University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 11-7-2016 The uM sical Alternatives of Donizetti's Lucia di Lammermoor: An Analysis and Guide for Performance Practice Carol J. Money Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Money, Carol J., "The usicalM Alternatives of Donizetti's Lucia di Lammermoor: An Analysis and Guide for Performance Practice" (2016). Dissertations. 378. http://digscholarship.unco.edu/dissertations/378 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2016 CAROL J. MONEY ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE MUSICAL ALTERNATIVES OF DONIZETTI’S LUCIA DI LAMMERMOOR: AN ANALYSIS AND GUIDE FOR PERFORMANCE PRACTICE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Carol J. Money College of Performing and Visual Arts School of Music Vocal Performance December 2016 This Dissertation by: Carol J. Money Entitled: The Musical Alternatives of Donizetti’s Lucia di Lammermoor: An Analysis and Guide for Performance Practice has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in School of Music, Program of Vocal Performance Accepted by the Doctoral Committee ______________________________________________________ Melissa Malde, D.M.A., Research Advisor ______________________________________________________ Brian Clay Luedloff, M.F.A., Co-Research Advisor _______________________________________________________ Robert Ehle, Ph.D., Committee Member _______________________________________________________ Deborah Kauffman, D.M.A., Committee Member _______________________________________________________ Michael Welsh, Ph.D., Faculty Representative Date of Dissertation Defense April 26, 2016 Accepted by the Graduate School __________________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Money, Carol J. The Musical Alternatives of Donizetti’s Lucia di Lammermoor: An Analysis and Guide for Performance Practice. Published Doctor of Arts dissertation, University of Northern Colorado, 2016. Opera encompasses a long history of substitutions and alterations in its performance tradition. This dissertation compiles and analyzes alterations made in performances of one opera, Lucia di Lammermoor by Gaetano Donizetti (1797-1848), since its creation in 1835. The study focuses on the standard practices of cutting, sections of tacet, interpolated material (such as cadenzas and other ornaments/embellishments), and transpositions in the performance tradition of Lucia. Although portions of this information can be found in various sources, no current resource exists that compiles the data from these sources and presents information on more recent performance practices and resources. By offering a more thorough compilation of alterations and the resulting dramatic ramifications, this dissertation provides a resource to aid in the decision-making process of conductors, directors, coaches, teachers, and musicians who contribute to the production of this opera. Primary source materials consist of the following: information obtained from personal interviews with professionals in the industry who are intimately acquainted with the opera; newspaper, magazine, and journal articles; and an analysis of existing audio and video recordings and hand-marked scores. Consequences of alterations to the score are examined. The appendices provide reference guides to cadenza resources and to cut and tacet options for Lucia, as well as transcriptions of selected interviews iii conducted for this study. This study indicates that the nature of alterations, as well as the popular alterations themselves, integral to Lucia’s evolution may, in fact, be one of the contributing factors to the opera’s enduring longevity in the repertoire. iv ACKNOWLEDGEMENTS This document would not exist without the combined effort of many individuals. It is only through the unique contributions and countless hours of assistance from my chairs, committee members, and interviewees that this endeavor became realized; and I am deeply grateful for their generosity, kindess, and patience. I must also give special mention to my professors, colleagues, and friends, including Dr. Diane Bolden-Taylor, Professor Lesley Manring, Dr. Mark Montemayor, Dr. Kenneth Singleton, Professor Stephen Luttmann, Dr. Toby Rush, Dr. Brian Alber, Dr. Thais Nicolau, Dr. Heather Cawlfield, Dr. Gregory Klug, Daniel Lewis, Dagan Boyd, Mary Wilson, and Carol Steward. There are those who are not here to see the final accomplishment of this pursuit. Yet, without their encouragement and belief in me, I would have never begun this journey. It is in the loving memory of my mentors Dr. Roy Hyatte, Dr. John Shurtleff, Dr. Richard Detsch, Sandra L. Sindt, and my dearest friends, Ryan Smith and Dr. Jens- Wilhelm Wessels, that I have completed this undertaking. Finally, I wish to thank Lewis Mitchell (of Josef Weinberger, LTD) and Duron Bentley (of Music Sales Corporation for G. Schirmer, Inc.) for their gracious assistance in obtaining print release for music examples used in this publication. Special thanks must be extended to both publishing companies mentioned, to the University of Pennsylvania Libraries for allowing me to study the rare facsimile of Donizetti’s v autograph manuscript of Lucia, and to Ricordi (with the assistance of Boosey & Hawkes) for allowing me to study their unpublished critical editions of Lucia. vi TABLE OF CONTENTS CHAPTER I. INTRODUCTION...................................................................................... 1 Thesis, Significance, and Incidence Delimitations Methods and Sources The Comparative Editions Sources for Interpretive Performance/Performance Practice The Interviewees Recordings/Videography Overview of Terminology and Concepts to be Explored II. SUMMARY OF MUSICAL ALTERATIONS THAT OCCUR IN ITALIAN ROMANTIC BEL CANTO OPERA.......................................... 23 Types of Musical Alterations in Nineteenth Century Italian Bel Canto Opera Reasons for Musical Alterations The Manners of Determining and Negotiating Musical Alterations III. A HISTORICAL OVERVIEW OF LUCIA DI LAMMERMOOR.............. 50 Brief Biography of Gaetano Donizetti Plot Summary of Lucia Historical Background of Lucia Overview of Early Performance History of Lucia IV. THE MUSICAL ALTERATIONS OF LUCIA DI LAMMERMOOR........ 71 The Critical Editions of Lucia The Process of Score Production in the Early Nineteenth Century The Critical Editions Available for Rental A Cursory Look at Large-Scale Discrepancies Between the Original Autograph, Critical Editions, and the Traditional Scores Incorrect Notes, Markings, and Omitted Material Differences in Key vii Differences in Instrumentation/Orchestration Critical Edition Recordings The Musical Alterations of the Traditional Lucia Scores Transpositions Interpolated Material The Embellishment Resources Embellishments Instrumental Cadenzas The Glass Armonica “Standard” Cuts and Episodes of Tacet The Ultimate Cut—Excerpting Scenes The Un-altered Version V. CONSIDERATIONS AND RAMIFICATIONS….……………………... 123 Incorporating Additions Omitting/Excising Material Transpositions VI. CONCLUSION…………………………………………………………... 136 BIBLIOGRAPHY………………………………………………………………… 140 Articles Books Master’s Theses Scores Recordings Videography Websites APPENDICES A. CADENZA RESOURCES FOR LUCIA DI LAMMERMOOR………….. 152 B. CUT AND TACET OPTIONS IN LUCIA DI LAMMERMOOR………… 158 C. TRANSCRIPTS OF SELECTED INTERVIEWS………………………. 171 Bruce Donnell and John Stewart Biography Interview David Holkeboer Biography Interview viii Elizabeth Hastings Biography Interview Schirmer Vocal Score Lucia cuts provided by Elizabeth Hastings Nathan Bahny Biography Interview Professor Brian Clay Luedloff Biography Interview Attachment 1: Luedloff (The Dallas Opera Cuts) Attachment 2: Luedloff (Union Avenue Opera—St. Louis) Follow-up Questions Opera Fort Collins Cuts Attachment William Wilson Biography Interview Tyson Deaton Biography Interview Attachment 1: Anchorage Opera 2013 Attachment 2: Cadenza for Anchorage Opera 2013 Follow-up Question Follow-up Question Dr. Dawn Pawlewski Krogh Biography Interview D. COPIES OF IRB APPROVAL LETTERS……………………………… 226 ix LIST OF TABLES 1. Recordings Discussed…………………………………………………….. 15 2. Principal Characters in Lucia………...………………………………….... 56 3. Significant Differences in Plot Between the Storylines…………............... 64 4. Abbreviations of Lucia Scores for the Purpose of this Document…….…. 72 5. The Art of Joan Sutherland Cadenza Options………………….….….….. 101 6. Ornamentation Options for the Larghetto of “Regnava nel silenzio”....…. 108 7. “Traditional” Cadenza Locations for Enrico, Edgardo, and Raimondo..... 111 8. Source Abbreviations for Table 9………….……………………………... 117 9. Cut and Tacet Options Taken in Act I, “Cruda, funesta smania,” and “Come vinti da stanchezza”………………………………………………. 119 10. Wallace and Wallace Cut Options for Scenes.………………………….... 121 11. Lucia Harp Cadenza Resources……………………….……...................... 153 12. Lucia Vocal Cadenza (and