (high F down lo 86, b&k up 10 D ald down lo C) The Puis Ndorino in Jeuary 1839 *4 Nicola Ivuofl eid one wondeu how h. feh ar lolin8 his susic. ,.. rnd Malibrm in the light of C€cilis B.rtoli Thc .q Decca CD &on C€.ilia Banoli "Mrda", devot.d to th. famo$ mezzo Muis Malibo!! slso conlain! an ..ia for ins.don inlo /,'.ri!t d m@- Two.l{ns are madc tur this, th.i ih. dit ws qntlh by Mdibo ud rhd this is . world Drcmi.rc r.cordins The sond of rh.s. chim i, oily plni.llv rruc. Th. fi's slior ;t fie lda my well bc ,pneeins for the very fr.sl tin - bur rhe Gond c.n.inlv kni. Joan Sult.dand ad Riohard BonyngE used il in th.ir l97l rc6rdin8 of Z elisl d'.n@, thou8h ldnjhcdly ii an orch€strdion by Doug,&! Gan.y tht sounds ! lide oul of pqiod. suth.dand d$ sitr8s two lmes whqcrr B.noli 8iv.s us onlv on . This isn't th. nrst fim. lhat D€..a ha3 foBoitm th.ir om r.cordings: the lwo_ CD @mDihiion ku.d to m* Suih.rled s 8oth bidhday claircd rh,rl $i! wu thc fid rim; rhsl the onplerc we fion Rono,e d hghilkftd had b.en isued on CD (it ws oisjnally ! supplmot ro he. n6t LP EcordinA ofl,!c,4), wh€.€.s in lsct it rppd!, dl of il, on "Prim. Doma Assolul." (D66 425 605_2, ..leas.d in 1989) Frcm the LP bootlet it is cl* thai Bonynge th@glt lhis rcph@ment 0m wa witt@ by MltibM 3 husbrnd, Chdles do B{tiot Th. book thrt acsmPmis "Mana" .ome dopn rtrongly in fr@r of M.libM heru€lf. I rodel? Is ll .e![v ! Bi$.rditrg to i .aret "M. de Bddot" s Mo$i.ur de Bdriot .dhd thu Msria? (I prcsme thal the s@r; wilh thh ir the one Eonynse found.) tud h it r.a[y "s..onglv supportiu" .vidm@ lhat !tuter Paulire perfomed it s "Gros Aric von Malibm" in Bedin ir 1848? A Brilish Libory sorc of Z .litl publilh€d by Bemrd Latre of Peis, 10 which de dtached u appeddic.s the Persian md Tmbu.ini ari.s dissed above, hs rhe follo*ing pencil motalion od the title p{ge (al8 unsigned ud und3l€d): k lee edlti@ rL "L'ElGire d'An@ 61 l'@ de Peini,r pobabl@r m 1832 C.lA ddilion MDlait 2oO pasB. La 2 aiE ajelis &s et|c 6ditid .', iguiat I TIE PaisiI tuic publishq, not dE @mp.s. 9 pa, a ma comisd€ il ne nsnrmr que daB l adind p.emte. A cese plnirioh est _Prodi pr(jMt l dr p.r me ' awo une noulue nusique dc Chr 6 & BCnd, .ompose cxpres potrr Mana MalbEr, Dooueti alail @n! une nusiqle dc cer atr pdur Me lThe nN cdtron of l Elisir d morc n the ono of P mi probally or l&32 That edinon had 200 paBs The 2 .d.led ai^ in this cdition rere mt hclude{ in my belief tner ae *Prc!d, inclndcd only tn lnn cdilron In this score n p.cseDl the air po ne" wilh nsr music by Charls & Benot rvitrn *p4$ly aor Mana M.librd; DonEeti had mnposcd a snnib an 6r Madme Pesiani l I am indebied to ou Chairtun loi deciphering sone of ihe lrrench and lor the l.anslation He .lso poinls out lhat lhere ue inaccuracies in th€ s1a1ene.t and mirtakes in the French, leading him 10 the mnclusion rhal thc w!it€! was plobably 6 bookeller and not F@nch. Hoveer. it surely does rev.llrhat someone thon rhoughl thr De Bdlioi did vrire a replaceheit lor "Prendiper me". lfil isn'r the o.e reoorded by Badoli, whar aid whereisii? A second area of concern is lhat lhe.e seems lo me to be some rather dubious ,,Ah, luslincation for Badolii a$unption of lhe lols of Amina a.d No@ non credea hay lic weu for s mdro, but I hrve doubts thal the A l aria would. specislly $€ cabaleita, elen al rhe dighlly lower pilch used And is rhere diy reat evidence thal "Amina s ressitura . for 1he nost par1, is uncomfodably low for sopBnos'? I'n more inclined io b€lieve thal B.llid t&ilored fi$e paas 10 the vocal qualities ofPa$a, and thar modrn inierpreiem ofthen suoh as Csllas and Suthenaid come closer vooslly io ihe r€qunemenrs ofthe mmplete roles rhan does a hezzo such as Bartoli There are passsAcs in om4 ihat d€mand s 3oprNo's eas€ on hieh (he cabalelta to Casia Diva . the Act I confrontation wilh Pollione. the end of ,,Ei toriera", etc ) and I don'i imagine a mao such as Banoli in th.se wnh pleasur. ''Ca$ta Diva" nself may gain from inlina.y, bul Noma aho needs 10 evincc auihority. even at p6y€r Max Lopp.n s d.s.liption oflhi! (Opera, November 2007) as miorophone croonins sems alltoo rpt.