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Note: page numbers in italics indicate illustrations or musical examples; page numbers followed by t
indicate tables.
Abbate, Carolyn, 235n6
Abbey, Henry, 123, 124
Académie Royale de Musique. See Paris
Opéra
Acis and Galatea (Handel), 10, 24,
27n29
acting treatises, 191, 220–21, 222, 230
Adam, Adolphe, 31, 43t
Admeto (Handel), 10
Agrippina (Handel), 11
Aida (Verdi), 152–75; allegorical imperialist
readings of, 158–59, 160, 161, 162; allegorical
nationalist readings of, 155–56, 157; Cairo
premiere, 164–65; commissioning of, 157,
158; consecration scene, 173n42; disposizione
sceniche for, 231; Ethiopians’ plea in, 166–69;
exoticism and, 152–69, 170n2; fauxbourdon
use in, 164, 167, 175n59; imperialism and,
155–56, 158–59; Khedive’s scenario request,
163; libretto and stage directions, 162; literal
reading of, 153, 155, 156, 159–60;
metaphorical readings of, 155, 160–62;
metronome markings in, 267; Milan
premiere, 165; multiple agendas of, 169; nine
possible readings of, 154t; piecemeal
performances of, 123; rhythmic alterations
in, 255, 255–56; Said’s readings of, 156–62;
stereotypical reading of, 158, 160, 162,
171n19, 172n32; traditional readings of
empire and Otherness in, 153, 155–56;
triumphal scene in, 159, 163–69; use of
straight trumpets in, 165–66, 168; Verdi’s
political views and, 163; Vienna Festival
production, 164
“Air of the Troubadour” (Churchill adaptation
of Verdi), 61
Airs italiens du XVIIIe siècle (Viardot), 25n6
Albani, Emma, 240–41, 249
Albion, The, 119
Alceste (Gluck), 9
Alcina (Handel): Chrysander edition, 17;
“Verdi prati,” 10, 14, 16–17, 18, 19, 21, 22, 23,
28n36
Alessandro (Handel), 10
Alexander’s Feast (Handel), 27n29
“allegory” (term), 170n8
Almira (Handel), 10
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Alzira (Verdi), 152
Ambassadeur, L’ (Scribe), 179
ami malheureux, Un (Royer and Vaëz), 44t
Ancona, opera performances in, 78
Anglo American, The, 119–20
Anna Bolena (Donizetti), 41, 115
Anne, Théodore, 51nn29–30
Anselmi, Giuseppe, 247, 259n10
Antoldi, Gaetano, 106n20
appoggiatura performance, 240–41, 254
Arblaster, Anthony, 165
Arena Sferisterio (Macerata), 266
Ariosto, Ludovico, Orlando furioso, 23
Armida (Rossini), 39, 142–43, 144, 145,
150n35
Arnold, Samuel, edition of Handel works, 10,
11, 13, 21, 24, 27n22
arrangements: decontextualization of meaning
through, 53; orchestral, 14–15; piano-vocal,
53–75, 76–77, 102; text substitution
in, 53–75
art nouveau style, 224
Artaria firm: piracy and, 77, 81; Ricordi’s
actions against, 78–79, 107n29; as Rossini’s
publisher, 101
assedio di Corinto, L’ (Rossini), 115
Atalanta (Handel), 11
Attila (Verdi), 156
Auber, Daniel-François-Esprit, 43t;
“Englishing” of excerpts by, 54;
Masaniello, 119
auberge des trois pins, L’ (Royer), 42t
Augier, Emile, 14
Austin, Elizabeth, 119, 130n34
Austro-Hungarian Empire, 155–56
avventura di Scaramuccia, Un’ (Ricci), 191
Bach, Johann Sebastian: “Du Hirte
Israel, höre,” BWV 104, 10; Gounod’s
adaptation of C-major prelude, 15; Viardot’s
interest in, 9
ballet-pantomime, 119
ballo in maschera, Un (Verdi): disposizioni
sceniche for, 193n5; metronome markings in,
266–67
Balocchi, Luigi, 30, 40
Barbier, Auguste, 42t
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Index
barbiere di Siviglia, Il (Rossini): character of
Figaro in, 176; Introduzione in, 194n11;
lesson scene, 52n39; Mauceri production,
262, 265–66; Moscow Opera Studio
production, 221; Patanè’s performance, 241;
piecemeal performances of, 111, 120–21,
130n31; “Una voce poco fà,” 21, 41
Barbò di Castelmorano, Giacomo, 103n8
barcarolles, 66–67
Barroilhet, Paul-Bernard, 50n21, 106n20
Basadonna, Giovanni, 106n23
Beauvoir, Roger de, 42t
beaux hommes de Paris, Les (Royer), 42t
Beecham, Sir Thomas, 263–64, 269n7
Beethoven, Ludwig van: Handel edition owned
by, 11; Symphony No. 6, 174n55
Belisario (Donizetti), 116
belle écaillère, Le (Vaëz), 42t
Bellini, Vincenzo: Bianca e Fernando, 119;
I Capuleti e i Montecchi, 40, 41, 113,
127n6, 131n44; critical edition of works,
178, 193n6; death of, 76; “Englishing” of
excerpts by, 54; high notes added to works of,
251; letter to uncle, 102n2; Norma, 111,
118–19, 120–21, 127n6, 165, 193n7, 244;
Paris performances of operas by, 30;
piracy concerns of, 77–78, 104n11; Il pirata,
193n7; I Puritani, 76–110, 113, 115, 116,
127n6, 128n20, 251; La sonnambula, 111,
243–44
benefit concerts, 111–12, 113–14, 116–18, 120,
131n44
Benoist, François, 33, 38–39, 48n10, 51n31
Bergonzi, Carlo, 256
Berio di Salsa, Marchese, 35, 38
Berlioz, Hector: as critic, 50n18; Gluck’s operas
revived by, 9, 21–22, 251; operas of, 9; Les
Troyens, 23; version of Weber’s Der
Freischütz, 30, 31
Bernstein, Leonard, 263; A Quiet Place, 265
Berton, Henri-Montan, 52n40
Best, Thomas, 74n23, 74–75n29
Bianca e Fernando (Bellini), 119
Bianchi, Francesco, Semiramide, 117
Bizet, Georges, Carmen, 123, 124, 221, 223
Blasis, Virginia, 114
Blaze, Ange-Henri, 31
Boccabadati, Luigia, 106n19
bohème, La (Puccini): Beecham’s recording of,
263–64, 269n7; Mamontov Private Opera
Theater production, 222, 230; Meiningen
Court Theater production, 230–31;
Toscanini’s recording of, 263–64, 269n7
bohème, La (Stanislavsky production), 221–34;
Act II, Café Momus scene, 226–27, 230–31,
237n28; Act II, Musetta’s entrance, 228–29;
Act III, tavern scene, 227; Act IV horseplay,
229–30; character of Mimì in, 231–34;
concept for, 223; lighting, 228, 237n32; sets
for, 225–27; stage directions, 224–25
Boisselot, Xavier, 31, 43t, 44t
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Boito, Arrigo: libretto for Verdi’s Otello, 197;
Mefistofele, 193n5
Bologna, opera performances in, 78, 80, 116–17,
129n24, 131n44
Bolshoi Theater (Moscow), 219, 220
Bonci, Alessandro, 247, 256, 259n10
Bonnaire, Félix, 34
Borghese, Eufrasia, 120
Bori, Lucrezia, 126, 131n54
Boris Godunov (Musorgsky), 221,
237n32
Bourdieu, Pierre, 73n12, 75n30, 158
Bourgeois, Anicet, 44t
bourgeois des métiers, Les (Vaëz), 44t
bourgeois grand seigneur, Le (Royer and
Vaëz), 43t
Brambilla, Marietta, 115
Breitkopf & Härtel, 15
“Bright Harvest Moon” (adaptation of Verdi),
65–66
British empire, Verdi’s views on, 160–61, 162
broadcasts, live high-definition, 2
brodequins de Lise, Les (Vaëz), 42t
Brown, Matthew, 216n13
Buckingham, Leicester S., 73n11
Budden, Julian, 164, 216n7, 217n15
burlesques, 55, 72–73n11
Byron, Henry J., 72n11
cadenza performance, 245–48
Cadet le perle (Royer), 45t
Caecilien fest (Handel), 13
Callas, Maria, 242, 263
Calvé, Emma, 123
Cammarano, Salvatore, 34–35
camp de Fontainebleau, Le (Royer), 42t
Campana, Alessandra, 216n11
Cantanti celebri (Monaldi), 197
capitaine Henriot, Le (Vaëz, music by
Gevaert), 45t
Capriccio (Strauss), 127
Capuleti e i Montecchi, I (Bellini): French
version, 40, 41; piecemeal performances of,
113, 127n6, 131n44
caractères rhythmiques, 133, 143
Carafa, Michele, 31, 43t
Carmen (Bizet): Moscow Opera Studio
production, 221; Nemirovich-Danchenko
production, 223; piecemeal performances of,
123, 124
Caruso, Enrico: cadenza for “Una furtiva
lagrima,” 247, 248, 259nn10–11; influence of,
246–48
Casini, Claudio, 165, 175n60
Castil-Blaze, 31, 40, 41, 52n39
Castor et Pollux (Winter), 30, 40
Catalani, Angelica, 118, 130n28
Cavalieri, Rainieri Pocchini, 115
Cazotte, Jacques, Le diable amoureux,
135–37, 136
Cella, Giuseppina, 128n20
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Cenerentola, La (Rossini): duet for two buffi,
194n14; English version, 119; Ferretti libretto
for, 194n10; Mauceri performance, 267–68;
performing editions of, 262; piecemeal
performances of, 131n44
censorship, French libertine fiction and, 134–37
Chabanon, Michel, 146n9
Chapeau, Armand, 42t
Chapelle, Paul-Adolphe, 42t
Chekov, Anton, 220
Chernisheva, Olga, 235n13
Cherubini, Luigi, Medea, 263
cheval de Grammont, Le (Vaëz), 42t
Chi dura vince (Ricci), 179, 180, 181, 188,
194n15
Chiara di Rosenbergh (Ricci), 176
Chodruc-Duclos (Royer and Vaëz), 44t
Chopin, Frédéric: interest in eighteenth-century
music, 9, 11; Sand and, 15–16; Viardot
and, 24
Chrysander, Friedrich, edition of Handel works,
17, 21, 24
Chung, Myung-Whun, 260n17
Churchill, Charles, 61
Chusid, Martin, 262, 266
Ciannella, Giuliano, 256
Cimarosa, Domenico, Il matrimonio
segreto, 221
civette in apparenza, Le (Gambale), 114
class strata: Italian operas and, 55, 56–58, 67;
piecemeal opera performances and, 124
Cleveland Orchestra, 262
Coccia, Carlo, Rosmonda, 115
Coe, Doug, 215n5
coffre-fort, Le (Vaëz), 42t
comte Ory, Le (Rossini), 30–31
comtesse d’Altenberg, La (Royer and Vaëz), 43t
Conati, Marcello, 196
Confessions (Rousseau), 134–35
connêtable de Bourbon, Le (Royer), 42t
constitutionnel, Le, 51nn31–32
Consuelo (Sand), 9, 13
contrafacta of Verdi opera excerpts: cultural
acquisition and, 55–56, 67, 71;
misperceptions of operas through, 56, 59–67;
morality and, 55; popularity of, 54, 67, 71;
reasons for, 54–56; text purposes, 58; text
underlay techniques, 58–59
copyright issues, 54–55, 101–2
cor-de-chasse, 133
Corelli, Franco, 253
Correspondence d’Eulalie, 141
Corri, Domenico, anthologies by, 16–17
Cortis, Antonio, 252
Cotogni, Antonio, 220, 240–41, 254
Covent Garden (London), 16, 53, 72n9, 120–21
Crispino e la comare (Ricci), 183, 190, 194n12,
194n15
crociato in Egitto, Il (Meyerbeer), 114
Cryle, Peter, 135, 141
Culture and Imperialism (Said), 156
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273
dame aux caméllias, La (Dumas), 62
dame de trefle, La (Royer and Vaëz), 44t
Dans une armoire (Vaëz), 44t
Dante, 23
Darnton, Robert, 137
Davidson, Arnold I., 147n10
Davison, James William, 120
“Day Dreams” (Enoch adaptation of
Verdi), 69
De Begnis, Giuseppe, 120
De Gaitis, Bartolomeo, 106n21
De Jorio, Andrea: Gesture in Naples, 195n20; La
mimica degli antichi investigata nel gestire
napoletano, 192, 195n19
De La Grange, Henri-Louis 240
De l’Amour (Stendhal), 142–43
De Lucia, Fernando, 247, 256, 259n10,
260n19
Dean, Winton, Handel’s Dramatic Oratorios
and Masques, 26n10
Décade philosophique, 132–33
Delestre-Poirson, Charles-Gaspard, 31
Della Seta, Fabrizio, 155, 168, 175n61
Dell’arte rappresentativa (Riccoboni), 191
Dell’opera in musica sul teatro italiano e de’suoi
difetti (Tacchinardi), 181
Déménagé d’hier (Royer and Vaëz), 44t
Demery, Giuseppina, 106n20
Deschamps, Émile, 31
Desnoyers, Louis, 50n18, 51n25
Desvergers, 42t
Deutsches Landestheater (Prague), 243
devin du village, Le (Rousseau), 138–39, 140
diable amoureux, Le (Cazotte), 135–37, 136
disposizioni sceniche, 178, 193n5, 196–214,
215n4, 220, 231, 237n39
divan, Un (Royer), 42t
Divas and Scholars: Performing Italian Opera
(Gossett), 7–8, 235n5, 264
domestic music-making in England: class and,
56–57, 58, 67; copyright and, 54–55; cultural
acquisition and, 55–56, 67, 71; morality and,
54–55, 60–67; operatic song as “gentlemen’s
music,” 57; popularity of Verdi, 54; rise of,
53, 54
Domingo, Placido, 260n17
Don Carlos (Verdi), 166, 174n53; French vs.
Italian versions, 249
Don Giovanni (Mozart), 9, 30, 31; French
version, 40, 41
Don Pasquale (Donizetti), 31, 43t; duet for two
buffi, 194nn13–14; Moscow Opera Studio
production, 221
Donizetti, Gaetano: Anna Bolena, 41, 115;
Belisario, 116; critical edition of works, 178,
193n6; Don Pasquale, 31, 43t, 194nn13–14,
221; L’elisir d’amore, 194n13, 245–48, 259n9;
“Englishing” of excerpts by, 54; Fausta, 115;
La favorite, 31, 43t, 72n6, 115, 123, 128n20;
La fille du régiment, 1–3, 243–44; Gemma di
Vergy, 112; high notes added to works of, 251;
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Donizetti, Gaetano (cont.)
Lucia di Lammermoor, 31, 32t, 33, 34–35,
37–38, 42t, 47n8, 112, 120, 123, 124, 129n24,
130n31, 239–40, 264–65; Lucrezia Borgia,
116–17; Maria di Rohan, 130n31; Paris
performances of operas by, 30; Pia de’
Tolomei, 115, 128n20; Poliuto, 47n6; Rita, ou
Le mari battu, 31; Roberto Devereux, 112;
Rosamonda d’Inghilterra, 37
donna del lago, La (Rossini), 33, 38, 39, 50n21
Donzelli, Domenico, 115, 247
Du Locle, Camille, 153, 155, 157
due Foscari, I (Verdi), 38, 115, 128n20
Dumas, Alexandre, La dame aux caméllias, 62
Dumont firm, 42t, 43t
Duporte, Michel, 44t
Duprez, Gilbert, 130n31
“early music” revival, 240
École classique du chant (Viardot), 14, 23–24,
28n40
École Niedermeyer, 33
Egypt, Aida and, 152–69
elephants at Paris zoo, 132–34, 141, 142, 143
elisir d’amore, L’ (Donizetti), 194n13; “Una
furtiva lagrima” cadenzas, 245–47, 245–48,
259n9
empiriques, Les (Vaëz), 44t
encores, solo, in contemporary
performance, 1–3
enfant du bordel, L’ (Pigault-Lebrun), 140, 142
Engel, Johann Jakob, Ideen zu einer
Mimik, 191, 192
English National Opera, 266
“Englishing” opera excerpts, 54–56. See also
contrafacta of Verdi opera excerpts
Enoch, F., 69
Eran due or sono tre (Ricci), 179, 183, 186–87
Ernani (Verdi), piecemeal performances of, 116
Escudier, Marie, 36
Essai sur la propagation de la musique en
France, 142
Ethiopia, 160–61, 162, 163–64
Eugene Onegin (Tchaikovsky), 221, 230, 234,
236n24
Euryanthe (Weber), 30, 31, 40
Everist, Mark, 119
exoticism in Italian operas: Aida and, 152–69,
170n2; popularity of, 152
Ezio (Handel), 11
“Fair Life’s Morning Dawn’d” (Linley
adaptation of Verdi), 60
“Fair Shines the Moon” (Bellamy adaptation of
Verdi), 66–67, 68
Falstaff (Verdi), 123
fanatico per la musica, Il (Mayr), 118
fantaisies de Milord, Les (Royer and Vaëz), 44t
farces, 55
Fauré, Gabriel, Viardot’s friendship with, 10
Faust (Gounod), 123, 165
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Fausta (Donizetti), 115
favorite, La (Donizetti), 31, 43t, 72n6, 115, 123,
128n20
Ferlito, Vincenzo, 102n2
Ferrara, opera performances in, 111–12, 114
Ferretti, Jacopo, 176, 181, 194n10
fiction, French libertine, 134–37, 140–43, 145,
147n16, 147n18, 148n23
fidelity, concepts of, 36–37
Filippi, Filippo, 155, 158, 164–65, 166, 170n3
fille du régiment, La (Donizetti), 1–3, 243–44
films, opera, 235n5
Fleming, Renée, 126–27
fliegende Höllander, Der (Wagner), 223
Florence: falsified manuscript of Bellini’s I
Puritani in, 81, 108n39; opera performances
in, 78, 80, 114
Flórez, Juan Diego, 1–3, 8n5
Florimo, Francesco, 77, 107n29
Flotow, Friedrich von, Stradella, 31, 45t
Folies-Dramatiques (Paris), 44t
Fontainebleau, Palais de, 42t
France, La, 51nn29–30
France musicale, La, 36
Francesca da Rimini (Generali), 115
Franck, César, 44t
Freischütz, Der (Weber), 30, 31
Fried, Michael, 148n25
Gambale, Luigi, Le civette in apparenza, 114
Garcia, Manuel, 17
Gauss, Rebecca B., 219
Gautier, Théophile, 34, 48n10
Gelb, Peter, 2
Gemma di Vergy (Donizetti), piecemeal
performances of, 112
Generali, Pietro, Francesca da Rimini, 115
Genoa, opera performances in, 78
Gentili, Pietro, 111–12, 114
Georges Brummell (Royer), 45t
Georgette (Vaëz), 44t
Gerusalemme liberata (Tasso), 23
Gesture in Naples (De Jorio), 195n20
Gevaert, François-Auguste, 31, 44t, 45t
Ghislanzoni, Alberto, 173n36, 174n54
giorno di regno, Un (Verdi), 194nn13–14
Gipsy’s Vengeance, The (adaptation of Verdi, Il
trovatore), 55
Girard firm, 108n41
Giulietta e Romeo (Vaccai), 41, 131n44
Giulio Cesare (Handel), 10, 11, 24
giuramento, Il (Mercadante), 116–17, 129n24
Gluck, Christoph Willibald: Alceste, 9; Berlioz’s
revival of operas by, 9; Orphée, 9, 21–22, 23, 251
Goethe, Johann Wolfgang von, 23
Goggi, Emilia, 128n20
Gogol, Nikolai, 230
Golden Cockerel, The (Rimsky-Korsakov), 221,
237n32
Gomes, Carlos, Il guarany, 152
Gorki, Maxim, 220
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Gossett, Philip: on Bellini’s I Puritani, 91,
106–7n26; critical editions viewed by, 261;
Divas and Scholars, 7–8, 235n5, 264; on
Ricordi, 101; three-dimensional grid
developed by, 214; “tradition” viewed by, 241
Goulemot, Jean-Marie, 137
Gounod, Charles: arrangements of Lully by, 15;
Faust, 123, 165; Handel’s aria “Verdi prati”
reorchestrated by, 10, 14, 16–17, 18, 19, 22;
operas of, 9; Sapho, 14, 23; Viardot and, 24–25
grand opéra, Aida and, 156–57
Granda, Alessandro, 252
Grandeur et décadence de M. Joseph
Prudhomme (Vaëz), 44t
Grau, Maurice, 123, 124
Greenblatt, Stephen, 169, 175n64
Grisi, Giuditta, 106n24, 115
Grisi, Giulia, 76, 109n48, 120–21
grivoiserie, 135
guarany, Il (Gomes), 152
Guillaume Tell (Rossini), 38, 129n24; overture,
116–17, 131n54
Haldey, Olga, 230
Halévy, Jacques, 31, 43t
Hallez, Emilia, 116–17
Hamburg Opera, 10
Hamburgisches Staatstheater, 243
Hampson, Thomas, 175n57
Handel, George Frideric: Acis and Galatea, 10,
24, 27n29; Admeto, 10; Agrippina, 11; Alcina
aria “Verdi prati,” 10, 14, 16–17, 18, 19, 21,
22, 23, 28n36; Alessandro (or Rossane), 10;
Alexander’s Feast, 27n29; Almira, 10; Arnold
edition of works, 10, 11, 13; Atalanta, 11;
Caecilien fest, 13; chamber cantatas, 10, 11,
12, 13, 21; classical literature adapted by, 23;
Ezio, 11; Giulio Cesare, 10, 11, 24; Hercules
scena “Where shall I fly?,” 10, 19, 20, 21–23;
Jephtha, 22–23; Joshua, 24, 29n51; Messiah,
11, 15, 27n29; Mozart’s reorchestrations of,
14–15; nineteenth-century study of works by,
9; Ode for St. Cecilia, 27n29; operas’
disappearance from nineteenth-century
repertory, 10; Orlando, 11; Ottone, 11; Il
pastor fido, 11; La resurrezione, 24; Riccardo
primo, 11; Rinaldo, 15–16, 21, 23, 24;
Rodelinda, 11; Sei pur bella (Handel), 13,
27n22; Sento là che ristretto, 12, 13, 27n22;
Sosarme, 11; Susanna, 24; Te Deum, 24;
Terpsicore, 11; Teseo, 11; text substitutions
by, 54; Tolomeo, 11
Handel Commemoration of 1784, 10–11
Handel’s Dramatic Oratorios and Masques
(Dean), 26n10
Hapgood, Elizabeth Reynolds, 222
Haydn, Franz Joseph, music used in pasticcio,
52n40
Hazlewood, Colin, 73n11
Henderson, William James, 124–26
Henri V et ses compagnons (Royer), 42t
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Hepokoski, James, 196, 197, 203, 212, 214,
215n4, 216n11, 217n15, 217n19
Héquet, Gustave, 35, 40, 150n35
Her Majesty’s Theatre (London), 53, 72n9
Hercules (Handel): performance history, 10;
scena “Where shall I fly?,” 10, 19, 20, 21–23
high/low culture boundaries, permeability of,
124–25
high notes, emphasis on, 1, 248, 250–53, 258
Hiller, Johann Adam, 27n29
Hohenstein, Adolfo, 227
Homer, 23
Hughes, Spike, 217n16
Hugo, Victor, 34
Huguenots, Les (Meyerbeer), 38
Hunt, Lynn, 134
Ideen zu einer Mimik (Engel), 191, 192
Illustrated London News, The 120
illustration, L’ 35, 40
India, 160–61
insertion arias. See substitution arias
internet, 1–2
Ismail, Khedive of Egypt, 157, 158–60, 163
Italian opera, audience expectations and, 267,
268–69
Italian operas: appeal of, 7; “best-text” score
and, 264–65; between-act insertions, 114;
critical editions and, 261–64; “Englishing”
and contrafacta of, 53–71; exoticism in,
152–69; French naturalization of, 33–41;
gesture in, 191–92; Gypsies portrayed in, 152;
mid-twentieth-century performance
practices, 244; orchestra’s positioning in,
267–68; pasticcio 39–40, 52n40, 111, 113;
performance conveniences and practicalities,
242–44; piecemeal performance of, 111–27;
piracy and, 76–101; repertory formation, 117;
secondary characters’ personnel
substitutions, 244; stage directions for,
176–92; staging manuals for, 178, 193n5,
196–214, 215n4, 220; Stanislavsky directing
approach, 219–34; style internationalization
and, 264–65; substitution (insertion) arias,
37, 38–39, 111, 113; “tradition” and, 239–58;
visual elements as current focus, 249–50;
voice types and ranges in, 250. See also
“tradition” in Italian operas; specific
composers and operas
italiana in Algeri, L’ (Rossini), 38, 43t, 152
Jane Eyre (Royer), 44t
janissaires, Les (Royer), 43t
Jardin des Plantes (Paris), 132–34
Jephtha (Handel), 22–23
Jérusalem (French version of Verdi, I Lombardi
alla Prima crociata), 31, 32t, 33, 36, 37–38,
43t, 47n8
jeu d’amour et de la cravache, Le (Royer), 44t
Joshua (Handel), 24, 29n51
Jouhaud, Auguste, 42t
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jour et la nuit, Le (Royer and Vaëz), 44t
Journal des Débats, 22, 50n18
Jouy, Victor-Joseph-Étienne de, 30
July monarchy, foreign opera during, 30–52
Karajan, Herbert von, 242
Kennedy Center of the Performing Arts
(Washington, D.C.), 262
key characteristics, 167, 174–75n55
Kiepura, Jan, 252
King’s Theatre (London), 76, 117–18, 130n28
Komissarzhevski, Fiodor, 220
Konwitschny, Peter, 164
Kraakman, Dorelies, 148n23
Kreutziger-Herr, Annette, 159
Kupfer, Harry, 223
La Scola, Vincenzo, 256
Lablache, Luigi, 76
laboureur chinois, Le (pasticcio), 52n40
Lachnith, Ludwig Wenzel, 52n40
Lacy, Fanny E., 70
Lambert, Théaulon de, 42t
Langeac, Théodore de, 45t
Laporte (King’s Theatre manager), 118–19
Laurencin, 42t
Leclerc, Jean Baptiste, 142
lecteur y mettra le titre, Le (Mirabeau), 148n26
Ledoux firm, 42t
Lefèvre, Victor, 44t
Lei, Pietro, 106n19, 106n23
Lellou (Royer), 42t
Leoncavallo, Ruggero, I pagliacci, 248
Levin, David J., 235n6
Levine, Lawrence W., 124–25
libertine fiction, French, 134–37, 140–43, 145,
147n16, 147n18, 148n23
Lichtenthal, Pietro, 174–75n55
Linley, George, 60
Lippmann, Friedrich, 81
Litta, Antonio, 81
livrets de mise en scène, 178, 220
Lombardi alla Prima crociata, I (Verdi): French
version Jérusalem, 31, 32t, 33, 36, 37–38, 43t,
47n8; piecemeal performances of, 116
London: opera performances in, 53, 54, 67, 71,
72n9, 117–19, 120–21; prejudices toward
foreign opera, 57–58
“Long Thursdays,” 120–21
Lorenzani, Brigida, 114
Lucas, Hippolyte, 35
Lucca firm: Bellini’s accusation of piracy by, 77;
piano-vocal scores published by, 194n15
Lucia di Lammermoor (Donizetti): Act I
cabaletta, 248; French version, 31, 32t, 33,
34–35, 37–38, 42t, 47n8; glass armonica part,
264–65; performing traditions and
interpretive flexibility, 239–40, 242;
piecemeal performances of, 112, 120, 123,
124, 129n24, 130n31; score vagaries, 240;
Tosca and, 249
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Lucrezia Borgia (Donizetti), piecemeal
performances of, 116–17
Lully, Jean-Baptiste, 9; Gounod’s arrangements
of, 15; Persée, 14, 24
Lurieu, Gabriel de, 42t
lustigen Weiber von Windsor, Die (Nicolai),
235n11
Lyle, Horace, 63
Ma conversion, ou le libertin de qualité
(Mirabeau), 140–41, 143, 145, 148n26
Macbeth (Shakespeare), 23
Macbeth (Verdi), piecemeal performances of, 116
Macerata, 266
MacKenzie, John M., 160–61, 162
Madama Butterfly (Puccini), 221, 235n11
Mademoiselle Beata (Royer), 43t
Mademoiselle Rose (Royer and Vaëz), 43t
Mahler, Gustav, 240, 241, 242–43, 244
Malibran, Maria, 78, 118–19; biography of,
121–22, 131n44
Malinkovskaya, Elena, 221
Malipiero, Giovanni, 256
Mamontov Private Opera Theater (Moscow),
220, 222, 230
Mancinelli, Signor, 155
Manoel (Royer), 42t
Manon (Massenet), piecemeal performances of,
126, 131n54
Manon Lescaut (Puccini), disposizione sceniche
for, 231
Mantua, opera performances in, 78, 80
Maometto II (Rossini), 30
Marcello, Benedetto, Psalms, 9
Mareste, Baron de, 142, 149n31
Maria di Rohan (Donizetti), 130n31
Mariette, Auguste, 153, 155, 157, 160, 170n2
Marini, Ignazio, 116, 117
Mario, Giovanni, 120–21; cadenzas of,
245–56, 246
Marliani, Marco Aurelio, 48n10
Martinelli, Giovanni, 252
martyrs, Les (Donizetti), 47n6
Masaniello (Auber), 119
Massenet, Jules: Manon, 126, 131n54;
Werther, 221
Matilde di Shabran (Rossini), 114
matinées du Palais Royal, Les, 137
matrimonio segreto, Il (Cimarosa), 221
Maurel, Victor, 123
mauvais garçons, Les (Royer), 42t
May Night (Rimsky-Korsakov), 221
Mayr, Simone, 114; Il fanatico per la
musica, 118
Mazilier, Joseph, 48n10
Medea (Cherubini), 263
Mefistofele (Boito), 193n5
Meiningen Court Theater, 230–31
melodramma, French adaptation of, 35–37
Memoirs of Madame Malibran (Merlin),
121–22
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Mendelssohn, Felix: Handel editions, 11, 15;
interest in Bach, 9; interest in eighteenthcentury music, 13; Viardot and, 11
Mercadante, Saverio, 178; Il giuramento,
116–17, 129n24; Orazi e Curiazi, 115–16
Merlin, Countess de, Memoirs of Madame
Malibran, 121–22, 131n43
Messiah (Handel), 11; Hiller’s reorchestration
of, 27n29; Mozart’s reorchestration of, 15,
27n29
Metropolitan Opera (New York): gala
celebrations, 125; piecemeal performances in,
123–27; solo encores at, 1–3
Meyerbeer, Giacomo: Il crociato in Egitto, 114;
“Englishing” of excerpts by, 54; Gounod
influenced by, 15; Les Huguenots, 38; operas
of, 9; Le prophète, 16, 38, 165, 166;
reorchestration of Handel’s “Lascia ch’io
pianga,” 21; Robert le diable, 38; Viardot and,
16, 25
Meyerhold, Vsevolod, 234
Mila, Massimo, 165
Milan: Aida premiere, 165; falsified manuscript
of Bellini’s I Puritani in, 81–83, 85, 87–89, 91,
93–96, 98–100, 108n39; opera performances
in, 78–80, 101, 107n29, 176, 191, 265
Mills firm, 77
La mimica degli antichi investigata nel gestire
napoletano (De Jorio), 192, 195n19
Mirabeau, Count: Le lecteur y mettra le titre,
148n26; Ma conversion, ou le libertin de
qualité, 140–41, 143, 145, 148n26
Molière (Sand), 14, 15
Mon parrain de Pontoise (Vaëz), 43t
Monaldi, Gino, Cantanti celebri, 197
Monnier, Henry, 44t
morality and music: French views on ca. 1800,
132–45; Italian operas and, 55, 57–58, 60–67,
72n6, 74n23, 74–75n29
morcellements, 119
Morel de Chedeville, Étienne, 40
Moriani, Napoleone, 106n24
Morning Chronicle, The 120
morte di Mitridate, La (Sografi), 118
Moscow: opera productions in, 219–20,
221–34; theater in, 220–21
Moscow Art Theater, 219, 220–21,
228–29
Moscow Conservatory, 220
Mosè in Egitto (Rossini), 30; French version, 40,
119; piecemeal performances of, 112–13, 116,
119, 127n6
Mosquita la sorcière (Vaëz), 44t
Mozart, Wolfgang Amadeus: Don Giovanni, 9,
30, 31, 40, 41; music used in pasticcio, 52n40;
reorchestrations of Handel works, 14–15,
27n29; Requiem, 27n29; Die Zauberflöte, 30,
40, 41, 124
Muck, Karl, 263
Murger, Henry, 223, 224, 231–32,
236n25
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277
Musorgsky, Modest, Boris Godunov, 221,
237n32
Muti, Riccardo, 256
My Life in Art (Stanislavsky), 219
mystères d’Isis, Les (adaptation of Mozart Die
Zauberflöte), 30, 40, 41
Nabucco (Verdi), 38, 156, 174n53
Naples, opera performances in, 78
Narrey, Charles, 44t
naturalization of operas, process of, 33–41;
dramatic considerations, 33–35;
interpolations, 38; language considerations,
35–37; morality and, 67; pasticcios, 39–40
Ne touchez pas à la reine (Vaëz, music by
Boisselet), 31, 43t
Negrini, Vincenzo, 106n23
Nemirovich-Danchenko, Vladimir, 220–21,
223, 225
New York, piecemeal performances in, 119–20,
123–27
New York Times, 1, 123
Newark, Cormac, 174n52
Nicolai, Otto: Die lustigen Weiber von Windsor,
235n11; Il templario, 116
Niedermeyer, Louis, 33, 39–40, 52n34
Nina, pazza per amore (Paisiello), 118
Nordica, Lillian, 123
Norma (Bellini): piecemeal performances of,
111, 118–19, 120–21, 127n6, 165; stage
directions, 193n7; Viardot’s performance
of, 244
Nouvelles d’Espagne (Vaëz), 43t
nozze di Dorina, Le (Sarti), 117
nozze di Figaro, Le (Ricci), 191
Nuitter, Charles, 40
nuovo Figaro, Il (Ricci): Act I Terzetto, 187;
character of Figaro in, 176; Duetto
Barone–Amalia, 184, 185t, 186; Duetto
Barone–Leporello, 186; Finale Primo, 187,
188–89, 189; Introduzione, 181, 182t, 183,
183; Leporello’s entrance, 176, 177, 181–82;
piano-vocal score for, 194n15; plot of, 179;
premiere of, 176; recitativo secco in, 179, 181;
sources for, 194n15; stage directions, 179,
181, 183–91
Oberto, Conte di San Bonifacio (Verdi), 116
Ode for St. Cecilia (Handel), 27n29
Oehmann, Carl Martin, 252
opéra comique, 135
Opéra Comique (Paris), 43t, 44t, 45t
opera di ripiego, 116
opera galas, nineteenth-century, 112
Opéra National (Brussels), 31, 43t, 44t
Opera Studio (Moscow), 219, 221–34, 235n11
Oppelt, Gustave, 31, 45t
Orazi e Curiazi (Mercadante), 115–16
orchestral arrangements, use of, 14–15
Orlando (Handel), 11
Orlando furioso (Ariosto), 23
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ornamentation, 248, 258
Orphée (Gluck), 9, 21–22, 23, 251
Otello (Rossini): French version, 31, 32t, 33, 34,
35, 36, 38, 43t, 48n8, 50n21, 50n24; piecemeal
performances of, 118–19, 130n31
Otello (Verdi): Act I love duet, 200, 201t,
202, 202t; Act II end scene complex, 202–3,
206–7, 210; Act III, scene 8 blocking, 213; Act
III, scene 8 libretto, 208–9; Act III, scene 8
structure, 210t, 210–14; Act IV, 216n8;
blocking diagrams, 206–7, 207, 210, 213;
disposizioni sceniche for, 193n5, 196–214,
215n4, 237n39; “Era la notte,” 203, 204, 206;
Jago’s brindisi, 216n7; “Ora e per sempre
addio,” 203, 204, 206; orchestral note lengths
in, 254, 254–55, 260n17; Paris premiere, 212;
Paris version, 217n24; “Si, pel ciel,” 203,
205–6, 206–7; staging and form in, 196–214;
Stanislavsky’s exposure to, 220; storm scene,
197–200, 198t, 199t; verse structure,
197–200, 211
Ottone (Handel), 11
Ovid, 23
Pacini, Antonio, 76–77
Pacini, Emilien, 31, 40
Pacini, Giovanni, 178
Padua, opera performances in, 78
Paganini, Nicolò, 118–19
pagliacci, I (Leoncavallo), 248
painting, French, ca. 1780, 148n25
Paisiello, Giovanni, Nina, pazza per amore, 118
Palermo, opera performances in, 78, 80, 107n29
Palmo, Ferdinando, 119–20
Palmo’s Theatre (New York), 119–20
Paltrinieri, Giuseppe, 106n21
Pantanelli, Clorinda Corradi, 115
Paris: foreign opera during July monarchy, 30–52;
Jardin des Plantes elephants, 132–34, 141,
142, 143; libertine fiction ca. 1800, 134–37,
140–43, 145, 147n16, 147n18, 148n23
Paris Opéra (Académie Royale de Musique):
“Comité de mise en scène,” 191; foreign
opera during July monarchy, 30–52;
Meyerbeer’s Le prophète at, 16; piecemeal
performances at, 119, 121–22
Park Theatre (New York), 119, 130n34
Parke, W. T., 117–18
Parker, Roger, 174n53, 196, 215n6, 216n13
Parma, opera performances in, 78, 80,
107n29, 176
Parsifal (Wagner), 263
Passerini, Carolina, 114
Pasta, Giuditta, 115, 118, 121, 149n31, 249
pasticcio genre, 39–40, 52n40, 111, 113
pastor fido, Il (Handel), 11
Patanè, Giuseppe, 241
Patti, Adelina, 123, 220
Pavarotti, Luciano, 1, 256
Pedrazzi, Francesco, 106n19
Pedrotti, Edelaide, 119
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Pelly, Laurent, 8n2
Pergolesi, Giovanni Battista, 9; Sicilienne, 10, 24
Persée (Lully), 14, 24
pertichini, 190, 243
Pertile, Aureliano, 252
Pesci, Ugo, “Le prove d’Otello,” 197
Petit Pierre (Royer), 42t
Petrarch, 23
pezzo concertato, 188–90
Philadelphia Orchestra, 261–62
Pia de’ Tolomei (Donizetti), 115, 128n20
Piano-forte Magazine, 28n36
Piave, Francesco Maria, 190
piecemeal performance of operas, 111–31;
changing critical opinion of, 123–27;
connoisseurship and, 121–22, 125–26;
contemporary, 126–27; establishment of
practice, 113–14; in Italy, 111–17; in London,
117–19, 120–21; in Paris, 119, 121–22;
reasons and occasions for, 112–16, 125–27;
in United States, 119–20, 123–27
Piedmont Opera (Winston-Salem), 268
Pigault-Lebrun, L’enfant du bordel, 140, 142
Pillet, Léon, 39
piracy, musical: Bellini’s concerns, 77–78;
procedure in I Puritani case, 81–83, 85,
87–89, 91, 93–95, 98–101; reception
influenced by, 80–81; Rossini’s Semiramide
and, 101
pirata, Il (Bellini), 193n7
pirata, Il (newspaper), 112, 116
Poggi, Antonio, 128n20
Poliuto (Donizetti), 47n6
Ponnelle, Jean-Pierre, 223
Porter, Andrew, 218n29
Porto, Carlo, 106n24, 115
power of music, French views on, 132–45
Powers, Harold, 200
premiers pas, Les (Adam, Carafa, and Halévy),
31, 43t
presse, La, 34
prophète, Le (Meyerbeer), 16, 38, 165, 166
Prussia, Verdi’s views on, 161
Puccini, Giacomo: critical edition of works,
193n6; Madama Butterfly, 221, 235n11;
Manon Lescaut, 231; Tosca, 1, 249; Turandot,
251–53
Pugni, Cesare, 78–79, 82, 100, 104n11,
107n30
Puritani, I (Bellini): aborted Neapolitan
production, 78–79; Act I Finale, 88–89, 91,
93–94, 94; Act III beginning, 99–100, 99–100;
Act III Finale, 89, 90, 91; Arturo’s Cavatina,
91, 92–93, 93; counterfeit Milanese
manuscript for, 81–83, 85, 87–89, 91, 93–96,
98–100; critical edition, 81; forger identity
theories, 100–102; French score rights,
76–77; high notes added to, 251;
Introduzione (true), 96, 96–98, 98; Italian
performances, 1835–37, 78–80; lack of
prelude, 95; London premiere, 76; musical
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piracy and falsification of, 77–110; pianovocal arrangements, 76–77, 83, 85, 89, 91,
102; piecemeal performances of, 113, 115,
116, 127n6, 128n20; piracy procedure, 81–83;
preghiera, 96, 98, 109n51; Prelude and
Introduzione (false), 95, 95–98; premiere, 76;
printed excerpts, 82–83, 108n41; publication
of, 76–80, 82; Riccardo’s Cavatina, 83, 84–87,
85, 87–88
Queen of Spades, The (Tchaikovsky), 221,
237n32
Quiet Place, A (Bernstein), 265
Racine, Jean Baptiste, 34
Reber, Henri, 48n10
reception history: audience behavior and,
121, 122; concept of familiarity in, 118–19,
125; faulty pirated copies and, 80–81;
piecemeal performances and, 112, 115–16,
117, 120–27
recitativo secco, 179, 181
Redi (Bolognese impresario), 78
Regieoper, 223, 258, 268
Renduel firm, 42t
resurrezione, La (Handel), 24
Revue de Paris, 34
Revue et gazette musicale de Paris, La, 50n24
Reyer, Ernest, 159
Riccardo primo (Handel), 11
Ricci, Federico, 183
Ricci, Luigi (composer), 178; Un’avventura di
Scaramuccia, 191; Chi dura vince, 179, 180,
181, 188, 194n15; Chiara di Rosenbergh, 176;
Crispino e la comare, 183, 190, 194n12,
194n15; Eran due or sono tre, 179, 183,
186–87; Le nozze di Figaro, 191; Il nuovo
Figaro, 176–77; stage directions in autograph
scores, 178–92
Ricci, Luigi (vocal accompanist/accompanist),
240–41, 254
Riccoboni, Luigi, Dell’arte rappresentativa, 191
Ricordi, Giulio, 197, 231
Ricordi firm: archive of, 190; Bellini and, 77–79,
107n29; disposizioni sceniche published by,
178, 193n5, 196–214, 231; early twentiethcentury editions, 264; illegal publication of
Rossini Semiramide excerpts, 101; pianovocal scores published by, 194n15; Verdi and,
211–12
Rietz, Julius, 9, 10, 21–25, 29n51
Rigoletto (Verdi): burlesques of, 73n11; Chusid
critical edition, 266; “Cortigiani, vil razza
dannata,” 253; “La donna è mobile,” 64–67,
248; French basis of, 58; London premiere of,
72n9; metronome markings in, 266; morals
in, 55, 57, 64–67; Moscow Opera Studio
production, 221; self-transforming
performance tradition in, 256–57;
Stanislavsky’s production, 234; Teatro la
Fenice 1851 performance, 265
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Rimsky-Korsakov, Nikolai: The Golden
Cockerel, 221, 237n32; May Night, 221; The
Tsar’s Bride, 221
Rinaldo (Handel): “Lascia ch’io pianga,” 15–16,
21, 23, 24; “Il vostro maggio,” 24
Risorgimento, 157
Rita, ou Le mari battu (Vaëz, music by
Donizetti), 31, 43t
Rizzardi, Adelaide, 114
Rizzardi, Giuseppe, 114
Robert Bruce (Rossini pasticcio), 31, 32t, 33, 38,
39–40, 43t, 48n8, 50n24
Robert le diable (Meyerbeer), 38
Robert Macaire en Orient (Royer), 43t
Roberto Devereux (Donizetti), 112
Robinson, Paul, 159–60, 162
Rodelinda (Handel), 11
Rome, gestural language of ancient, 192
Rome, opera performances in, 78, 114, 115–16,
127n6
Ronconi, Giorgio, 106n24, 128n20
rondo, 17, 19, 21, 22–23
Rosamonda d’Inghilterra (Donizetti), 37
Rosen, David, 196
Rosmonda (Coccia), 115
Ross, Alex, 7
Rossane (Handel), 10
Rosselli, John, 162
Rossi, Scipione de’, 108n41
Rossini, Gioachino: Armida, 39, 142–43, 144,
145, 150n35; L’assedio di Corinto, 115; Il
barbiere di Siviglia, 21, 41, 52n39, 111,
120–21, 130n31, 176, 194n11, 221, 241, 262,
265–66; La Cenerentola, 119, 131n44,
194n10, 194n14, 262, 267–68; Le comte Ory,
30–31; critical edition of works, 178, 193n6;
La donna del lago, 33, 38, 39, 50n21;
“Englishing” of excerpts by, 54; French
operas, 38; Guillaume Tell, 38, 116–17,
129n24, 131n54; L’italiana in Algeri, 38, 43t,
152; librettists of, 30–31; Maometto II, 30;
Matilde di Shabran, 114; Mosè in Egitto, 30,
40, 112–13, 116, 119, 127n6; ornamentation
for operas, 248; Otello, 31, 32t, 33–36, 38, 43t,
48n8, 50n21, 50n24, 118, 130n31; Paris
performances of Italian operas, 30; Robert
Bruce pasticcio, 31, 32t, 33, 38, 39–40, 43t,
48n8, 50n24; Semiramide, 101, 114; Stendhal
on, 149nn31–32, 150n35; Tancredi, 118; Il
viaggio a Reims, 30; Viardot’s friendship
with, 10
Rousseau, Jean-Jacques: Confessions, 134–35;
Le devin du village, 138–39, 140
Rovigo, 112
Royal Surrey Theatre (London), 55
Royer, Alphonse: central position of, 40;
dramatic considerations for
naturalization, 33–35; language
considerations for naturalization, 35–37;
libretto for Donizetti La favorite, 31, 43t;
libretto for Flotow Stradella, 31, 45t;
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Royer, Alphonse (cont.)
naturalization of Donizetti Don Pasquale, 31,
43t; naturalization of Donizetti Lucia di
Lammermoor, 31, 32t, 33, 34–35, 37–38, 42t,
47n8; naturalization of Franck Le valet de
ferme, 44t; naturalization of Rossini
L’italiana in Algeri, 43t; naturalization of
Rossini Otello, 31, 32t, 33, 34, 35, 36, 38, 43t,
48n8, 50n21, 50n24; naturalization of Rossini
pasticcio Robert Bruce, 31, 32t, 33, 38, 39–40,
43t, 48n8, 50n24; naturalization of Verdi I
Lombardi alla Prima crociata, 31, 32t, 33, 36,
43t; positive reception of, 50n18;
responsibilities of, 31; theatrical and literary
works by, 42t-45t; theatrical career, 31;
working conditions, 37–39
rubato, 243
Rubini, Giovanni Battista, 76, 247
Rudiments of Thorough Bass for Young
Harmonists (Shield), 15
Rumyantsev, Pavel, Stanislavsky on Opera,
222–34, 236n20, 236n25, 237n34
Rutherford, Susan, 113
Ryan, Desmond, 64
“sacralization of culture” concept, 124–25
Said, Edward W.: Culture and Imperialism, 156;
essay on Aida, 153, 156–62, 165, 171n19
Saint-George, Comte de, 48n10
Saint-Léon, Arthur, 48n10
Saint-Saëns, Camille, Samson et Dalila, 161
Salvi, Lorenzo, 130n31
Samson et Dalila (Saint-Saëns), 161
Sand, George, 15; Chopin and, 15–16; Consuelo,
9, 13; Molière, 14, 15; Viardot and, 11, 24, 25
Santi, 106n20
Santini, Abbé Fortunato, library of, 10, 13, 24,
26–27n20
Santocanale, Filippo, 77, 107n29
Sapho (Gounod), 14, 23
Sardou, Victorien, 45t
Sarti, Giuseppe, Le nozze di Dorina, 117
Šauqī, Ahmad, 165
Scènes de la vie de bohème (Murger), 223, 224,
231–32, 236n25
Schilling, Gustav, 175n55
Schipa, Tito, 256
Schober, Giovanni, 106n21
Schott firm, 77
Schubert, Franz, “Unfinished” symphony, 262
Scott, Sir Walter, The Bride of Lammermoor,
34–35, 37–38
Scribe, Eugène, 30–31, 34, 43t, 44t,
47n6, 179
Sei pur bella (Handel), 13, 27n22
Select Collection of the Most Admired songs,
Duetts, etc., A (Corri), 17
Semiramide (Bianchi), 117
Semiramide (Rossini), 101, 114
Sento là che ristretto (Handel), 12, 13,
27n22
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settenari, 211
Severini, Carlo, 76, 78, 104n11
sex and music, French views on ca. 1800,
132–45
Shakespeare, William, 169, 175n64; Macbeth,
23; Othello, 38
Shaw, George Bernard, 155
sheet music, 56
Shield, William, Rudiments of Thorough Bass
for Young Harmonists, 15
Sicilienne (Pergolesi), 10, 24
siècle, Le, 50n18, 51n25
siège de Corinthe, Le (Rossini), 40
signor Barilli, Le (Vaëz), 42t
Simon Boccanegra (Verdi), 174n53; disposizioni
sceniche for, 193n5; Milan production,
218n29
Simrock firm, 15
Smart, Mary Ann, 178
“Soft on the Tranquil Deep” (Lacy adaptation of
Verdi), 70
Sografi, Antonio Simeone, La morte di
Mitridate, 118
Solera, Temistocle, 37
sonnambula, La (Bellini): piecemeal
performances of, 111; Sontag’s performance
of, 243–44
Sontag, Henriette, 243–44
Sophocles, 23
Sosarme (Handel), 11
Soumet, Alexandre, 30
sound recordings, “tradition” and, 247–48,
251, 252
Spontini, Gaspare, La vestale, 119
stage directions in Italian operas: audience
expectations and, 176; contrasting emotional
spheres and, 184; duets for two buffi, 184,
186; ensemble numbers, 187–90; importance
of, 176, 190–92; scholarly neglect of, 176–78
staging manuals, 178, 193n5, 196–214,
215n4, 220
Stanislavski on Opera (Rumyantsev), 222–34,
236n20, 236n25, 237n34
Stanislavsky, Konstantin: approach to
pauses, 229; La bohème production, 221–34;
career as opera director, 219–21, 234;
“Concept” approach to opera, 223–24; My
Life in Art, 219; stage directions of, 224–25;
stage set preferences, 225–27
Stanislavsky-Nemirovich-Danchenko Music
Theater, 221
Stanislavsky “System” or “Method,” 219,
220–21
Stendhal: De l’Amour, 142–43; letters to de
Mareste, 142, 149n31; Vie de Rossini, 142,
143, 150n35
Stradella (Royer, music by Flotow), 31, 45t
Strauss, Richard, Capriccio, 127
Strehler, Giorgio, 218n29
Strepponi, Giuseppina, 106n21
substitution arias, 37, 38–39, 111, 113
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Suez Canal, 158
Susanna (Handel), 24
Suter, William E., 73n11
Swieten, Gottfried van, 15
Sylphide, La (ballet), 118
“symbolic capital” (Bourdieu), 55, 73n12,
75n30
Szell, George, 262
Tacchinardi, Nicola, Dell’opera in
musica sul teatro italiano e de’ suoi
difetti, 181
Tacchinardi-Persiani, Fanny, 106n23, 128n20
Tadolini, Giovanni, 83
Tagliavini, Ferruccio, 256
Taglioni, Marie, 118–19
Tamagno, Francesco, 220, 253
Tamburini, Antonio, 76, 120–21
Tancredi (Rossini), 118
Tannhäuser (Wagner), French version, 40
Tasso, Torquato, Gerusalemme liberata, 23
Tchaikovsky, Pyotr Il’yich: Eugene Onegin, 221,
230, 234, 236n24; The Queen of Spades, 221,
237n32; Viardot’s friendship with, 10
Te Deum (Handel), 24
Teatri arti e letteratura, 79, 111, 114
Teatro alla Scala (Milan): Aida premiere, 165;
Chiara di Rosenbergh performance, 176;
dynamics in, 265; I Puritani performances,
78–80, 81, 102; Ricci operas performed at,
191; Simon Boccanegra production, 218n29;
Turandot performances, 252
Teatro Apollo (Rome), 78
Teatro Argentina (Rome), 115–16
Teatro Carlo Felice (Genoa), 78
Teatro Carolino (Palermo), 78, 80, 107n29
Teatro Comunale (Bologna), 78, 116–17,
129n24, 131n44
Teatro Comunale (Ferrara), 111–12, 114
Teatro dei Signori Condomini
(Sinigaglia), 114
Teatro della Pergola (Florence), 114
Teatro della Valle (Rome), 78
Teatro Ducale (Parma), 176
Teatro Grande (Trieste), 78, 116, 127n6
Teatro la Fenice (Venice), 78, 80, 101,
115, 265
Teatro della Pergola (Florence), 78, 80
Teatro Muse (Ancona), 78
Teatro Nuovo (Padua), 78
Teatro Regio (Parma), 78, 80
Teatro San Carlo (Naples), 78
Teatro Sociale (Mantua), 78, 80
Teatro Valle (Rome), 114
Tebaldi, Renata, 242
templario, Il (Nicolai), 116
Terpsicore (Handel), 11
Teseo (Handel), 11
Théâtre de la Gaîté (Paris), 42t, 44t, 45t
Théâtre de la Monnaie (Brussels), 43t, 45t
Théâtre de la Porte Saint-Antoine (Paris), 42t
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281
Théâtre de la Renaissance (Paris), 30,
31, 42t
Théâtre de l’Odéon (Paris), 30, 43t, 44t
Théâtre de Panthéon (Paris), 42t
Théâtre des Galeries Hubert (Brussels), 45t
Théâtre des Nouveautés (Paris), 42t
Théâtre des Variétés (Paris), 44t
Théâtre du Palaise-Royal (Paris), 43t
Théâtre du Vaudeville (Paris), 42t, 44t
Théâtre Italien (Paris), 30, 31, 37, 38, 39, 76, 82,
109n48, 119, 121–22, 130n31, 141
Théâtre Lyrique (Paris), 30, 44t
Théâtre Montansier (Paris), 44t
Théâtre Royal (Brussels), 42t
Theatre Royal, Drury Lane (London), 55
Thill, Georges, 252
“Tho’ Our Way Be Dark” (Lyle adaptation of
Verdi), 63
Thomas, Ambroise, 48n10
Timoléon le fashionable (Royer), 42t
Tolomeo (Handel), 11
Tosca (Puccini): “E lucevan le stelle,” 1;
performances of Lucia influenced
by, 249
Toscan, Georges, 132–33, 143
Toscanini, Arturo, 242, 244; Aida
interpretation, 255–56; La bohème
interpretation, 263–64, 269n7; Otello
interpretation, 254–55
“tradition” in Italian operas, 239–58; accretions
and, 251–54; appoggiatura performance,
240–41, 254; audience expectations and, 267,
268–69; “best-text” score and, 264–65;
cadenza performance, 245–48; “caricature,”
242, 244, 248, 250–53, 258, 264–67; conductor
and, 267–68; crescendo and emotional
release, 253; critical editions and, 248,
261–64; high notes and, 1, 248, 250–53, 258;
information overload and, 249; Italian
language rhythms and, 255–56; metronome
markings and, 266–67; mid-twentiethcentury practices, 244; negative views of,
240–42; orchestral note lengths, 254–55;
ornamentation and, 248, 258; performance
practicalities and, 242, 243–44, 265; “purity”
and, 257–58; repertory stagnation and, 249;
score vagaries and, 240, 242; “selftransforming,” 244–45, 248–49, 251–54,
256–58; solo encores and, 1–3; sound
recordings and, 247–48, 251, 252; visual
elements and, 249–50
Travers, William, 72–73n11, 73n11
traviata, La (Verdi): audience expectations
in, 268; burlesques of, 73n11; “Di
Provenza il mar,” 253; English adaptations of
“Libiamo, nei lieti calici,” 62–64; English
version, 55; French basis of, 58, 62; London
premiere of, 72n9; morals in, 55, 57, 62–64;
piecemeal performances of, 126, 131n54;
“Sempre libera,” 248; Toscanini’s
performance, 244, 259n7
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282
Index
Trieste, opera performances in, 78, 116,
127n6
trionfo dell’amor fraterno, Il (Winter), 30
Tristan und Isolde (Wagner), 124
Troupenas, Eugène, 76
trovatore, Il (Verdi): burlesques of,
72–73n11; English adaptations of “Ah! che la
morte ognora,” 58–62; English version, 55;
French version, 40; Gypsy chorus in, 152;
London premiere of, 72n9; morals in, 55, 57;
piecemeal performances of, 131n54
Troyens, Les (Berlioz), 23
Tsar’s Bride, The (Rimsky-Korsakov), 221
Tully, John H., 72n11
Turandot (Puccini), “Nessun Dorma,”
251–53, 252
Vaccai, Nicola: Giulietta e Romeo, 41, 131n44
Vaëz, Gustave: Bologna sojourn, 39–40; central
position of, 40; dramatic considerations for
naturalization, 33–35; language
considerations for naturalization, 35–37;
libretto for Donizetti La favorite, 31, 43t;
libretto for Donizetti Rita, 31, 43t;
naturalization of Donizetti Don Pasquale, 31,
43t; naturalization of Donizetti Lucia di
Lammermoor, 31, 32t, 33, 34–35, 37–38, 42t,
47n8; naturalization of Franck Le valet de
ferme, 44t; naturalization of Rossini
L’italiana in Algeri, 43t; naturalization of
Rossini Otello, 31, 32t, 33, 34, 35, 36, 38, 43t,
48n8, 50n21, 50n24; naturalization of Rossini
pasticcio Robert Bruce, 31, 32t, 33, 38, 39–40,
43t, 48n8, 50n24; naturalization of Verdi I
Lombardi alla Prima crociata, 31, 32t, 33, 36,
43t; positive reception of, 50n18;
responsibilities of, 31; theatrical and literary
works by, 42t-45t; theatrical career, 31;
working conditions, 37–39
Valero, Fernando, 256
valet de ferme, Le (Franck), 44t
Vanderwell, William F., 73n11
Varesi, Felice, 106n19
Variazioni-cadenze-tradizioni per canto (Ricci),
240–41
vaudeville, 135
Venice, opera performances in, 78, 80, 115, 265
Verdi, Giuseppe: Aida, 123, 152–75, 255,
255–56; Alzira, 152; anti-imperialist views of,
160–61, 163; arrangements of works for
amateur performance, 53–75; Attila, 156; Un
ballo in maschera, 193n5, 266–67; burlesque
and farce adaptations of, 55; critical edition
of works, 178, 193n6; Don Carlos, 166,
174n53, 249; I due Foscari, 38, 115, 128n20;
“Englishing” of excerpts by, 54–55; Ernani,
116; Falstaff, 123; Un giorno di regno,
194nn13–14; increase in use of high notes by,
251; independent English texts to works by,
54–67, 69, 71; letters to Ricordi, 211–12; I
Lombardi alla Prima crociata, 31, 32t, 33, 36,
© in this web service Cambridge University Press
37–38, 43t, 116; London performances of
operas by, 53, 54; Luisa Miller, 40; Macbeth,
116; moral codes of operas as viewed by
English, 55, 57–58; Nabucco, 38, 156, 174n53;
Oberto, Conte di San Bonifacio, 116; Otello,
193n5, 196–219, 254, 254–55, 260n17; Paris
performances of operas by, 30; Rigoletto, 55,
57, 58, 64–67, 72n9, 73n11, 221, 234, 248,
253, 256–57, 265, 266; Simon Boccanegra,
174n53, 193n5, 218n29; staging of operas,
196–214; La traviata, 55, 57, 58, 62–64, 72n9,
73n11, 126, 131n54, 244, 253, 259n7; Il
trovatore, 40, 55, 57, 58–61, 72n9, 72–73n11,
131n54, 152, 249
Verdi, Luigi, 170n3
Vernoy, Jules-Henry, 48n10
Véron, Louis-Desirée, 119
versi misti, 198, 199, 200
versification, French, 35–37
vestale, La (Spontini), 119
viaggio a Reims, Il (Rossini), 30
Viardot, Pauline Garcia: 120–21; Airs italiens
du XVIIIe siècle, 25n6; École classique du
chant, 14, 23–24, 28n40; Gluck’s operas
performed by, 9; Gounod and, 14; Handel
extracts owned by, 10, 13–17, 19, 21–25;
Handel’s “Lascia ch’io pianga” performed by,
15–16, 21, 23; interest in classical literature,
23; music manuscripts collected by, 9–10;
Norma as performed by, 244; Orphée as
performed by, 251; performance strengths,
24; preference for rondo form, 22–23; Rosina
in Il barbiere di Siviglia performed by, 21;
transcriptions of Handel chamber arias,
13–14, 15, 21; veneration of eighteenthcentury music, 9–10
Vie de Rossini (Stendhal), 142, 143, 150n35
Vienna State Opera, 240
vocal pedagogy: Garcia family and, 16–17; high
note emphasis and, 250; Ricci’s book on,
240–41, 254
Voltaire, 135
voyage à Pointoise, Le (Royer and Vaëz), 43t
voyeurism. See “peeping,” concept of
Wagner, Richard: Der fliegende Höllander, 223;
Parsifal, 263; stage directions of, 191;
Tannhäuser, 40; Tristan und Isolde, 124; Die
Walküre, 131n54
Wagner, Siegfried, 263
Wakin, Daniel J., 8n1
Walküre, Die (Wagner), 131n54
Weaver, William, 175n62
Weber, Carl Maria von, Euryanthe, 30,
31, 40
Weber, William, 112
“We’ll Laugh and Sing All Cares Away” (Ryan
adaptation of Verdi), 64
Welsh National Opera, 265–66
Werdet firm, 42t
Werther (Massenet), 221
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Index
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Wilhelm I, King of Prussia, 161
Winter, Peter, Il trionfo dell’amor
fraterno, 30
Yale University, 261
YouTube, 1
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Zauberflöte, Die (Mozart): adapted as Les
mystères d’Isis, 30, 40, 41; piecemeal
performances of, 124
Zedda, Alberto, 262, 265–66
Ziliani, Alessandro, 252
Zurich Opernhaus score library, 242–44
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