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Fashions and Legacies of
Nineteenth-Century Italian Opera
Operatic works by Italian composers of the nineteenth century have
undergone countless transformations since their premieres, shifting
shape in response to a variety of new geographic, temporal, technological, and performative contexts. These enduring works by Rossini,
Donizetti, Bellini, Verdi, Puccini, and their contemporaries have
myriad stories to tell. Fashions and Legacies reconstructs a selection
of these stories, exploring ways in which operatic works have been
reshaped and revived throughout the nineteenth, twentieth, and
twenty-first centuries. While focusing on how these works have been
altered, the twelve contributors in this book also respond to fundamental questions: how has this music retained – or sacrificed – its
powerful messages in the face of deconstruction and recontextualization over time and place? What happens to these operas once they
have escaped control of their authors? The contributions of singers,
stage directors, conductors, and other theatrical personalities stand
front and center of the volume.
roberta montemorra marvin is Director of the Institute for
Italian Opera Studies at the University of Iowa, where she is also a
Research Associate and an Associate Professor.
hilary poriss is Assistant Professor of Music at Northeastern
University.
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Fashions and Legacies of
Nineteenth-Century Italian Opera
edited by
roberta montemorra marvin
and
hilary poriss
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Contents
List of figures and tables [page vii]
List of musical examples [ix]
Notes on contributors [xii]
Acknowledgments [xvi]
A note about translations [xvii]
1 Introduction: Italian opera’s fashions and legacies [1]
Hilary Poriss
2 Viardot sings Handel (with thanks to George Sand, Chopin,
Meyerbeer, Gounod, and Julius Rietz) [9]
Ellen T. Harris
3 Partners in rhyme: Alphonse Royer, Gustave Vaëz, and foreign
opera in Paris during the July Monarchy [30]
Mark Everist
4 Verdian opera in the Victorian parlor
Roberta Montemorra Marvin
[53]
5 I falsi Puritani: a case of espionage [76]
Fabrizio Della Seta
6 “To the ear of the amateur”: performing ottocento opera
piecemeal [111]
Hilary Poriss
7 Peeping at pachyderms: convergences of sex and music
in France around 1800 [132]
Jeffrey Kallberg
8 Aida and nine readings of empire
Ralph P. Locke
[152]
9 Comic sights: stage directions in Luigi Ricci’s autograph
scores [176]
Francesco Izzo
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vi
Contents
10 Staging and form in Giuseppe Verdi’s Otello [196]
Andreas Giger
11 Stanislavsky’s La bohème (1927)
David B. Rosen
[219]
12 What is tradition? [239]
Will Crutchfield
13 Epilogue: the art of “translation”
John Mauceri
[261]
Index [271]
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Figures and Tables
Figures
2.1 Handel, recitative and aria from Sento là che ristretto, in Viardot’s
hand (Houghton Library MS Mus 232 [78]; by permission of the
Houghton Library, Harvard University) [page 12]
2.2 Handel, “Verdi prati,” arranged by Gounod and in his hand
(Houghton Library MS Mus 232 [76]; by permission of the
Houghton Library, Harvard University) [18]
2.3 Handel, scene for Dejanira from Hercules, in Rietz’s hand
(Houghton Library MS Mus 232 [77]; by permission of the
Houghton Library, Harvard University) [20]
4.1 Cover of “Fair Shines the Moon,” text by W. H. Bellamy
(London: Musical Bouquet Office and J. Allen [1856?]) [68]
4.2 Cover of “Day Dreams,” text by F. Enoch, music adapted
by W. H. Montgomery (London: D’Almaine &
Co. [1855]) [69]
4.3 Cover of “Soft on the Tranquil Deep: The Boatman’s Song
of the Mincio,” text by Fanny E. Lacy (London: Leoni
Lee [1855]) [70]
7.1 Illustration from Jacques Cazotte, Le diable amoureux
(Paris: Esprit, 1776) [136]
9.1 Chi dura vince, autograph score (Archivio Casa Ricordi, Milan, MS
Rari B.4/9[a–b], f. 75r; by permission of Casa Ricordi, Milan) [180]
10.1 Act II, scene 5, triangular outline of the blocking [206]
10.2 Disposizione scenica, diagrams for Act II, scene 5 (Hepokoski
and Ferrero [eds.], “Otello” di Giuseppe Verdi [Milan:
Ricordi, 1990]) [207]
10.3 Disposizione scenica, diagrams pertaining to the Act III Finale
(Hepokoski and Ferrero [eds.], “Otello” di Giuseppe Verdi
[Milan: Ricordi, 1990]) [213]
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viii
Figures and tables
Tables
3.1 Royer and Vaëz, French adaptations of Italian operas [32]
3.2 Theatrical and literary works by Royer and/or Vaëz [42]
8.1 Nine readings of Aida’s Egyptian empire, arranged in a rough
continuum from most literal (1) to most metaphorical (9) [154]
9.1 Il nuovo Figaro, Introduzione [no. 1], structure and stage
directions [182]
9.2 Il nuovo Figaro, Duetto Barone–Amalia [no. 2], structure and stage
directions [185]
10.1 Structure of the storm scene, Verdi’s Otello [198]
10.2 Lyrical landmarks of the storm scene, Verdi’s Otello [199]
10.3 Structure of the Act I love duet, Verdi’s Otello [201]
10.4 Form and drama in the love duet, Verdi’s Otello [202]
10.5 Structure of Act III, scene 8, Verdi’s Otello [210]
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Musical examples
5.1A I Puritani, Cavatina di Riccardo, mm. 46–53 [page 84]
5.1B I falsi Puritani, Scena ed Aria Riccardo, I-Mc Ms 22 bis, vol. 1,
ff. 51r–52r; I-Fc Basevi 21, vol. 1, ff. 51v–52v [85]
5.2A I Puritani, Cavatina di Riccardo, mm. 69–73 [86]
5.2B I falsi Puritani, Scena ed Aria Riccardo, I-Mc Ms 22 bis, vol. 1,
ff. 53v–54r; I-Fc Basevi 21, vol. 1, f. 54r–54v [87]
5.3 I falsi Puritani, Scena ed Aria Riccardo, I-Mc Ms 22 bis, vol. 1,
f. 55r–55v; I-Fc Basevi 21, vol. 1, ff. 56v–57v [88]
5.4 I falsi Puritani, Seguito del Duetto [Elvira ed Arturo] e Finale III,
I-Mc Ms 22 bis, vol. 2, ff. 220v–221v; I-Fc Basevi 21, vol. 3,
ff. 110v–112v [90]
5.5A I Puritani, Recitativo dopo la Cavatina d’Arturo, mm. 32–41 [92]
5.5B I falsi Puritani, Cantabile e Scena d’Arturo, I-Mc Ms 22 bis, vol. 1,
ff. 144r–145v; I-Fc Basevi 21, vol. 1, ff. 158v–159v [93]
5.6A I Puritani, Finale dell’Atto I, mm. 148–173 [94]
5.6B I falsi Puritani, Cantabile e Scena d’Arturo, I-Mc Ms 22 bis, vol. 1,
ff. 151v–153v; I-Fc Basevi 21, vol. 1, ff. 165r–167r [95]
5.7 I falsi Puritani, Preludio e Introduzione, I-Mc Ms 22 bis, vol. 1,
ff. 3v–4v; I-Fc Basevi 21, vol. 1, ff. 3v–4r [95]
5.8A I Puritani, Introduzione, mm. 60–75 [96]
5.8B I falsi Puritani, Preludio e Introduzione, I-Mc Ms 22 bis, vol. 1,
ff. 8v–9v; I-Fc Basevi 21, vol. 1, ff. 8v–9r [96]
5.9A I Puritani, Introduzione, mm. 1–16 [97]
5.9B I falsi Puritani, Preludio e Introduzione, I-Mc Ms 22 bis, vol. 1,
ff. 12v–13v; I-Fc Basevi 21, vol. 1, ff. 12v–13v [97]
5.10A I Puritani, Introduzione, mm. 478–485 [98]
5.10B I falsi Puritani, Preludio e Introduzione, I-Mc Ms 22 bis, ff. 34v–36r;
I-Fc Basevi 21, ff. 34v–35v [98]
5.11A I Puritani, Scena d’Arturo [e Duetto Elvira ed Arturo],
mm. 1–53 [99]
5.11B I falsi Puritani, Scena e Romanza Arturo – Tempesta, I-Mr, vol. 2,
ff. 119r–120v; I-Fc Basevi 21, vol. 3, ff. 1v–3r [100]
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x
Musical examples
7.1
7.2
9.1
9.2
9.3
9.4
10.1
10.2
10.3
10.4
12.1
12.2A–12.2B
Rousseau, Le devin du village, with parody text from
Pigault-Lebrun, L’enfant du bordel (1800) (in [Sarane]
Alexandrian [ed.], L’érotisme au XIXe siècle [Paris: JeanClaude Lattès, 1993]) [138]
The “instrumental passage” from Rossini’s “Amor, possente
nome!” (Armida), which Stendhal identified with “love in
the Italian manner” (adapted from Gioachino Rossini,
Armida, ed. Charles S. Brauner and Patricia B. Brauner,
Edizione critica delle opere di Gioachino Rossini, Series I,
vol. 22 [Pesaro: Fondazione Rossini, 1997]) [144]
Il nuovo Figaro, Introduzione [no. 1], Leporello’s entrance
(Ricci, Il nuovo Figaro, piano-vocal score [Milan: Lucca,
1832] with musical emendations and stage directions based
on Ricci’s autograph score, Archivio Casa Ricordi, MS
Rari.B.5/1[a–c]) [177]
Il nuovo Figaro, Introduzione [no. 1], Ricci’s stage
directions in the stretta (Ricci, Il nuovo Figaro [Milan:
Lucca, 1832] with emendations based on Archivio Casa
Ricordi, MS Rari.B.5/1[a–c]) [183]
Il nuovo Figaro, Duetto Barone–Amalia [no. 2], beginning
of slow movement (Ricci, Il nuovo Figaro [Milan: Lucca,
1832] with emendations based on Archivio Casa Ricordi,
MS Rari.B.5/1[a–c]) [186]
Il nuovo Figaro, Finale Primo [no. 6], beginning of pezzo
concertato (Ricci, Il nuovo Figaro [Milan: Lucca, 1832] with
emendations based on Archivio Casa Ricordi, MS Rari.
B.5/1[a–c]) [189]
“Ora e per sempre addio” (Otello) (Verdi, Otello [Milan:
Ricordi, n.d.; reprint, 1983]) [204]
“Era la notte” (Jago) (Verdi, Otello [Milan: Ricordi, n.d.;
reprint, 1983]) [204]
“Sì pel ciel,” concluding a due (Otello and Jago) (Verdi,
Otello [Milan: Ricordi, n.d.; reprint, 1983]) [205]
Act III, scene 8 (libretto) (Verdi, Otello, verses by Arrigo
Boito, Teatro alla Scala, 1886–1887 [Milan: Ricordi]) [208]
Donizetti, original cadenza for “Una furtiva lagrima”
(Donizetti, L’elisir d’amore [Milan: Ricordi, 1916]) [245]
Donizetti, two autograph cadenzas for “Una furtiva
lagrima” with cancelled earlier layer in brackets
(Bibliothèque nationale, Paris, Ms. 4062[2]) [245]
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Musical examples
12.3A–12.3B
12.4A–12.4D
12.5
12.6
12.7
12.8
12.9
12.10
xi
Giovanni Mario, two cadenzas for “Una furtiva lagrima”
(Conservatorio di musica S. Cecilia, Rome, Fondo Mario,
Edizioni a stampa 8.A.79) [246]
Cadenzas for “Una furtiva lagrima,” as recorded by (4A)
Fernando de Lucia (1860–1925, compact disc Symposium
1231), (4B) Alessandro Bonci (1870–1940, compact disc
Pearl GEMM 9168), (4C) Bonci (compact disc Preiser
89525), and (4D) Giuseppe Anselmi (1876–1929, compact
disc Bongiovanni GB 1118–2) [247]
Cadenza for “Una furtiva lagrima,” as recorded by Enrico
Caruso (1873–1921, compact disc EMI Classics
0077776104621) [247]
“Nessun dorma,” showing “vincerò” with the high note on
the middle syllable as a whole note [252]
Puccini’s notation of “Nessun dorma,” showing “vincerò”
with the high note on the middle syllable as a sixteenth
note [252]
Verdi, Otello, Act I (derived from Verdi, Otello: dramma
lirico in quattro atti, new edn, rev. and corrected [Milan:
Ricordi, 2003; reprinted from the 1913 edn]) [254]
Verdi, Aida, Act III, “Rivedrai le foreste imbalsamate,”
(derived from Verdi, Aida: opera in quattro atti [Milan:
Ricordi, 1980; reprinted from the 1913 edn]) [255]
Verdi, Aida, Act III, “Rivedrai le foreste imbalsamate,”
with the approximate rhythm sung by Giuseppe
Valdengo, conducted by Arturo Toscanini
(compact disc RCA 60300) [255]
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Contributors
will crutchfield is currently Director of Opera at the Caramoor
International Music Festival and Principal Guest Conductor of
the Polish National Opera (Warsaw). His repertory has comprised
twenty-three operas by Rossini, Donizetti, and Bellini, including the
reconstructed score of Donizetti’s Elisabetta al castello di Kenilworth,
based on materials he discovered in Paris and London. His work on
performance practices has appeared in 19th-Century Music, Journal
of the American Musicological Society, The New Grove Dictionary of
Opera, and the handbook Performance Practice.
fabrizio della seta is Professor in the Department of Musicology at
the University of Pavia in Cremona. He is a co-editor of the Edizione
critica delle opere di Vincenzo Bellini, for which he is currently working on
I Puritani. He has published three critical editions of operas, three books,
and several essays on various subjects from the late Middle Ages to
nineteenth-century opera. His book, Non senza pazzia: Prospettive sul
teatro musicale appeared in 2008.
mark everist is Professor of Music at the University of Southampton.
He has published widely on the music of western Europe 1150–1330,
French opera in the first half of the nineteenth century, Mozart, reception
theory, and historiography in journals such as Journal of the American
Musicological Society, Journal of the Royal Musical Association, Revue de
Musicologie, 19th-Century Music, Early Music History, Cambridge Opera
Journal, and Acta Musicologica. He is the author of Polyphonic Music in
Thirteenth-Century France, French Motets in the Thirteenth Century
(Cambridge University Press, 1994), Music Drama at the Paris Odéon,
1824–1828, and Giacomo Meyerbeer and Music Drama in NineteenthCentury Paris.
andreas giger is Associate Professor of Music at Louisiana State
University. His research interests have concentrated on nineteenthcentury Italian opera and the work of Leonard Bernstein. He is the
author of Verismo (2004) in the Handwörterbuch der musikalischen
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Notes on contributors
xiii
Terminologie and of articles in several books and journals, including The
Cambridge Companion to Verdi, Journal of the American Musicological
Society, and the second edition of The New Grove Dictionary of Music and
Musicians. He is also co-editor of Music in the Mirror, founder of
the internet database Saggi musicali italiani, and author of Verdi and the
French Aesthetic: Verse, Stanza, and Melody in Nineteenth-Century Opera
(Cambridge University Press, 2008).
ellen t. harris is Class of 1949 Professor of Music at the Massachusetts
Institute of Technology. Her most recent book, Handel as Orpheus: Voice
and Desire in the Chamber Cantatas, won the Kinkeldey Award from the
American Musicological Society and the Gottschalk Prize from the
Society for Eighteenth-Century Studies. Her articles and reviews have
appeared in numerous publications including Journal of the American
Musicological Society, Händel Jahrbuch, Notes, and the New York Times.
In 2004 her Music & Letters article “Handel the Investor” won the
Westrup Prize. Harris’s current work focuses on Handel, his London
friends, and his legatees.
f rancesco izzo has taught at New York University and East Carolina
University and is presently Lecturer in Music at the University of
Southampton. His recent publications include articles on Verdi’s Un
giorno di regno (Acta Musicologica), the politics of opera buffa during
the Risorgimento (Journal of Musicology), and the cult of Mary in Verdi’s
I Lombardi alla Prima crociata and Giovanna d’Arco (Journal of the
American Musicological Society). He is currently writing a book on
opera buffa after Rossini and editing Un giorno di regno for The Works
of Giuseppe Verdi.
jef frey kallberg is Professor of Music at the University of Pennsylvania.
He publishes widely on the music and cultural contexts of Chopin.
Kallberg prepared the critical edition of Luisa Miller for The Works
of Giuseppe Verdi and wrote the articles on “Gender” and “Sex,
Sexuality” for the second edition of The New Grove Dictionary of Music
and Musicians.
ralph p. locke is Professor of Musicology at the University of
Rochester’s Eastman School of Music and Senior Editor of the
University of Rochester Press’s Eastman Studies in Music. His books
include Music, Musicians, and the Saint-Simonians; Musical Exoticism:
Images and Reflections (Cambridge University Press, 2008); and (as
contributing co-editor) Cultivating Music in America: Women Patrons
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Notes on contributors
and Activists since 1860. Locke is a five-time winner of the ASCAP–
Deems Taylor Award. His 2005 article in Cambridge Opera Journal on
exoticism in Verdi’s Aida received the H. Colin Slim Award from the
American Musicological Society.
roberta montemorra marvin is Director of the Institute for Italian
Opera Studies at the University of Iowa, where she is a Research Associate
and an Associate Professor. She is co-editor of Operatic Migrations:
Transforming Works and Crossing Boundaries; Historical Musicology:
Sources, Methods, Interpretations; and Verdi 2001: Proceedings of the
International Conference; as well as Associate General Editor for The Works
of Giuseppe Verdi. She is also series editor for Ashgate Interdisciplinary Studies
in Opera and editor of the forthcoming Cambridge Verdi Encyclopedia. Her
monograph Verdi and the Victorians is forthcoming.
john mauceri is Chancellor of the University of North Carolina’s School
of the Arts in Winston-Salem and Founding Director of the Hollywood
Bowl Orchestra. A graduate of Yale College and Yale University, he
served on the faculty of his alma mater for fifteen years. He is a former
music director of the Washington (National) Opera, the Pittsburgh
Opera, Scottish Opera, and the Teatro Regio in Turin. He has
conducted for most of the world’s leading opera houses and symphony
orchestras, and has contributed articles to scholarly journals. He is a
winner of the Grammy, Tony, Olivier, Emmy, Deutsche Schallplatten,
Edison Klassiek, Billboard, Diapason d’Or, and Cannes Classical Music
Awards.
hilary poriss is Assistant Professor of Music at Northeastern University.
She received her Ph.D. from the University of Chicago and taught at the
University of Cincinnati before moving to Boston. In 2006–2007 she was
the recipient of the Millicent Mercer Johnson Postdoctoral Fellowship
from the American Academy in Rome. Her research focuses on
nineteenth-century Italian opera and diva culture. Her book Changing
the Score: Arias, Prima Donnas, and the Authority of Performance is
forthcoming; articles and reviews have appeared in 19th-Century Music,
Cambridge Opera Journal, Verdi Forum, and other journals and books.
david b. rosen, Professor Emeritus of Music at Cornell University,
specializes in Italian opera of the nineteenth and early twentieth
centuries, although he has research interests in Mozart’s concertos,
Britten’s operas, and film music as well. He edited Verdi’s Messa da
Requiem in The Works of Giuseppe Verdi and wrote the Cambridge
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Notes on contributors
xv
Music Handbook about the work. More recent publications include
a study of the contemporary staging manual (disposizione scenica)
for Verdi’s Un ballo in maschera, a co-edited Festschrift for Andrew
Porter, and essays about Verdi and Puccini in that volume as well as
in Cambridge Opera Journal, Verdi Forum, and Studi pucciniani.
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Acknowledgments
A project such as this one is the fruit of the labors of many people, to whom
the co-editors owe many debts of thanks. The imaginative scholarship of
our contributors made the volume possible. Vicki Cooper, Rebecca Jones,
and Rosina Di Marzo at Cambridge University Press shepherded the project
through from beginning to end, providing expert guidance every step of the
way. The referees for the proposal offered insightful suggestions, to which
we hope we have done justice, and Patricia Brauner and Kathleen Hansell
served as consultants to us early in the process.
Several institutions cooperated with authors in the creation of this
volume; they are acknowledged in individual chapters. John Snelson of
the Royal Opera House at Covent Garden responded promptly and cheerfully to queries and intervened with his colleagues to obtain information for
us. The University of Iowa’s Obermann Center for Advanced Studies (Jay
Semel, Director) provided logistical and technical support for the project,
the center’s Academic Technologies Specialist, Karla Tonella, above all.
Northeastern University provided a generous grant through the Office
of the Provost and the Department of Music, as well as support during the
latter stages of preparation of the manuscript. Arthur Rishi, Executive
Director of Prism Opera and Director of Concerts at Northeastern, assisted
with preparation of some of the images. Anthony De Ritis, Chair of the
Department of Music, deserves special thanks for his encouragement of this
project.
Both co-editors have generous, talented, and patient spouses who played
important roles in the production of this book, beyond listening to what must
have seemed to them endless chatter about the project. Chris Bailey prepared
music examples for Chapters 9 and 12 and assisted in preparing the files for
other images as well. Conrad Marvin designed and photographed the cover
image for the jacket. And, of course, we are grateful to the dedicatee of this
volume, Philip Gossett, for having served as an inspiration to all of us who
work on the fashions and legacies of nineteenth-century Italian opera.
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A note about translations
The chapters in this volume employ a variety of non-English sources,
primarily Italian and French. In cases where this material is not easily
accessible and where the translations are the authors’ own, the original
text is normally included in the notes. When authors rely on easily accessible, published translations by others, the sources are identified in the
notes, but the original text is not included. With a few exceptions, decisions
have been made on a case-by-case basis.
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