Vincenzo Bellini and the Aesthetics of Early Nineteenth-Century Italian Opera by Simon Maguire

Author:Simon Maguire [Maguire, Simon]
Language: eng
Format: epub
Tags: History, General
ISBN: 9780429773198
Google: 6bR2DwAAQBAJ
Publisher: Routledge
Published: 2018-11-05T17:42:05+00:00

1. Joseph Kerman, Opera as Drama (London, 1957), p.77.

2. Charles Rosen, The Classical Style (London, 1971), p.289.

3. Stendhal, Lives of Haydn, Mozart and Metastasio, translated by Richard N. Coe (London, 1972), p.212.

4. Stendhal, Life of Rossini, p.368.

5. Rivista teatrale, 25 August 1824. Stendhal’s great work was received with scant enthusiasm elsewhere in Italy, partly because of his frequent plagiarisms in previous works, and partly because of his preference for Don Giovanni over Rossini’s II barbiere di Siviglia; see Stendhal, Life of Rossini, ‘Translator’s Foreward’, p.xvi. Particularly severe on Stendhal’s “storiche inesattezze” is Lichtenthal, III, 280.

6. Stendhal, Life of Rossini, p.74.

7. Stendhal, Life of Rossini, p. 194.

8. Pierluigi Petrobelli, ‘Note sulla poetica di Bellini a proposite ‘I puritani’, in Muzikoloski Zbornik VIH (1972), pp.70-85.

9. Cambi, p.158 (September 1828): “per quanto Rossi potrebbe farmi un buon libro, pur non di meno mai mai potrebb’ essere un verseggiatore come Romani, e specialmente per me che sono molto attaccato alle buone parole; che vedi dal Pirata come i versi e non le situazioni mi hanno ispirato del genio, in particolare: Come un angelo celeste, e quindi per me Romani è necessario”.

10. Lotte Medicus, Die Koloratur in der italienische Oper des 19 Jahrhunderts (Zurich, 1939), p.53.

11. Grove’s Dictionary of Music and Musicians, fifth edition, edited by Eric Blom, 9 vols (London, 1954), I, 609.

12. Percy Scholes, The Oxford Companion to Music, tenth edition, edited by John Owen Ward (London, 1970), p.706.

13. Rodolfo Celletti, ‘Il vocalismo italiano da Rossini a Donizetti’, in Analecta Musicologica V (Cologne and Vienna, 1968), pp.267-294; VII (1969), pp.214-247 (VII, 217).

14. Lippmann, Vincenzo Bellini (1969), p.361: “Man vegleiche die von Rossini und Bellini zu im wesentlichen libere instimmenden drama-tischen Situazionen erfundenen musikalischen Abschnitte, und man versteht die Rede der Zeitgenossen von der ‘filosofia’ des Norma- Komponisten. Aber Bellini ist anderseits noch nicht so radikal wie Verdi in der Herausarbeitung des Charakteristischen vorgegangen. Auch in seinem Meisterwerken stehen, nur der Konvention zuliebe, einige nichtssagende Cabaletten”. In a revised edition of the study, Lippman recognizes Petrobelli’s contribution to the understanding of the problem, but only with respect to the letter’s affirmation “che il singolo momento drammatico-psicologico è costitutivo per Il opera belliniana e che quest’ ultima è costituita dal susseguirsi di tali situazioni momentanee, gustate ad una ad una” (F. Lippmann, ‘Vincenzo Bellini e 1’ opera seria del suo tempo’, nuova edizione, in Maria Rosaria Adamo and F. Lippmann, Vincenzo Bellini (Turin. 1981), pp.313-555 (p.513).). Since the study is essentially analytical rather than aesthetical, considerations of the priority of poetry over drama are not considered relevant. The two editions of this important work will in the present study be identified as Vincenzo Bellini (1969) and ‘Vincenzo Bellini’ (1981). Reference will be made usually to the former as the more complete.

15. Lippmann, ‘VincenzoBellini’ (1981), p.514.

16. Mario Rinaldi, ‘Rapporti fra Bellini e Felice Romani’, in Convegno di studi sull’ opera ‘Bianca e Fernando’ di Vincenzo Bellini 1978 (Genoa, 1980), pp.156-160 (p.160): “Ubbidì però all’ aspirazione del compositore: ‘Datemi buoni versi e vi darò buona musica’ anche

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