Crutch Field Vocal Ornamentation Verdi

Vocal Ornamentation in Verdi: The Phonographic Evidence

Will Crutchfield

19th-Century Music, Vol. 7, No. 1. (Summer, 1983), pp. 3-54.

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Vocal Ornamentation in Verdi: the Phonographic Evidence

WILL CRUTCHFIELD

The gap between the introduction of the necessary technology around 1500 and the actual in- vention of the phonograph in 1877 was followed by a few tantalizing decades of delay. Liszt, Wagner, Clara Schumann, and Jenny Lind went to their graves unrecorded before comprehen- sive documentation of the foremost interna- tional artists got underway around 1903-05. Still, early recorded sound offers a wealth of information about the composers and performers of the late nineteenth century. It has remained a problematic body of evidence, though, more al- luded to than investigated.

No doubt this is attributable in part to the limitations of acoustical recording.' These could at times discourage or even prevent artists from reproducing the musical characteris- tics of their live performances, and the primi-

19th-CenturyMusicVIII1 (Summer 1983). 0by the Regents of the University of California.

tive sound inevitably establishes a faintly comic ambience for the unacclimated modern listener. One must learn not only to listen through surface noise and to imagine the upper frequencies uncaught by the recording horn, but also to concentrate on the music-making in the face of much that by standards we have since come to take for granted sounds haphazard, rough, and inexpert. (Once concentration is achieved, one comes to realize that by other standards we have forgotten to expect, the old performers were expert where we are haphazard and rough.)

There is also the simple problem that, especially at first blush, we may not like what we find on the old discs. Our mind's ear can effect between written accounts and modern prefer-

'A perceptive and highly readable discussion of the problem is found in the introduction to J. B. Steane's The Grand Tra- &tion: Seventy Years of Singing on Record (London, 19741, pp. 4-12.

19TH ences a compromise which recordings disallow. CENTURY

MUSIC The phonograph offers a constant challenge to the belief that authentic practices, especially those traceable to composers or their associates, are the surest guide for modern executants. Few, to cite one example from among many, would wish to hear Bartok played in the left- hand-before-the-right style which seems to have been so automatic with the composer that he did not shed it even for his own fonvard- looking music.

In The New Grove, Howard Mayer Brown suggests that Verdian opera may present a similar case. "It seems likely," he writes, "that vocal performance in both lieder and opera was a good deal more mannered then than now"; and later, "With the evidence of early recordings to go on, it would be relatively simple for modern performers to give 'authentic' renderings of Verdi's operatic roles . . . and yet this is rarely, if ever, done because the performances would more likely be censured for their lack of taste than praised for their authent i~i ty ."~

Poor taste did crop up from time to time, and I havenot skewed the argument by suppressing it in the transcriptions which follow. But it was not the rule. The style preserved on the old discs is in large part recommendable as an enriching, corrective influence on modern performance. Italian opera's vocal language retained a vocab- ulary of ornamentation longer and more consistently than is often understood, and the language as a whole presented at that time a variety of intriguing possibilities for a body of music which most of us know, so to speak, only in modern translation.

Artists and repertoire. Roberto Bauer's His- torical Records 1898-1 908/9 lists 1,633 recordings of Verdi by 469 singem3 Hundreds more lay

IThe New Grove Dictionary of Music and Musicians, 6th edn., ed. Stanley Sadle [London, 19801, XIV, 390. 3Bauer'sN e w Catalogue of Historical Records 1898-1 908/9 (London, 1947) lists all the lateral cut classical vocal recordings known to him at the time of its compilation. Cylinders and records pressed from master cylinders ("vertical cut") were excluded; these are listed by Victor Girard and Harold M. Barnes in Vertical Cut Cylinders and Discs [London, 1964). Biographical information on these singers is in some cases plentiful, but in most, scarce. The principal and most

beyond the scope of the catalogue, have come to light since its compilation, or were made by the same artists after its cut-off date. "Ideally, while engaged in such a task as this," wrote the chron- icler of singing, John Steane, at the outset of his much larger one, "one should hear everything, dismiss nothing, and compare everything with at least something else. It is a great relief to know that this cannot be done." I can only echo this, adding, as Steane does: "Readers will no doubt understand that much more has been heard than is noted here."4

The information presented here is drawn from a survey of just over 1,200 early Verdi rec0rdings.j These include what I take to be nearly all the significant ones, though some outstanding exam- plepro or contra my arguments is probably to be found on a disc I have passed over, not had access to, or never heard of. From this material, 207 musical examples (from 142 recordings by 74 singers) are presented in transcription. In general, I have drawn on Italian singers, and concentrated on those whose debuts took place before 1900. I have omitted all but a few examples from the spe- cialized world of the "coloratura" soprano. Vari- ants which persist in modem performances (extra high notes, mostly) have been documented representatively rather than comprehensively.

convenient source is Kutsch and Riemens, Unvergangllche Stimmen: Sangerlexicon, 2nd rev. edn. (Bern, 1975). The considerably shorter first rev. edn. (1966) is translated into English by Harry Earl Jones as A Concise Biographical Dic- tionary of Singers (Philadelphia, 1969). Fuller accounts of many are contained in the liner notes to various reissues of their records, and in Michael Scott's The Record of Singing to 1914 (New York, 1977). For convenient chronological placing of the artists whose performances are transcribed here, table 1 gives (where known) dates of birth, debut and death, with whatever information is available for the singers not listed in these reference works. 4Steane, p. 2. jRoughly a sixth of these, including most of the more important ones, have been reissued on long playing records at one time or another (see table 2 for a listing of reissues available at the time of writing). For the rest, I am greatly indebted to the Motion Pictures, Broadcasting, and Recorded Sound Di- vision of the Library of Congress, and especially to the Col- lection of Historical Sound Recordings at Yale University. The Yale archive, assembled for the most part by Laurence Witten, is almost certainly the most extensive repository in institutional hands of recordings by nineteenth-century singers. This collection has made it possible to survey the evidence widely and in depth, and thus to confirm the con- clusions reached by study of the reissued material. I owe special thanks to Tulin Duda and to the curator, Rlchard Warren, for help wlth this project.

The artists have been surveyed exclusively in Verdi, although their recordings of Donizetti and Bellini have more to tell of Verdian than of earlier practice.

Indeed the discs of the more progressive performers tell of a practice that is already post- Verdian. Verdi composed most of his operas before even the earliest of these singers was born. Although he heard and worked with several of them in his last years, they represent Italian singing as it was well after his influence had made itself felt, in a period of rapid change during which other influences (Toscanini's, Mas- cagni's, Caruso's, Wagner's) came to the fore. That change had been taking place during the pre-recording period is certain as well: one need hardly look farther than Chorley's account of FraschiniI6 whose singing he found quite un- pleasantly bombastic in 1847, but on whom he looked back ("Alas!") as a comparatively mod- erate Italian tenor as early as 1862. This study, then, documents in large part the displacement of the Italian style Verdi knew during most of his career.

The old discs also reflect turn-of-the-century appreciation of the Verdi canon, which means that much we would like to hear went unrecorded. The operas best served (that is, whose principal solos were extensively recorded by a wide variety of artists) were Aida, I1 Trovatore, La Traviata, and Rigoletto. Fair representation was achieved in Otello, Un Ballo in maschera, and (alone among the early works) Ernani. The attitude towards La Forza del destino in those days may be gleaned from the "program note" which backed the famous Caruso-Scotti duet of 1906:

This duet, together with the tenor solo in Caruso's list, are about the only numbers which remain of Ver- di's opera of La Forza del Destino, which was never a great success, its story being doleful and so crowded with horrors that not even the beautiful music could atone for the gloomy plot.'

The anonymous author overstates it a bit, since in Italy a decent amount of Forza was done (and "Tetrazzini's list" for Victor soon came to

6Henry F. Chorley, Thirty Years'Musical Recollections, ed. Ernest Newman (London, 19261, pp. 19C-91. 'Victor 89001 (1906).

include "Pace, pace"). But of Simon Boccanegra, ?FkTCHFIELDDon Carlos, Les Vkpres siciliennes, and espe- verdi cially the earlier operas-those in which orna- Ornamentation

mentation plays a more central role and in which there is such renewed interest today--only an occasional snippet was recorded.

The Verdian "full-stop" cadenza. Virtually all Verdi's cantabile arias up through Forza conclude with a brief, static tonic-dominant coda, a fermata over the V7 chord or a rest following it, and an unaccompanied vocal c a d e n ~ e . ~ Verdi came to view this convention, though, as one that opera could afford to use more sparingly, if not to discard altogether. In the later works, the functions of the cadenza are increasingly inte- grated into a more controlled, continuous musical fabric (as in "0 patria mia" and "Tu che le ~ a n i t a " ) . ~

Verdi's full-scale cadenzas are generally composed of three basic functional units: A, the note(s) appearing directly over the V7 chord, B, a florid melisma or declamatory sequence, and C , a brief peroration resolving to the final tonic.1° A simply defines the dominant-seventh function of the cadenza. It may be a short group of notes circling the dominant or outlining the

"Although Verdi eventually emancipated himself from the obligatory cadenza, he still seems to have felt that at the end of a cantabile he had to arrive at the tonic and linger there a while. Interestingly, though, while the earlier arias wind down with a tonicldominant alternation, the later ones /"Celeste Aida," "0tu che in seno agl'angeli," "0ma chere compagne") tend to rest on the tonic alone. Could this have been a safety measure? In "Pace, pace" and "0patria mia," Verdi allowed the final cadences to resemble ever so slightly those of the old cavatinas-and in each case at least one celebrated soprano took the hint (probably unintended, but see also note 55) and sang a cadenza. This could never have been tried in "Celeste Alda": the signal is never sent. 9Since the present essay is concerned principally with Ital- ian singing, it seems most convenient to refer to the French operas and excerpts from them by the familiar Italian titles. Acoustic recordings by French singers of excerpts from Don Carlos, Les Vepres siciliennes, and [erusalem exist, although not in great number, and are worth study. 1°The "a due" cadenzas of duets were often of greater length, with two or more roulade-phrases for the B sectioni possibly these give a suggestion of the dimensions to which solo elaboration, impractical in duet, would typically have extended the cantabile cadenza in Verdi's time. On early recordings one occasionally finds them shortened [for example in the De LuciaIHuguet duets from Rigoletto and Traviata [G&T 054084 and 054081, 19061). The peroration (C)is sometimes elaborated [as in exs. 9-10, whlch conclude an elaborate "a due" cadenza sung, in these cases, at full length).

CENTURY MUSIC

]'ha re - . . . . . - . - - . - . . so per me

Example i: "I1 mio sangue, la vita darel," from Luisa Miller

ml-se -re-re, ah! mi-se-re - re d'un po-ve-ro cor!

Example ii: "Ma dall'arido stelo divulsa," from Un Ballo in maschera

ma, ma, se-al-fin tl tro-vo-an-cor, tl tro-vojn-cor, Dio m'e-sau-di, Diom'e-sau - dil

Example iii: "Di provenza il mar," from La Traviata

chord (often colored by a flattened ninth); its function can be filled by the last few notes of the final phrase of coda, or (in florid cadenzas especially) by a single sustained note from which B emerges. (The A section, generally written directly over the dominant chord, is often sung after the chord is played.)

The choice between a florid or a declamatory B creates two contrasting classes of cadenza. In the florid form, B is nearly always designed to be sung on one breath. The melisma is sometimes a simple scale pattern, but more often the figuration is quite inventive and attractive. The syllabic B is set to the final linejs) of the cantabile's text, which have invariably been heard several times already and are often given twice or more within the cadenza. Pitches are allocated one per syllable, though occasionally there will be slurred pairs of notes, or a gruppetto or other ornament on one of the syllables. Sopranos are nearly always given melismatic cadenzas. The male characters can be assigned either, with the syllabic form slightly more common in tenor arias than in those for the lower voices. It is not true that Verdi inclined more to the declamatory formula as time went on. He would often

drop cadenzas altogether, but of the four in Ballo, all three full-length ones are florid, as is that of Carlo in Forza.

C, almost always divided from B by a breath, is brief and functional. lust occasionally it is a single sustained dominant (when a florid B has ended on the submediant); more often there are three or more notes, usually with a syllable on each, resolving to the tonic by one of several for- mulas.

This pattern is flexible and frequently modified, most often by extending one or more of the three sections. Another modified type, found mostly in the early operas and in the male roles, might be called the "nominal" cadenza: B is omitted, and occasionally the A and C functions are elided into a single phrase.

The nominal form employs a restricted range; otherwise, the cadenza generally revisits the highest pitch required in the aria proper. (If that highest pitch is given in an ossia, it may not be required in the cadenza: see "D'amor sull'ali rosee" and "I1 balen.") Syllabic cadenzas rarely dip below the middle of the range, but roulades frequently extend to or beyond the lowest pitch otherwise sung.

y e so-lojn c i e l , e so-lyjnc~elpre-de- der-ti l a m o r - t v

WILL CRUTCHFIELD Verdi Ornamentation

-par - ra, la mor - te3. me par ra!

Example iv: "Ah, si, ben mio," from I1 Trovatore

k' spa-man, qua-si spa-rlan per me.

Example v: "Dal pih remoto esilio," from 1 due Foscari

11 no - me mio fa - ro

Example vi: "Oh, de'verd'anni miei," from Ernani

The cadenza in performance [exs. 1-64). The solo cavatina was the most obvious and enduring locus of soloistic discretion in nineteenth- century opera, the point at which even Berlioz could say to singers "the composer is at your feet" (adding "we would be in bad grace to wish it othenvise").ll This was still true during the first phase of Verdi's career, and it was true particularly of the closing cadence. Part I1 of the younger Garcia's Traite complet de l'art du chant,12 with its copious and elaborate examples, was brought out in 1847; two years later, as Verdi was completing the fifteenth of his twenty-seven operas, Mme Cinti-Damoreau produced her Methode de chant,13 which is of special interest partly because so many compos-

"Revue er Gazette musicale IV j1837), 95ff., quoted in Caswell [see fn. 13). I2Manuel Garcia [the younger), Traite complet du l'art de chant, part 11, trans. and ed. Donald V. Paschke (New York, 1975). I3See Austin Caswell, "Mme. Cinti-Damoreau and the Em- bellishment of Italian Opera in Paris: 1820-1845," [ournal of the American Musicological Society 27(1975), 459-92.

ers for whose works her changements were intended put their signatures to the compendium as members of the Paris Conservatoire's Com- mittee on Musical Studies. The notebooks of the Marchisio sisters, preserved in the Pierpont Morgan Library and partially published in Ric- ci's Variazioni, Cadenze, Tradizioni, vol. I, l4 are similar in style and include several examples from Trovatore as well as from the earlier operas in which they sang together during the 1860s and '70s. These, and numerous scattered examples of cadenzas attributed to various other singers of the day, confirm that what we hear on early recordings does not by any means represent some latter-day flowering of soloistic liberty, but rather a stage in its diminution. What might be found surprising is just how gradual that diminution was.

The post-Verdian singer's choice and composition of cadenzas was governed by three sometimes conflicting influences: the traditional

14Luigi Ricci, Variazioni, cadenze, tradizioni per canto, 2 vols. [Milan, 1937).

I ~ T H concept of the cadenza as a locus for extended MUSIC so10 expression; progressive, modernizing val-

ues, in light of which florid vocalism and (to a lesser extent) the cadenza itself came increasingly to be seen as irrelevant;15 and modification of compass to suit the performer's range.

The first of these three principles is reflected in the all but universal assumption that nominal cadenzas were meant for elaboration (exs. 2- 4, 15-18, 57-59, 63). Full-length ones were often extended as well. The three-part functional division, though usually still present as an un- derlying framework, was no longer obligatory. Example 2 shows a nominal cadenza amplified simply by extending A and C rather than adding an independent B section, and in the elaborated full cadenzas the additions are often such as to obscure the sectional distinctions. A formula frequently employed, though, was to sing A as written, to continue either with Verdi's B or a typical B-gesture, and then to expand the pattern with another melisma, a syllabic sequence, or a free combination of the two.16 Here the principal opportunity for soloistic liberty comes at C, or in the gap between B and C (exs. 1, 5, 6, 18, 31, 32, 35-41, 43-45, 47, 49, 57 and 60, as well as several others in which the elaboration of the ending is less pronounced). Exam- ple 5 is typical: the roulade (BJ is filled out with further figuration, and C is considerably extended. Nevertheless, the cadenza as a whole follows closely the outline of Verdi's own. Ex- ample 6, used in the same aria, bears some trace of that outline as well, but is essentially a replacement rather than a variant.

The growing preference for declamatory sing-

'jIt is only recently that "fidelity to the composer's score" has begun to challenge this as a guiding principle for performance choices in Italian opera. Serafin and Toni's Stile, tradizioni e convenzioni del melodramma italiano del set- tecento e dell'ottocento (Milan, 1958) routinely recom-mends cuts to keep the drama moving for modem audi- ences, extra high notes to add excitement, and the omission of cadenzas "troppo florido. " 16We have some evidence of this procedure as observed during Verdi's early career. The cadenza of Fenena's prayer "puntata per la Zecchini" gives a two-octave descent from high C /the A and B functions joined, or simply an elaborate A?);in another hand, a further melisma is sketched in under Verdi's typically simple C phrase. See David Lawton and David Rosen, "Verdi's non-definitive revisions: the early operas," in Atti del IIP congress0 internazionale di studi verdiani (Parma, 19741, pp. 189-237.

ing is felt in several ways. In the process of aug- mentation just described, syllabic sequences are often introduced to complement roulade (exs. 1,6, 7, 12, 18,25,40-43,45,56, among others; Verdi does this in revising the florid Trova-tore cadenzas for Le Trouvere). The melisma itself can be reduced, especially in the male roles (exs. 32,34,39,41,42,46, 60, 61) or replaced entirely by a declamatory B (exs. 13, 14, 19,23, 24, 33,54,55,62). In some cases, the pitch sequence of Verdi's melisma would be adopted for all or part of the syllabic cadenza (exs. 1 1, 14, 19, 61, 62).

At other times, and more often as the years passed, singers lacking agility (or doubting the artistic worth of coloratura) would simply omit a florid B (constructing a suitable A phrase if the original had been tied to the melisma), thus making a nominal cadenza of what had been a full-length one (exs. 8,20,26,30). Similar reduction of Verdi's syllabic cadenzas is for all intents and purposes non-existent. l 7

The altered cadenzas often require more text than Verb's. In these cases the words in the original may be reiterated, or the singer may reach farther back into the text, following the example of Verdi's own longer syllabic cadenzas.18

Modification of range occurs in cadenzas of all types. Where Verdi does not match the cadenza's compass to that of the aria, the discrep- ancy is sometimes eliminated by artists whose voices more nearly suit the aria, especially where the cadenza goes a crucial step higher (exs. 27, 28, 52, 53, 55). But the opposite case is more frequently encountered: the cadenza matches the aria, but is adjusted to give scope to an upward extension otherwise unprovided for (exs.4, 12, 13, 15-18, 21, 22, 29, 35, 37-39, 43- 45,47-50, 58, 59, 63, 64). Top notes are almost

"It is just perhaps significant that the single example found-a very strange little version of Rigoletto's "Miei si- gnori" (Col. 1767)with spurious prelude and postlude and melody instruments doubling the vocal line-is sung by Al- berto de Bassini, who resisted his colleagues' syllabic cadenzas in Ballo, Trovatore, and Sonnambula. 181t is interesting to note that varying the text when it reap- pears in the cadenza did not seem to sit well with some singers. Where Verdi alters it in Luisa Miller for the sake of pre- serving a rhythmic figure, both Giuseppe Anselmi (Fono 62166) and Fernando de Lucia (ex. 22)contradict him; de Lu- cia, however, was ready enough to alter the text to arrange for his preferred vowel ("e")on the high notes.

always added where the printed cadenza fails to revisit the aria's highest note; further ones are sometimes inserted even when the cadenza already satisfies both the compass of the aria and the singer's range.

As can be seen from the examples, this extension of range often takes place in the course of the typical expansion of C .A 5 to 1 final resolution for C (ascending or descending) occurs a good deal more often in the variants than in Ver- di's originals; the juxtaposition of the major and minor sixth degree of the scale, common enough in Verdi's cadenzas, is also more prominent in the substitutes. While the leading tone of the key is almost never used by Verdi as the cadenza's top note, it is fairly popular in the interpolated ones. There is often a breath before the penultimate note; if the conclusion is 3-2- 1, or occasionally 4-3- or 6-5-1, a "Rubini"19 cadence (reiteration of the antepenultimate note) may be employed (exs. 9, 13, 33, 55), and frequently a two-syllable word on the antepenultimate pitch will be sung with a prolonged weak syllable in imitation of the "Rubini" ca-dence (exs. 6, 8, 1 1, 42, 50, 57, 59).

Today, when certain variant cadenzas have become standard and are regularly heard in identical form from singer after singer, the di- versity of approach on the early records may come as a surprise. There were certain stock patterns-and one can see the fixed "traditional" cadenzas beginning to gel in some cases-but variety was still the rule.

Arias without "full-stop" (exs. 65-77). The full stop for cadenza and the brief, harmonically static coda introducing it are the most consistent features by which the cantabile aria is dis- tinguished from other solo forms in Verdi. Bal-late, canzoni, and romanze end without them.I0 At or shortly before the final cadence, though, will often be found a fermata, an ad libitum marking of some kind, or a suspension of the ac-

I9This cadential ornament, named after its popularizer Giovanni Battista Rubini (1794-1854), is one of the most common and enduring ornamental traditions of Italian opera, persisting even into the period of Puccini. It is found notated by Donizetti, Rossini, and many other composers, but not, as far as I am aware, by Verdi-in almost every one of whose operas it was nevertheless routinely introduced. ZOExceptions occasionally come in cases like Medora's "Non sole tetre immagine," where a strophic romanza fills

companiment. These are seen as points for pos- WILL CRUTCHFIELDsible elaboration-not, as far as I am aware, Verdi

with the kind of extended cadenza that would Ornamentation

have served for a "full-stop," but occasionally with a brilliant flourish of some length (exs. 65, 67,68). Much more often it is merely a matter of adding a top note or ornament to the final line (exs. 66, 69-77).

Ornamentation of internal cadences (exs. 78-133). A major concern of late nineteenth- century Italian practice was the heightening, through rubato, dynamics, phrasing, and ornamentation, of harmonic "corners." In a typical cantabile, the accompaniment is suspended and/or an ad libitum indication of some kind appears at one or more internal cadences, and many of them have ornamentation in the printed scores as well. Whether or not they are so marked, early recorded singers consistently apply to them at least a rallentando, and often ornamentation (or elaboration of existing ornamentation) as well. Spots likeliest to be so treated are the last cadence before an excursion into a new key (exs. 79, 80, 92, 93, 95, 106, 107, 113, 120-22, 124, 125, 127, 131), the return to the home key2' (or, in the minor-major format, the approach to the major) (exs. 81, 85, 86, 89, 99, 130), and the end of the last principal melodic period (before the "filler" coda, or before a ritornello leading to a repeat and thence to the coda) (exs. 83, 84, 88, 90, 94, 108, 111, 112, 116, 118, 123, 126, 132).

Opening solos of duets or ensembles and first stanzas of strophic pieces are often closed with light ornamentation along these lines (exs. 87, 98, 100, 101, 103-05, 109, 110, 115, 117, 133). Such solos, as well as the shorter aria forms, often receive internal-cadence embellishment as well (exs. 85, 86, 96, 97, 102, 114, 124, 125, 128, 129), although not as consistently as do the full- scale cantabiles.

Ornaments for these cadences were generally simple: a gruppetto (exs. 82, 83, 85, 91, 92, 95-

the traditional cavatina function (i.e., entrance-aria); presumably the fermata at the end of Luisa Miller's similarly situated "Lo vidi e il primo palpito" would have been so amplified in performance. Z1hthis case the ad libitum moment may come on the last cadence of the old key, or after it, acting as a dominant seventh bridge, or both.

19rH 97, 99, 102, 103, 110-16), passing tones (ex. 79), CENTURY

MUSIC "Rubini" cadence (exs. 82, 88, 119, 121, 122, 127), syllabic reiteration (exs. 78, 90, 100, 101), or sometimes just a simple acciaccatura (exs. 80, 86, 106, 107, 11 7, 122, 128-33). If the score already has an embellishment, a few notes might be added to fill it out (exs. 78, 81, 87,89, 93,120-22, 128). This is all in contrast to the extended roulades inserted at such points during the careers of Rossini, Donizetti, Bellini, and young Verdi. A holdover from that earlier practice survives in recordings of Oscar's "Saper vorreste" by Luisa Tetrazzini and Selma Kurz, both of whom sing full-scale cadenzas at internal fermatasz2

Melodic variants (exs. 134-72). In addition to these cadence-oriented ornaments, there are other occasional variations, notably including interpolated high notes. Trends are more difficult to identify here, but a few practices are consistent enough to warrant mention.

A typical Verdian melodic approach to the I$ chord is frequently altered either by interposi- tion of the supertonic (exs. 134, 147, 154, 167) or by substituting the mediant for the second melodic tonic (exs. 135, 144). Exact repetition of a phrase can elicit an added top note or an extra bit of figuration (exs. 136, 145, 150-53, 155, 157, 160-62, 166).

Acciaccature were added freely for decoration or emphasis (exs. 137, 148, 156, 159, 163, 165, 169, 170, among others), and there was ap- parent consensus that these (whether written out or inserted) were two-pitch ornaments, beginning on the principal note. The only exception comes when the note with acciaccatura is immediately preceded by the scalic note below. In that case, the acciaccatura may begin either on the principal note as described, or on the note below, or in the modern single-pitch fashion (the note of melodic approach substituting, apparently, for the first note of the ornament). Ex- amples crop up more or less wherever one looks, including the Otello records of both Tamagno and Maurel (exs. 171, 172). This convention makes a significant difference in some very familiar passages (see especially ex. 163)!

22G&T053222 (19081 and 43738 [1906), among other versions by each.

Verdi used a rising two-note embellishment ("slide," in English terminology) with some fre- quency (see, for example, "Abbietta zingara," the Rigoletto quartet, and Posa's romance). This decoration turns up on records occasionally jexs. 120, 140, 142, 146), but only with the tenor Fernando de Lucia (who uses it also in Puccini and Mascagni) does it seem to have been a basic stylistic device. A certain amount of freedom was exercised in substituting one written ornament for another and in the exact interpretation of Verdi's ornament signs (exs. 140, 141, 149, 159, 168, 176).

One embellishment conspicuous by its ab- sence from all this is the trill. For Garcia in 1847 the trill was still taken for granted as part of any singer's technical equipment: his discussion centers on details of approach and resolution. By the early twentieth century, most Italian sopranos could still trill, although they rarely introduced the device except as a leading-tone cadenza ending. Very few of the Italian male singers, however, seem to have been able to trill at all." In striking contrast, it is difficult to think of an extensively recorded Frenchman who does not trill, and a fair number of Ger- mans, Englishmen, and others give evidence that this ability was lost sooner in Italy than elsewhere.

Strophic variation and the problem of the cabaletta (exs. 173-83). Strophic forms are open to the variety of soloistic liberty likeliest to find at least theoretical acceptance today. In particular, most musicians will concede that the second statement of a cabaletta may be embellished. The phonographic evidence on this question, however, is extremely sparse, and as far as it goes it suggests that the convention had limited cur- rency by the beginning of the new century.

WAs far as I am aware, there are only four to be heard on acoustic recordings: bass Francesco Navarrini / in Rossini's "Pro peccatis," Fono 620241, baritone Eugenio Giraldoni [the first Scarpia, in "Per me giunto," GeiT 52404), and the tenors Anselmi /"Unlaura amorosa," Fono 62393) and Caruso [not an outstandingly good one in Handel's Largo, Vic 88617; none where they are marked in "Ah, si, ben mio," Vic 88121). De Lucia, although he does not trlll, shows an awareness of the lack: in two recordings (the famous "Pieta signore" of disputed authorship [Phono M 18791 and "Ah, si, ben mio" [ex. 108]), he employs a quick, measured alternation between leading tone and tonic which corresponds to Garcia's description of the "slow trill."

The cabaletta was held in such contempt by critics and reformers in the latter half of the old one that Verdi, who did much to weed i t out, found himself more than once in the position of defending its occasional validity. The extent to which the progressives' view prevailed during the early recording era is suggested by the list of De Lucia's operatic recordxZ4 among these are at least twelve solos for which there exist cabalettas-only one of which he recorded. The familiar practice of omitting dramatically nones- sential cabalettas (e.g., Leonora's "Tu vedrai" and the Duke's "Possente amor") was well-established by the period of acoustic recording. Even the collections of extended excerpts from a single opera (on inexpensive labels, using little-known singers), which included every con- ceivable snippet, omitted these cabalettas. The reduction of others to a single stanza prevailed as well, and not solely as a concession to side- length (as it might arguably have been when a cabaletta was squeezed onto the same side as its cantabile). Several records of cabalettas without cantabiles (e.g., Giacomelli's "Tutto sprezzo," Cigada's "Vieni meco," and Ruffo's "Per me ora fatale") contain a good deal of indifferently sung chorus music rather than the second stanza.

In the few examples of an uncut cabaletta by an Italian of this period (Ciaparelli in "Di tale amor," Battistini in La Favorita or I Puritani, a few versions of "Sempre libera" and "Per me ora fatale," and a very few of "Di quella pira"), there is generally little or no embellishment (except of course in the "coloratura" repertoire-a sepa-rate case, and not in this instance involving Verdi). Violetta's "gioir" sequence (but not the air itself) is sometimes varied in repeat; just possibly the decorations in Battistini's one-verse "Vieni meco" (partially shown in ex. 173) would have been reserved for a repeat in stage performances. But when "Di quella pira" is given complete the celebrated interpolation is just as likely to appear in both verses.25 In gen-

14A complete list is in fact not yet available. I am grateful to Michael Henstock of the University of Nottlngham for documentation of the late Phonotype recordings of this singer. 25This much-debated high C is often, and plausibly, de- fended as a second-strophe embellishment. It is equally possible, however, to see it as a variation of a musical repeat In- ternal to the strophe.

eral, the testimony of the gramophone is that by FieTCHFIELD1900 this tradition was dormant. vcrd~

Though the paucity of recordings discourages Or"amentation

generalization about other aspects of ornamentation in the cabaletta, a few points are worth noting. Rallentando or ornament is sometimes used to heighten demarcation of sections (exs. 173, 177, 187, 195).26 The fermata before thepiu mosso ritornello or coda is a possible site for a cadenza (exs. 174, 175). The very last cadence generally involves the highest note on which compass and tonality can agree-a tradition which has proved hardy enough to render extensive transcriptions superfluous-and often an additional imposed rallentando (exs. 182, 183). Some "coloratura" sopranos will occasionally halt the action at the very end for a brief cadenza (e.g., Galli-Curci or Pacini in "Sempre libera"; Tetrazzini in "Di tale amor").

There remain the other strophic arias: bal- late, canzoni, and full-scale cantabiles like "Ah, fors'? l ~ i " ~ ' and "Quando le sere a1 placido." Here too the evidence is spotty, although at least one aria survives in a version that suggests extensive elaboration of the repeat: "Tacea la notte," sung in 1906 by Lillian Nordica. As it happens, this record is one of the most convinc- ingphonographic links to the more distant past. Trovatore was the first opera Nordica heard (with Euphrosyne Parepa-Rosa, Boston, 1868); "Tacea" was the first aria she sang in public (1 874) and also the one with which, shortly af- terward, she impressed the great Teresa Tiet- jens (1831-77)) who may have coached her in it. Certainly she studied it with Appolonia Ber- tucca, who was at that time attached to Tiet- jens's touring company, and who years later dis-

16The ornamentation of "corro a morir" in ex. 177 also occurs at "la spegnero," just before the shlh to minor. Acciacca- turas and trills are occasionally found at analogous points in such cabalettas as "Sempre libera" ("il pensier," just before the tenor interrupts) and "Di tale amor" (at "inebrio"]. 27"Ah,fors'e lui" was probably not thought of as strophic by the turn of the century-although Lilli Lehmann's one-stanza recordings (Odeon 50353 and 80003) use not the first but the usually-cut second verse. It is also interesting to note that while Giuseppe Kaschmann's record of "Carlo, che e il sol" contains (like all later Italian performances until recent years) only the first stanza, the singer forgets himself at one point and sings two lines from the second (see ex. 128)-an easy slip to make, but only if he was accustomed to both.

19TH cussed with Nordica "how Tietjens had phrased CENTURY

MUSIC the cavatina, how Parepa-Rosa had embellished it, and many other interesting details."28

The frequent attribution of Nordica's variants to Tietjens thus emerges as one of the more plausible claims for phonographic preservation of a pre-phonographic style. It is also worth noting that Nordica, in a letter to the critic Her- mann Klein, singled out this aria, and in particular this first part of it, as the most satisfactory of her generally disappointing records.29 The variations (exs. 178, 179) are sung in the first stanza, the second being omitted in favor of a similarly truncated cabaletta on the same side. I think it a safe conjecture that the ornamentation was normally intended for the repeat, where it is unusually appropriate to the images of the text.

Nothing this systematic, though, seems to have been widespread at the time. "Questa o quella" is usually given an extra chuckle and a bit of a cadenza the second time through; De Lu- cia goes farther in his delightful record (exs. 96, 138, 140), but almost all of his abbellimenti ap-pear in the first verse as well! Caruso has an extra turn in the repeat of "La donna," Anselmi an added ~b in "Quando le sere," and Battistini a Gb in what would presumably have been the second verse of "Di provenza"-but all of these are interpolations of a sort found just as readily where no repeat exists, and even more readily where a line or phrase is repeated within a single movement.

Facilitations (exs. 184-96). The other changes occasionally found in the melodic line are more practical than decorative. Puntature (alterations of the vocal line so that it can be sung by a voice of different range but with the original accompaniment) were standard practice in Italian opera for most of the nineteenth century. Verdi was often criticized for uncomfortably high vocal writing, and he made or approved adjustments on several occasions to bring high roles into the

281ra Glackens, Yankee Diva: Lillian Nordica and the Golden Days of Opera (New York, 1963), pp. 26-29, 146. 29Letter of 15 May 1908 to Klein, quoted in William R. Moran, "Recordings and Lillian Nordica" (pub. as an appendix to Glackens, pp. 283-300).

workable repertoire of singers who found them difficult as written.

It is striking testimony to the influence of Verdi's operas on the training and development of Italian voices that the puntature heard on early recordings are almost without exception designed to keep singers out of their lower regis-ters. The most prominent practitioner of this was the baritone Battistini, whose range during his recording career (begun at age 46) seems never to have extended past low Bh, and who often sounds as though he is in difficulty on C and DL. But many other baritones followed his example in raising the low A of "Eri tu" an octave, and there are similar examples in the tenor, mezzo, soprano, and even bass repertoires (exs. 186,187, 192, 195, 196; not shown are the simple octave transpositions which occasionally appear).

Simplification of fioratura was almost universal practice in I1 Barbiere di Siviglia, the single work of Rossini still in the basic repertoire by the turn of the century. The procedure was sometimes applied to Verdi as well (exs. 184, 188, 189, 191, 193); so, occasionally, was the re- moval of what apparently seemed excessive tex- tual reiteration (exs. 185, 190, 194).

Recitative (exs. 197-207). We know that oma- ments and roulades were commonly introduced by singers into the recitatives of primo ottocento operas. In his early and middle-period operas, Verdi himself wrote a great deal of fioratura into the recitatives of cavatinas for soprano. As far as I am aware, recordings give no example of extensive embellishment along these lines where the score does not indicate it, but singers will occasionally add a tum of acciaccatura (exs. 201,203).

At the very end of most recitatives, Verdi left soloists somewhat more to their own devices. The conclusion is usually a sustained dominant on two syllables, with an octave drop if the tessitura is congenial (or if the sentiments justify ex- tremes of range), or in the same octave with mi- nor-inflected decoration of neighboring tones. In the early years of the century, there was a clear assumption that one expression of this formula might be substituted at will for another-usually a more for a less complex one (exs. 197-200).

The conventions surrounding use of appoggiaturas in recitative remained pretty well in force. Verdi generally wrote them out, and sing-

ers would often add them where he did not (exs. 202,204-07).

A brief and loose chronological segregation of the singers lends clarity to the proliferation of practices grouped here as "ornamental." It is easy enough to form the impression that a few singers, most of all the pair Battistini and De Lu- cia, practiced an anachronistic approach to ornamentation, harking back to the outmoded values of Bellini's or even Rossini's era. The view is clouded, though, by the fact that no other internationally celebrated Italian singer of their generation left nearly so extensive a phonographic legacy as they did. Because of their prolific recording activity and unusually long-lasting vocal health, Battistini and De Lu- cia can seem to be atypical members of Caruso's generation. In fact, they are representative members of an earlier one.

Battistini (b. 1856) made his Rome debut when Caruso was five. Compared to other baritones whose recordings competed with his in the early catalogues (e.g., Stracciari, b. 1875; De Luca, b. 1876; Ruffo, b. 1877; Amato, b. 1878)) he seems very much the idiosyncratic, old-fashioned stylist. But the few, little known, and sometimes unsatisfying discs made by his el- ders and closer contemporaries draw a picture into which he fits more comfortably. Alberto De Bassini (b. 1847) prefers florid cadenzas for arias in which every later Italian uses declama- tion (exs. 34, 52, 53); Giuseppe Kaschmann (b. 1850) is fleet in the written fioratura, lingering and decorative in his internal cadences (exs. 90, 128); Francesco D'Andrade (b. 1859) pleads with a bold flourish as Rigoletto (ex. 145); and Anto- nio Magini-Coletti (b. 1855) is perhaps superior in roulade to Battistini himself. De Bassini, Kaschmann and D'Andrade recorded few Verdi excerpts: nine, three, and one, respectively, as far as available sources indicate, compared to Battistini's twenty-one. (Magini-Coletti made twenty-four, but mostly from the late, less ornamental operas.30) More prolific were Ancona (b.

30These figures do not count multiple recordings of the same excerpt, or the many Verdi arias De Bassini is listed as hav-

1860), Scotti (b. 1866), Bonini (b. 1865) and Cor- WILL CRUTCHFIELDradetti (b. 18661, all of whom point ahead to a Verdi

less florid, less delicate manner. With the group Ornamentation

born in the 1870s, even though some of them preserve certain of Battistini's technical abili- ties, we are clearly in a new stylistic period.

At the simplest level, the shift is from a highly nuanced style, with some remaining link to the age of florid vocalism, to a more straightforward, louder one with only incidental interest in coloratura. (A broader study would docu- ment changes-though not always parallel ones-in rubato, phrasing and articulation, treatment of rests and slurs, concept of portamento, and other matters.31) Of course, shifts in musical style are neither sudden nor uniform. The tenor Giuseppe Anselmi (b. 1876) harks back, in his approach to ornamentation at least, to De Lucia (b. 1860)) while any number of tenors born in between, including Caruso (b. 1873)) seem more straightforward and modern. It is also true that female singers (especially the ' l c ~ l o r a t ~ r a "sopranos) maintained variety in their cadenzas considerably longer than did the men. (No female Verdians of Battistini's generation left sufficient recordings for us to be able to say whether they were more various yet in

ing recorded on cylinders for the almost legendary catalogue of Gianni Bettini. A very few of these have recently come to light (Iago's Credo and part of the Aida Nile Scene are reissued on Mark 56 826); further discoveries in this area can be expected to yield information of great interest. 3'0mamentation is only one, and usually not the most important, of many ways in which early Verdian performances differed from those to which we are accustomed. Tempo choices, phrasing and articulation, approach to rubato and dynamics, and certain aspects of vocal technique all reflect assumptions which differ from those held, and largely taken for granted, today. Still, because ornamentation involves changing "the notes," one encounters opposition to i t on principle from many musicians who are willing to consider the other elements at least up to a point as legitimately within the province of taste. Most will be convinced of the inconsistency of such a view by playing side by side the recordings of Alfredo's "De' miei bollenti spiriti" by Fernando de Lucia (who takes 2 minutes 34 seconds over i t and sings pianissimo for perhaps half the aria) and Jan Peerce under Toscanini (1'35' and quite loud all the way through). De Lu- cia's recording also has one unwritten gruppetto and an extra high note in the cadenza which Peerce could have adopted without appreciably changing the character and im- pact of his performance; if, though continuing to stick to "the notes," he had adopted instead De Lucia's broader and gentler approach, the difference would have been vast.

13

19TH CENTURY

MUSIC

those years, as would seem likely.) Still, the trend is clear. Modern, progressive influences

. A -had been around for some time, gradually gain- ing ground.32 What the records suggest is that by the 1 8 9 0 ~ ~ they had achieved such dominance that a young singer starting out in those years was no longer likely to see the old-fashioned values as a plausible alternative.

These younger artists, in other words, were updating the earlier works in light of the performance values established by the later ones. But the older generation seems rarely to have clung to anachronistic procedures when faced with progressive music. Their approach accords with the chronology of the operas themselves: more ornamentation in the earlier, more florid operas; much less in the later ones (and for all intents and purposes none in Otello and Fal- staff). This says much about the sensitivity of Italian singers to the style of the work at hand. In a score as late as Forza, they would (given a "full-stop"] make up their own cadenzas. But as early as Trovatore, faced with forward-looking experiments in music-drama like Azucenafs racconto, they would refrain from any extrane- ous addition. In the final Shakespeare operas, ornamentation appears only at the stock cadence of "Ora e per sempre" and in Maurel's "concert ending" for his encores of "Quand'ero paggio."

The upshot is that as long as Verdi sent the traditional signals, the older artists responded in the traditional way, and that when he ceased to do so, the artists understood and followed his new lead. This was their attitude toward later composers as well: Puccini rarely sends the traditional cadence-signals, but where he does (as in "Recondita armonia" or "Donna non vidi mai"), recordings show that a fair number of singers thought ornamentation an appropriate response. Many of the older tenors decorated Turiddu's music with additional gruppetti in the siciliana or leading into the reprise of the brindisi (at the final cadence of which young Caruso sings a flourish up to top C).

32The soprano Clara Novello, for instance, reports (and en- dorses) simplification of roulade by Giorgio Ronconi (Ver- di's first Nabucco) in the early 1840s. See Mackenzie- Grieve, Clara Novello (London, 19551, p. 121.

Performance practice and composer's intent. What in fact were Verdi's own opinions on embellishment? There appears to be little evidence of them, but that scarcity is itself informative. Unless, against all expectation and likelihood, soloistic liberty was more extensive in the early twentieth century than in the middle of the nineteenth, Verdi heard the kind of ornamentation Battistini and De Lucia practiced, or more, as a matter of course. He was quick to voice his views on matters of performance that concerned him: he objects strenuously to cuts, substitutions and (eventually] transpositions-and most of all to routine, under-prepared, or weakly cast performances. But in his hundreds of published letters there is very little about ornamentation.

Occasionally there are more or less specific objections. His diatribe against the "massa- cred" aid^^^ in Rome includes the complaint that "not only was the romanza ["Celeste Aida" or "0patria mia"] transposed, but several mea- sures in it were changed." These changes may have represented further (or compensatory) adjustment of tessitura, or the provision of more convenient breathing places for Nicolini (no longer young]-or they may have been orna-mentation of some kind.

Ornamentation of some kind was also probably behind his comment on Maria Malibran: "sometimes marvelous, but sometimes in bad taste,"34 and his distrust of Sophie Cruvelli as one of "these caricatures of Malibran who have only her oddities without any of her g e n i ~ s . " ~ " Certainly Jenny Lind's embellishment seemed excessive to Verdi's protege Emmanuele Muzio (who nevertheless thought Lind "a marvelous artist in every sense of the word"]: "She has an incomparable agility-indeed she is apt to show off her technique in fiorature and gruppetti and trills, the sort of thing which people liked in the

33Letter of 25 March 1875 to Giulio Ricordi, transl. in Hans Busch, Verdi's Aida: The History of an Opera in Letters and Documents (Minneapolis, 1978), p. 380. 34Letter of 27 December 1877 to Opprandino Arrivabene, in Verdi intimo: Carteggio di Verdi con il Conte Opprandino Arrivabene (1861-18861, ed. Annibale Alberti (Verona, 19311, p. 205. 35Letter to Brenna of 5 October 1850, in G. Morazzeni, Verdi: Lettere inedite (Milan, 19291, pp. 31-32; quoted In Budden I, 482.

--

last century, but not in 1847."36 This certainly squares with the image of a Verdi who was "content to hear simply and exactly what is ~ r i t t e n . " ~ 'At face value, it supports the approach of such conductors as Abbado and Muti: no variants, no interpolations, no cuts.

But nothing can be taken at face value when description of performance practice is in question. If Jenny Lind truly approximated the fashion "people liked in the last century" (Angelica Catalani's fashion, for instance), then a comment on her overgracing in Verdi has little or no relevance for a De Lucia. Even if Lind did no more than is preserved in the tasteful renditions transcribed toward the end of her career (long after its dazzling operatic phase), then she was much more decorative than the singers of the early recorded era.38 By contrast, Verdi might very possibly have thought Battistini's orna-ments simple and legitimate inflective devices, like accents or crescendos, well within the bounds of "simply and exactly what is written." It is also possible that he would have made a dis- tinction between the earlier operas and the later ones: the "simply and exactly" letter dates from 1871, the year of Aida, and it mentions Forza. The traditional harmonic and melodic signals for embellishment, obscure to us but obviously clear to the singers, must have been for Verdi part of "what is written."

Among the many anecdotes and reports of Verdi's dealings with his interpreters there is much to suggest a willingness to recognize soloistic prerogative. Although he came to insist on absolute authority for a "single controlling intelligence," he never seemed to envisage the exercise of this power to suppress all departures from the printed page. Throughout his career he was ready to make, or to let others make, puntature in parts whose range did not suit that of the singer engaged for them.3y At the height of his

36Letter to Antonio Barezzi of 16 june 1847, in L. A. Gari- baldi, Giuseppe Verdi nelle lettere di Ernrnanuele Muzio ad Antonio Barezzi (Milan, 19341, pp. 325-27; quoted in Bud- denI, 317. 37Letter of 11 April 1871 to Giulio Ricordi; trans. in Busch, p. 150. %ee Otto Goldschmidt's appendix to W. S. Rockstro, Ienny Llnd (New York, 1894). 39Verdi readily proposed a puntatura as an alternative to transposing "Celeste Aida," and told Ricordi in 1881 he

fame he demanded and got unprecedented au- FkzTCHFIELDthority for the premiere of Don Carlos, yet was Verdi flexible enough to expend considerable effort on ornamentation

adapting the role of Eboli for the voice, higher than anticipated, of its first interpreter. He even provided a cadenza (which he did not publish) for "0 don fatal," and later approved modifica- tions, and suggested more, when a mezzo- soprano did eventually sing it.40 When conduc- torial authority along modern lines began to be asserted in Italy, Verdi wrote:

If things are as you say, it is better to return to the modest conductors of earlier times. . . . When I began scandalizing the musical world with my sins, there was the calamity of the prima donnas' "rondos"; today there is the tyranny of the conductors! Bad, bad! But the first is the lesser evil!!41

Nor did Verdi always condemn intentional alterations for expressive purposes, the famous denunciation of "creators" notwithstanding. Ricci reports that in Don Carlo he allowed baritone Antonio Cotogni to sing a phrase written pianissimo at top volume "as if exploding" with emotion. (Cotogni also introduced variant cadenzas as rod rig^.^^) Maurel is supposed to have won Verdi's approval for a striking rhythmic change in Rigoletto: "You have done something psychological, Maurel. When Rigoletto was written, our singers had nothing-well, psycho-logical in them."43 The baritone Alexander Sved

would be happy to remove Fiesco's high notes as long as he could get a bass with a good low F. 40See Andrew Porter, "A note on Princess Eboli," Musical Times 113 (19721, 750; and Frank V. DeBellis and Federico Ghisi, "Alcune lettere inedite sul Don Carlos dal carteggio Verdi-Mazzucato," in Atti del II" congress0 internazionale di studi verdiani (Parma, 1971), pp. 531-41. 41Verdi to Giulio Ricordi, 18 March 1899, in Franco Abbiati, Giuseppe Verdi, vol. IV (Milan, 19591, p. 367. The particular conductor in question was Arturo Toscanini. 4 2 R i ~ ~ i ,11, 11. 43Algemon St. John-Brenon, "Giuseppe Verdi," Musical Quarterly 2 (19161, 1 3 M 2 . This account (p. 139) is compli- cated by the fact that i t is almost impossible to imagine an alteration of the sort described ("an effective change in the rhythm," without "changing a word or a note") in the first phrase of the cabaletta "Si, vendetta." Furthermore, the author asserts that Maurel's alteration "is now traditional;" no alteration of this particular spot has come to light. Maurel's unusually slow tempo for the passage was the sub- ject of some debate on the occasion of his Roman performances of 1883 (see Verdi intimo, pp. 301-02): could this be what is meant?

19T~ claimed, on Tullio Serafin's authority, that MUSIC Verdi had sanctioned replacement of the florid

"Alla vita" cadenza with a syllabic ac-cording to the tenor Giovanni Martinelli, Tos- canini said that the composer had not objected to interpolated B ~ Sin Manrico's serenade and aria (see exs. 70, 153).45

Another anecdote, recounted by Martinelli among others, has the composer approving the celebrated high Cs of "Di quella pira" with the caveat that "they had better be good." A surer indication of Verdi's attitude is found in his be- havior when next he came to write for the ap- parent perpetrator of the crime, Enrico Tam- berlik. The occasion was the premiere of Forza at St. Petersburg, and for Tamberlik Verdi composed another martial C-major cabaletta with chorus, this time writing in the high C himself. Furthermore, when he came to prepare the score for publication and other performances, he did exactly the practical thing so often con- demned as an enormity in Trovatore: he transposed the cabaletta into ~ b ,not because the muses had urged another key sequence on him, but because "nobody will be able to sing what was written for Tamberlik."46 So much for "Di quella pira"! The ghost of Verdi, insofar as we can perceive him, frowns disapproval not on the vainglorious tenor but on the officious purist who stands between him and the desired effect of his cabaletta.

Interesting light on the "simply and exactly" question is shed by the composer's radically stringent proposal in 1847 of a contract forbid- ding "any insertions, any mutilations, any low- ering or raising of keys, in short, any alteration which requires the smallest change in the or- chestra part."47 The clause in (my) italics prompts a number of observations. First, Verdi did not always feel so strongly about this: both Abigaille's cabaletta in Nabucco and Alfredo's in Traviata contain alternate vocal readings that would create ugly clashes unless the dou-

44See accompanying booklet to Metropolitan Opera's reissue of their 1943 Ballo broadcast with Sved. 45Martinelli, "Singing Verdi," Musical America, March 1963,pp. 1&15,4< -46Letter to Tito Ricordi of April 1863, in Abbiati 11, 732. 47Letter of 20 May 1847 to Giulio Ricordi (Icopialettere, pp. 37-40].

b l ing~were revised to match. More to the point is the implication that even at his most inflexi- ble Verdi could accept changes which did not re-quire orchestral adjustment. The kind of ornamentation we have been discussing, with few exceptions, does not. Indeed Verdi's instrumen- tation seems at times to provide for it explicitly. Very often, especially in the early operas, orchestral doubling of the voice is suddenly re- moved at the last member of a florid sequence, as the line moves toward its cadence. From among many examples one might cite the descent from top A in Abigaille's cantabile, the scales that close each stanza of "Sempre liberalU and the fioratura which follows the syncopated top notes in the coda of the same aria. Surely elaboration was anticipated. Even after half a century of reform it was still common in the Traviata aria (exs. 180, 181); a similar and similarly treated passage occurs in Ernani (exs. 83, 84).48

We also know that Verdi was perfectly ready to write "senza le solite appoggiature" when he wanted blunt phrase-endings in recitative for special effect. Given the prevalence of the convention we have been detailing, he could hardly have hesitated, had he wished, to emulate Beethoven's "non si fa una cadenza." And on at least one occasion he did so: Budden describes a score of Macbeth in which Verdi wrote at the beginning of the murder duet "Gli artisti sono pregati di non fare le solite ~ a d e n z e . " ~ ~ Budden takes this to be a safety precaution ("No cadences are in fact written; but Verdi wanted to make sure"), but here is another case where fa- miliarity with period practice suggests a different interpretation. The prohibition of appoggiaturas also strikes Budden as over-cautious, but i t was not: as we have seen, singers were still quite ready to add unwritten appoggiaturas if the line in question seemed to want them. Ver- di's instruction was practical and necessary pre-

48Sembrich's variant in this example may be seen as a facilitation-that is, a way of getting around the low ~b-but whatever its origin, the result is clearly used in an ornamental way. This is confirmed by the records (e.g., Selma Kurz's, Grammophon 053354; and Rosa Raisa's, Vocalion 70039) where the BL is sung with no trouble the first time, and Sem- brich's variant or one like it employed as a repeat decoration.

49BuddenI, 506fn.

a-gl'im - pe - ti- d'a-mo~

Example vii: from I Lombard

cisely because the appoggiaturas, like the cadenzas, were "usual." In the dramatic and novel Macbeth duet, he wished to suspend a convention which usually obtained, and which he usually saw no pressing reason to oppose. It is the exception that proves the rule.

It is thus hard to imagine that Verdi opposed the ornamentation of internal cadences. It is even less likely that elaborations and/or substitutions at the final cadenza dsturbed him. He must have heard them constantly, but although he came to invite them less and less, there is no evidence that he found them inappropriate where he had done so. (The argument could be raised that some of the substitutes transcribed here are dull and trivial, but that is another matter.)

Finally, in the early arias which end with "nominal" cadenzas, the fermata or ad libitum indication clearly signifies not the stretch of tempo most performers take it to mean today, but that a cadenza of the singer's devising was expected. It went without saying: that conclusion is inescapable when one considers the arietta "L'abandonee," composed in the early years of Verdi's career for Giuseppina Strepponi. It is the merest display piece: arpeggio, staccato, "qualche trillo, qualche scala ascendente cre- dendo di imitare l ' u s i gn~o lo . "~~ Strepponi and everyone else would have concluded it with a cadenza in the spirit of the piece. Yet over the final V7 chord Verdi writes a four-note cadential commonplace, and above this he instructs not "cadenza ad lib." but simply "a piacere."

Why would Verdi write out a cadenza for some arias and leave others with a nominal cadence? Unfamiliarity with the particular performer's style? Confidence in i t? Haste? The

50Verdi's description of the sort of salon/display-piece he did not like to write (letter of 1871 to Opprandino Arrivabene, Copialettere p. 620). The arietta itself is reprinted in Frank Walker, " 'L'abandonee,' a forgotten song," Bollettino qua- drimestrale dell'istituto d studi verdiani 1 (1960), no. 2, pp. 785-89 and 1069-76.

A A WILL CRUTCHFIELD Verdi

le veux, leveuxta mort, le vrux- ta mort Ornamentation

Example viii: from Ierusalemsl

singer's status? (It seems to have been a special token of respect for a composer to give a prima donna tailor-made cadenzas or ornaments. Donizetti and Rossini did it constantly; Verdi did it at least for Gueymard and just possibly also for Patti. Perhaps he felt it was an obligatory courtesy for the sopranos of his premieres, while the men could be left to shift for themselves if need be.) One possibility, that for some reason Verdi felt the arias in question should end without cadenzas, can be ruled out. In I Lombardi, the first-act bass cantabile is left to end "nominally." But in [erusalem (where the piece appears transposed a tone lower), an im- pressive cadenza is written to fill the gap (exs. vii-viii).

Recorded singers known to Verdi. All the foregoing is consistent with what we can glean from recordings by singers whose paths crossed the composer's. Of the singers cited in this article, seven worked with Verdi on roles they sang in premieres:j2 Tamagno (Otello, Don Carlo 11884 version], Adorno in Boccanegra 11881 version]; exs. 70, 75, 105, 171, 176, 177)) Maurel (Iago in Otello, Falstaff, Boccanegra 11881 version]; exs. 77, 172)) Navarrini (Lo- dovico in Otello, Grand Inquisitor in Don Carlo 11884 version]; exs. 73, 118, 204), Pini-Corsi (Ford in Falstaff; exs. 196, 205)) De Reszke (Fiesco in Boccanegra 11881 version]; ex. 1 l ) , Garbin (Fenton in Falstaff; exs. 156, 157), and Arimondi (Pistol in Falstaff; exs. 119, 202). Sev- eral others are widely said to have been admired

51The text of the cadenza is shown here as Verdi first wrote it. Later, perhaps advised that the word "veux" was no good for a high note, he scribbled in the autograph an incomplete replacement which the published score resolves unconvinc- ingly. Thanks are due to Martin Chusid and the American Institute of Verdi Studies for permission to consult the Insti- tute's microfilms of this and other autographs. 52The first four made records from the operas (and the first two from the actual roles) they sang with Verdi. De Reszke's aria is from Ernani; it was his performance in an Ernani re- vival that apparently persuaded Verdi to accept him for Boc- canegra [see Budden 11,267).

I ~ T H by him, among them Battistini (numerous ex- CENTURY

MUSIC amples throughout], Nordica (exs. 27, 109, 178, 179) and Bellincioni (exs. 43, 1 1 1, 158, 160). In the case of Bellincioni, who was the first San- tuzza and Fedora, the opera in which she impressed Verdi is both known and represented in her slender legacy for the gramophone: Tra- viata. This recording is highly typical of the style observed in the earliest generation of Ver- dians-frequent and pronounced rubato, phrasing and articulation based on generous portamento, ornamentation of a melodic repeat and of an internal cadence, and an extended cadenza at the end.

Of course, the performance on the record is not the one Verdi heard, and Verdi did not give his views on her ornamentation. On the other hand, it is most unlikely that he heard her sing less decoratively: it was after the performance and before the record that she "broke away from every outmoded tradition of the lyric stage, abandoning [herlself to recitar cantando."j3 His praise would seem to indicate at the least that he found in her style no blemish so marked as to be disqualifying (which could also be said of the artists engaged for the premieres).

The singer for whom Verdi's admiration is most persuasively documented, excluded until now because her few records include none of his music, is Adelina Patti, "Queen of Song" for some forty years throughout the civilized world. She is particularly important because she is the only singer recorded to any significant extent who belongs to the operatic world of Ver- di's middle period. Patti sang Rigoletto, Trova- tore, and Traviata in the world's great musical centers within a decade of their composition.

Traviata is one of the operas in which Verdi's admiration for her-keen, deep, and long- lasting-is documented. As with Bellincioni, we do not know his thoughts on the minutiae of her ornamentation. But he praises in her-in implied contrast to the more extravagantly florid Malibran-"the purest style of singing."54 To Giulio Ricordi he writes of her "marvelous execution" without a qualifying expression of

j3Gemma Bellincioni, lo ed il paloscenico (Milan, 1920), quoted in J. B. Richards, "Gemma Bellincioni," Record Col- lector 16, nos. 9-10 (January 19661, 199-219. j4Letter of 27 December 1877 to Arrivabene, in Alberti, p. 205.

regret over the uses to which it was put-and since he saw her in Rigoletto, Sonnambula, and Barbiere, it is certain that he heard her most elaborate flights of fancy.j5 In the same letter, he specifically singles out her "Ah, fors'k lui" as "an incomparable performance." Over fifteen years later, at the time of her last operatic appearances, the composer came once again to hear Patti's Violetta and to voice his admiration. "It appears he said to Bevignani that my phrasing was too touching for words and that I sang divinely," the diva wrote to Hermann Klein in 1893.j6

All this lends particular interest to the sur- viving scraps of information about her ornamentation, especially in this role. From H. Sutherland Edwards we learn that "In Mme. Patti's Violetta there is always something new to be observed, [including] new ornamentation in the cadences of the principal airs."j7 Klein reports that she ended the cabaletta with the long (unwritten) leading-tone trill heard in the records of Melba, Lilli Lehmann, and others (ex. 182).j8An interpolation made by the German soprano Margarethe Siems (the first Marschal- lin) has been included here (ex. 200) mainly because Ricci attributes a similar one to Patti.j9

But the best documentation of Patti's style is found in the pair of Bellini arias she recorded in

j5Letter of 5 October 1877 to Giulio Ricordi, in Busch, pp. 406-08. See also p. 410, fn. 3, for discussion of a cadenza to "Opatria mia" sung by Patti in New York ( 1883), which (the management claimed on Patti's behalf] was written by Verdi expressly for her. The idea is not as preposterous as it may seem when one realizes that Verdi apparently wrote a cadenza for "0don fatal" without intending it as a part of the published score. j6Patti's letter of 20 January 1893 to Hermann Klein, in Klein, The Reign of Patti (New York, 1920), p. 313. Against this must be set the unenthusiastic account of Patti's late Traviata performances left by Verdi's protege Emmanuele Muzio (Carteggi Verdiani IV, ed. A. Luzio [Rome, 19471, p. 2231. Interestingly, Muzio notes that "the cadenza [of 'Ah, fors'e lui'] was good and simple: it was little applauded, because the public expected a tour de force." Apparently it was all right by Verdi's most enthusiastic supporter for Patti to have her own Traviata cadenza; obviously it was normal for the public to expect her to have one (of a different sort). Mu- zio makes special mention of the fact that she sang only one verse of "Addio del passato"; some sopranos must still have been singing both in 1886. j7H. Sutherland Edwards, The Prima Donna: Her History and Surroundings from the Seventeenth to the Nineteenth Century, vol. I1 (London, 1888), p. 120. j8Klein, p. 287. j9Ricci, I, 83.

1906. These take careful listening: few voices are still functional after fifty years of hard public useI6O and other aging singers have shown more skill than she at disguising the inevitable weaknesses. (Patti, after all, could not listen to herself as her successors have been able to do.) Still, much remains, and what we hear in "Ah, non credea mirarti" and "Casta diva" is entirely consistent with the style of the earliest Verdian singers we have discussed: full-scale elaboration of a strophic repeat, ornaments of various kinds, especially at major internal cadences, and a highly inflected vocal line with trills, por- tamenti, and generous rubato. Clearly, it is possible to say with confidence that Verdi could hear the kind of singing documented here without feeling that any transgression worthy of note had occurred.

The idea of the composer and his score as the only legitimate authorities in matters of interpretation has been around for many years. It has been increasingly accepted both in theory and (with some time-lag and misunderstanding) in practice. Yet i t ought not to be given uncritical endorsement as one of music's absolutes: an opera can never be a completed product in the sense that a painting or a novel is. The performance is an ever-changing ingredient, and the performer's creative role is essential to the vitality of the re-creative process on which the art-form depends.

It is essential, too, in its capacity to nourish and stimulate the compositional art i t serves. In this sense, a composer is not strictly the sole author of his music. La Traviata is not only by Verdi, but by the institution of Italian opera, by the conventions and traditions of Italian singing. These inspired Verdi, and contributed much to his music, not only in form but in sub- stance. They have a claim on the conscientious performer's attention complementary to the composer's own. The no-cuts-and-come-scritto

MPatti's career actually began at the age of seven with extensive child-prodigy tours of the United States; her operatic debut came at the age of sixteen. In that first season she sang sixteen leading roles in New York, and at eighteen began her reign at Covent Garden, where Verdi first heard her. When she made her Bellini recordings (G&T 03082 and 03084) she had been before the public for fifty-six years.

approach favored in some quarters begs impor- WILL CRUTCHFIELDtant questions to an unacceptable degree, and Verdi

the phonographic evidence can aid attempts to Ornamentation

address them. For instance, to take an example outside the

category of embellishment, few who have heard the old discs will disagree that we tolerate an unjustifiable neglect of piano singing nowa- days. Certainly, at least in the early operas, the nominal cadenzas require elaboration, and singers who wish to grace the major internal cadences should be encouraged to do so. The two- note realization of the acciaccatura ought at least to be tried. No singer should be barred from roles like Leonora, Azucena, Henri, or Stankar for lack of the odd extreme note.

This is not to say that period practice, as represented on records, should be adopted uncriti- cally. Although many departures from the written notation are purposeful and artistic, there is occasional evidence too of the sloppiness and exhibitionism that prompted reform. Nor are all the purposeful changes well judged: the smoothing-out seen in exs. 185, 190, and 194, for instance, erases one of the most typical fingerprints of Verdi's highly charged youthful style. And while the added appoggiaturas in exs. 2 0 4 4 7 make little difference one way or the other, the one in ex. 202 surely betrays a failure of perception.

On several other issues (updating of florid cadenzas, interpretation of rests and slurs, interpolations in the later operas, and so on), i t is best to take an equivocal stance. But that is all to the good, since i t implies experimentation, variety, and choice: an antidote to the growing, depress- ing tendency for musical interpretations to resemble one another. Cabalettas can be sung and ornamented in one performance and omitted in favor of verism at another. One production can be staged to discourage mid-scene applause and another to rekindle the electric interaction between stage and audience that was such a vital part of Verdi's operatic life. One Violetta can evoke the forward-looking psychological penetration of her scena and another the elemental thrill of the vocal/musical traditions out of which it sprang. Verdi's richness is revealed most fully by the capacity of these operas to bear and respond to the most various, creative and strong interpretations, to yield unguessed secrets to successive genera- tions of interpreters.

19

19TH T h e rub comes when certain kinds of interpre- CENTURY

MUSIC tations, certain ways of approaching t h e execu- tant's task, come to have such dominance that other valid perspectives are obscured. It is i n just such cases that w e can usefully follow Verdi's m a x i m : "torniamo all'antico: sara un pro- gress~."C. S . Lewis pu t i t well i n advising stu- dents of theology t o spend more time, o n t h e whole, wi th old books than with new:

Musical E

A Note on t he Musical Examples. The obvious problem of transcribing recorded performances is how, and in how much detail, to notate what one hears. Rhythmic subdivisions within an ad l ib i t um passage can be perceived in various ways. Many important aspects of dynamic shading, accentuation and rubato can be indicated only approximately. At times un- clear execution or a burst of surface noise can throw even the sequence of pitches into question.

For the present examples I have taken my cues where possible from Verdi's own notational and in- structional conventions and have not tried to specify the subtler dynamic and rhythmic nuances. Dy- namics have in fact not been indicated at all unless contrasts of volume are used for particular effect within the passage transcribed. Nor have fermatas, accents, crescendos and the like been written over every note that could arguably bear them, although when the devices that might call for such markings have seemed to me particularly prominent, the markings have been used. Portamento, when clearly audible at normal playing speed, is indicated by a slur mark; the slur is therefore no t used in its conven- tional function of joining notes which share a syllable. No attempt has been made to distinguish between slight and pronounced portamento (a t resolutions to the tonic in particular the voice will almost always settle firmly on the pitch of arrival before reaching the beat or beginning the syllable on which it stands]. No attempt has been made to specify exactly how long a final note is held over the tonic strum of postlude. For convenience, examples are given in original keys even when they may have been sung in transposition. * Readers will understand that

"'Uma fatale" from Forza is shown in its pre-revision key of F major, which seems for some reason to have remained standard in Italy for some time (several recordings appear to play at that speed, and Ricci gives his cadenzas for the aria in F).Some scores of the revised opera print the cantabile in F and the cabaletta in E, but Battistini (who includes the tran- sitional recitative) sings both in the same key. Recordings contribute a drop here and there to our knowledge of the status of Verdi's revised scores in the early twentieth century. Don Carlo's "10 la vidi," for instance, was recorded both from the four-act and five-act versions; more surprisingly, Giovanni Gravina's 1902 "I1 lacerato spirito" (G&T 52367) follows the 1857 rather than the 1881 Boccanegra score.

Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mis-takes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not ,I;CT~endanger us.61 g!,-A,#.,.q

'jlC. S. Lewis, introduction to a translation of St. Athana- sius's Incarnation (New York, 1946).

all of these things could be notated in various ways, and that nothing is claimed for my solutions except that they will be found plausible by those who have access to the records and convenient by those who do not.

The examples are grouped according to the division of topics in the discussion section; obviously some items are relevant under more than one topic, and in somes cases there is some question as to which category is the appropriate one. (Is ex. 180 an ornament or a facilitation? Should ex.143 be inter- preted as a melodic variant or the embellishment of an internal cadence?) Each example (or group of examples, in the case of multiple variants) is preceded by Verdi's notation of the passage (as found in the Ri- cordi piano-vocal scores). Attribution is by artist's last name only; further details are provided in the ta- bles.

Many of the embellishments shown are shared by artists other than the ones to whose records I have as- cribed them here; it is impractical to attempt a listing of these. Comprehensiveness would be impossible (ex. 157 is shared in one form or another not only by the singers shown in exs. 16Cb62, but by Arnoldson, Arral, Barrientos, Bori [Edison], Bram- billa, Chalia, Ciaparelli, Garden, Huguet, Naval, Nezhdanova, Pacini, Sembrich, Siems, Zenatello, and no doubt dozens of others as well); so would a confident declaration that any of the more idiosyncratic variants is unique. (Several of them certainly seem to be, but ex. 65 turns out to be shared by the tenor Oxilia!) In the case of these shared variants it has also proved impossible to develop a satisfactory, consistent policy for deciding what singer to name. Should an ornament be cited from its earliest known appearance on records, or from the earliest singer to have employed it, or from the artist most closely as- sociated with the role, or with Verdi, or with a pre- phonographic Verdian interpreter. . . and so on. All these considerations have influenced choices at one point or another, but in the final analysis there has been no system, and consequently little if anything should be inferred from the relative prominence of this singer or that in the transcriptions.

In several of the "full-stop" cadenzas, the A sec-tion (unvaried] is not shown.

WILL CRUTCHFIELD VerdiFinal Cadenzas ("Full-Stop") Ornamentation

Nabucco: "Dio di giuda" (complete cadenza shown)

a - d o - r a r - - - ti o - gnorsa-pro

Ex. 1: Stracciari

a - do - rar - - ti o - gnor a - do-rar-ti

a-do-rar - t h -gno r sa - pro

Ernani: "Come rugiada" (complete cadenza shown)

Ud'af-fan - no iomo - ri - ro

Ex. 2: De Lucia A

. .iomo-rl-roper te,- per te, per teio mo-ri - ro

Ex. 3: Caffetto

Ex. 4: Scampini

d'af-fan - no, d'af-fan-no, d'af-fan-nomo-ri - ro

Ernani: "Emani involami" (complete cadenza shown)

. . , . I_ ~ - - -~ ~

d - den que &an-trLa A e

Ex. 5: Sembrich

un'e . . . . . . . . . den dide-li -zia,

a h , que gl'an - tri a me

Ex. 6: Caligaris

U .n'e . . . . . . . den que - gl'an

Ex. 7 : Talexis h

u - n'e-(ah) den que-gl'an-tri a me

Ex. 8: Gabbi

u-n'e - den di de-li - zia ah si, que-gl'an-tri a me

19TH CENTURY

MUSIC

Ernani: "Da quel di" (C shown)

' del tuo re

Ex. 9:Corsi / Battistini

d e l tuo re

Ex. 10: Boninsegna / Cigada

d e l tuo re

Ernani: "Infelice, e tu credevi" (complete cadenza shown)

an-co - - - . . .

Ex. 11: De Reszke

--

ra an-co-rajl cor

mi- d o - v e - v a n g l i a n - n i a l - m e - n o fardi

Ex. 12: Chaliapin m

an.co - . - - . . . - . . rail cor,

a n - c o - rajlxor, an-co -raj l cor

Ex. 13: Lanzoni

m i do-ve-van gl'an--1-me-no far dl- ge - lo

a n - c o - - ra 11 cor

Ernani: "Lo vedremo" (complete solo cadenza shown) [A is begun in the interjected lines of another character1

sce-gli, al-tro scam - po no,

no, no, no, non v'e

Ex. 14: Battistini

sce-gli, al-tro scam-po, al-tro scam-popiu non v'e, ah no,

ge-lo- co-rajl cor, far & ge-lo an-co-ra il cor no al-tro scam-po piunon v'e

Emani : "0 de'verd'anni miei" [complete cadenza shown)

a piacere -

il no -me mio fa - ro

Ex. 15: Battistini lpresto)

no - - . - . - - . me mio, .

Ex. 16:Kaschmann

e vin - ci - tor- de' se - co - li il no - me-

mi - o, il no - memio fa - ro

I d u e Foscari: "0 vecchio cor" (complete cadenza shown)

pian - g~,-pian - gipur tu

Ex. 17: Corradetti C h

J i"

fj?%eer* br P - -5G 7 7 - I U - - I - , -, , ,I ! F

plan - gi,-pian-gi, pian - gipur tu

Ex. 18: Amato

pian . - - - - - . - g ~ , pian - gl,

pian - gi pur tu

I d u e Foscari: "Questa dunque 6 l'iniquo WILL mercede" (Band C shown1 CRUTCHFIELD

Verdi Ornamentation

Ex. 19: Corradetti

deh, ren-de - te,ren-de - te il fi - glioa me,

Ex. 20: Bonini

Ah,- si, ren-de-te, ren-de-tell fi-glio a me

Macbeth: "Pieta, ris~etto. onore" (complete cadenza shown'] P c lrgatc

A

sol-la be-stem-m~ajlhi las-so la ne - - nia,

Ex. 21: Battistini A lpresto)

sollabe-stem-mia_ahilas-solane - - - -

nia, lane-nia tua sa - ra

19TH Luisa Miller: "Quando le sere a1 placido" Ex. 25: Caruso CENTURY (B and C shown)

MUSIC

in s u o - n m - g e - li-co "t'a-mo" dl-ce - a

' r' no, non in-vi-dl6 per- te" ahmi tra-di - a, mi tra-di - - a

Ex. 22: De Lucia Ex. 26:Constantino

e. non ~n-vi-dio per te in suo-no-an-ge-li-co "a-mo te so-lo" ah mi tra-di-a-ahi-

" me, ahi-me, tu mi-tra-di - a Trovatore: "Tacea la notte"

(complete cadenza shown)

Rigoletto: "Parmi veder le lagrime" [ter-) ra un _ clel- sem - bro (B and C shown)

dolclss

Ex. 27: Nordica

ah! non- in-vi-dio per te

Ex. 23: Albani

le sfe - r u - m - g e - l i , le sfe-ru-gbn-ge-li , sem - bro

Ex. 28: Chelotti

Li no, no, no, non in-vi-dlo per te

(terra un) ciel la t e r - run ciel sem - bro

Ex. 24: Anselmi n I====- Ex. 29: Ciaparelli

[terra un) ciel ah si,

non in-vi-die- p e r te

24

- -

Ex. 30: Burzio Ex. 34: De Bassini WILL

[un) ciel, un ciel sem-bro later - r w r i e l sem - bro

Ex. 31: Mazzoleni

un ciel sem - bro

Trovatore: "I1 balen del suo sorriso" (complete cadenza shown)

- la tgm-pe-sta del mio cor

Ex. 32: Campanari

sper-dajl so-le d'un suo s p a r - do l

n

a tem-pe -

sta, la tem-pe-sta del mio cor

Ex. 33: Corradetti

A CRUTCHFIELD Verdi Ornamentation

l a del mio cor (sic) la tem-pe-sta del mio-cor

Trovatore: "Ah, si, ben mio" (B and C shown)

e so-1Qincielpre-ce - der-ti lamor-tea me-

p a r - ra, la mor - te-axme par - ra

Ex. 35: Albani

e so-lojn cielpre-ce-der-ti la mor-te-a me

m- A

par-ra, la mor-te, lamor-tegme par - ra

Ex. 36: Biel

e so-1Qin ciel preder-ti la mor-teg m 7

e par-ra,

la mor - te, la mor-te a m e p a r - ra

Ex. 37: Signorini

sperdGlso-led'unsuo sguardo la tern-pe-stadelmioco-re, e so-1Qin cielre-ce-der-ti lamor-teg m e p a r - r a ,

ula tern-pe - sta- del-mio cor la mor - te, lamor-teg me par - ra

25

CENTURY MUSIC

Ex. 38: Caruso

e so-lojn cielpre-ce - der-ti lamor-te-a me-

par-ra la mor - te-ame, a me par - rh

Ex. 39: Gilion

eso- l~ inc ie lpre-ce- der - ti l a m o r - t ~me-

- par-ra, la mor-te, lamor-te-amepar - ra

Trovatore: "D'amor sull'ali rosee" (complete cadenza shown)

- - . - . . - -ne

Ex. 40: Tetrazzini h

del cor

cor, ah si, le pe - ne del cor, ah-

del cor

Ex. 41: Raisa h

- ah,- non dir - gli le pe - ne, le pe -

-=>

ne del mio _ cor

Ex. 42:Corsi

-

Ah,- si,- le- pe -ne, ah,

.,del co-re, ah, si, le pe-ne del COI

Traviata: "Ah, fors'e lui" (complete cadenza shown)

ah! de - 11-zia-a1 cor

Ex. 43: Bellincioni

Ex. 44: Sembrich

ah c r o c w de-11

zia-a1 cor, cro - - - - ce-ede-li - zia a1 cor

Ex. 45: Tetrazzini

---- si, cro-tee de-li - zia, d e - l i - z i ~ l c o - re,

-cro-cce de-li -zia a 1 cor

Ex. 46: Melba

a1 cor

Ex. 47: Pacini

dF - li-zia-a1 cor, - de-li - zia-al- cor

Ex. 48: Huguet

d a1 cor

Ex. 49: Brambilla WILL CRUTCHFIELD Verdi Ornamentation

a 1 cor

Traviata: "De' miei bollenti spiriti" (complete cadenza shown)

...im-me-mo-re io vi-vo qua-sfin ciel, - ah si, io vi

vo q u a - s ~ n cie - lo, io vi-vo qua - s u n ciel

Ex. 50: De Lucia

...im-me-mo-re io- vi - vojnciel, in cie - lo,

io vi-vQin cie-lo, ah, in ciel

Traviata: "Di provenza il mar" (complete cadenza shown)

ma, ma, _swl-fin ti t r o -vw-co r , ti tro-vun-cor

Ex. 51: Battistin]

ma, -se_al-fin ti tro-vo-an-cor, ti tro-vo-an-cor

Dio m'e sau-di, ah! Dio m'esau - di

19TH Ballo: "Alla vita che t'arride" Ballo: "Ma dall'arido stelo divulsa" CENTURY (complete cadenza shown) (B and C shown)

MUSIC

o-v'ela pa - tria ah!

col suo splen-di-d~av-ve - nir mi-se-re-re-d'un po-ve-ro cor

Ex. 56:BurzioEx. 52:De Bassini

. . Ah Si-gnor-m'a - i - ta-

o-v'e la pa-tria Ah!

" - col suo splen-di-do-av-ve - nir Si -gnor- pie-ti & me, - ah, pie-ti si - gnor

Ex. 53: De Bassini Ballo: "Ma se m'e forza perderti" (complete cadenza shown)

A f ,-A" .PP

o-v'e la pa-tria Ah!

Q-. l'ul-ti - ma- o-radelno-str~a-mor se fos-se l'ul-ti-made1

- col suo splen-di-do-av-ve - nir

no-stro-a-mor

Ex. 54:Battistini Ex. 57: Caruso

o-v'e la pa-tria col suo splen-di-d~av-ve-nix? Col- l'ul-ti - ma, l'ul-ti-ma o-radelno-stro-a-mor co-me se fos-se

n

suo splen-di-do av - ve - nir . . I'ul-ti-ma o-ra del no-strw-mo-re, b-rad'el no-stro a - mor

Ex. 55: Scotti Ex. 58: Gilion .rn

o-v'e la pa-tria, o-v'C la pa-tria col suo splen-di-do-av - l'ul-ti - ma- o-ra del no-str~a-mor se fos-se l'ul - ti-ma

" ve-nix, col suo splen - di - do- av - ve - nir o - radel no -stro a - mor

28

Ex. 59:Vignas Forza: "Pace, pace" (complete cadenza shown)

WILLCRUTCHFIELD Verdi Ornamentation

l'ul - t i - ma o-ra del no-stro_a-mor se fos-se l'ul-ti -in-vanla pa - ce que-st'al - main-van spe - rar

mad'elno-stroa - mor

Ex. 63: Tetrazzini *

Forza: "Urna fatale" (B and C shown)

in-vanla pa - ce que-st'al - - - - ma

micon - ci - to,

-in-van spe - rar

'Before this is dismissed as an anomalous intrusion of "col-

Ex. 60: Battistini (presto]

oratura" practice, i t should be noted that Tetrazzini sang Forza during the early career /not as a coloratura specialist) which brought her name to Verdi's attention, and that the German dramatic soprano Gertrude Kappel sang a somewhat similar cadenza in her 1924 recording of the aria

2- con-ci - to di -sper-sa va - dajlmal-(Grammophon66100).

pensie-ro che-al-l'at-to- in - de-gno micon-ci - to Don Carlo: "Per me giunto" (complete cadenza shown)

Ex. 61 : Magini-Coletti h

mor - raper te

7

mi-con-ci-to ch-1-l'at - t a n - de - - -

Ex. 64: Giraldoni m

gno mi con-ci-to ilpen - sier

mor - raper te

Ex. 62: Bellantoni

con-ci-to ah, an - cor

CENTURY MUSIC

Final cadences without "full-stop"

Rigoletto: "Questa o quella" Rigoletto: "La donna e mobile" con forza

[bel-) ta- se mi- pun - ge- e

Ex. 67: Bonci

di -pen - sier

-- u-na qual-che be1 - ta

e di pen - sier

Ex. 65: De Lucia Ex. 68:Caruso - E r J f

e dipen - sier

-- u-na qual-che be1 - ta

Ex. 69: Caruso (Presto1

Ex. 66: Caruso

Jbel-) ta, ah si, se- mi-

" pun - ge

* /, - --F--+-_*/N.- Trovntore: "Deserto sulla terra"

u -na qual-che be1 - t i

Ex. 70: Tamagno

mag-gioril tro - - - va - tor

Ballo: "Di' t u se fedele" Otello: "Ora e per sempre addio" WILL CRUTCHFIELD Verdi Ornamentation

- -nel-l'a - ni-me no - strenon en - tra ter - ror e que - stojl fin

Ex. 71: Albani Ex. 75: Tamagno

nel-l'a - ni - me no-stre nonen - tra ter - ror e que - stojl fin

Ex. 76: D e Negri Ballo: "Saper vorreste"

la la la la la t r a la

Ex. 72: Tetrazzini m

Falstaff: "Quand'ero paggio" >

va-go leg - ge-rogen-ti - le, gen - ti - le, gen - t~- le

Don Carlo: "Dormiro sol"

Ex. 77: Maurel*

a-morper me non ha

va-go leg - ge-ro gen-ti-le, gen - t l - le, gen - ti - le

Ex. 73: Navarrini

'Maurel sings the aria thrice through /as was his habit in the opera house as well!). The ending is as in the score the first

a-morper me__ non ha time, and as transcribed here thereafter [and the third go- round is in French].

Ex. 74: Luppi

m

a-mor per me _ non ha

19TH CENTURY

MUSIC Internal cadences

Nabucco: "Tu sul labbro" Ernani: "Emani involami"

- sa - ran- que - gl'an-tri a meleg - ge sor - - - - ge - ra

Ex. 82: Wedekind Ex. 78: De Angelis

leg - ge s o r - g e - r a , latualeg-ge- sorge - ra

Ernani: "Emani involami"

Ernani: "Come rugiada a1 cespite" u n E - - - den

' Y . Ex. 83: Sembrich d'a - mor-chemi be - o

Ex. 79: De Lucia u n E . - - - den

Ernani: "Emani involami" d'a - m o r che- m i be - o

Ex. 80: Caffetto que - - gl'an - tri - a- me

Ex. 84: Sembrich

(saran) - que - gl'an- tria me

Emani: "Come rugiada a1 cespite" Ernani: "Da quel di"

2

Ah!gio-ia-e vi-ta

Ex. 81: De Lucia Ex. 85: Battistin] > PP r

hi - - - me!

32

- -

Ex. 86: Parvis Ernani: "0 de'verd'anni miei" WILL CRUTCHFIELD

$-',+ I Verdir..

Ah,-

" . - - a - 8 - , Ornamentat iona : r i

gio - i e vi - ta il no-me mi - o fa - ro

Ernani: "Da quel di"

del tuo re

Ex. 87: Battistini

I ' ' *, ,

A*?* F e ? : d A - 4 ! P tl , -

del tuo re

Ernani: "Lo vedremo"

no, no, non v'e

Ex. 88: Battistini A >

nono, non v'e

Ernani: "0 de'verd'anni miei"

A1 piu su-bli-me tro - no-

Ex. 89: Ancona

Ex. 90: Kaschmann

il no-me mi - o, il no-me mio fa - ro

Ernani: "0 sommo Carlo"

del - le tue ge - - - stej-mi - ta - tor

Ex. 91: Battistini rn V V

del- le tue ges - te i - mi - ta - tor

I due Foscari: "0 vecchio corn

I'a-vel t'a-vra, l'a-vel t'a - vra

Ex. 92: Amato

l'a-vel t'a-vra, l'a - vel t'a - vra

Macbeth: "Pieta, rispetto, onore"

Ex. 93: Battistini h

A1 piusu-bli-me tro - - no

Rigoletto: " E il sol dell'anima"

lane-nia tu-a sa - ra sa - ro per te

Ex. 94: Battistini Ex. 98: De Lucia

lane-n ia tua- sa - ra s a - - - - roper te

Luisa Miller: "Quando le sere a1 placido"

Rigoletto: "Parmi veder le lagrime"

Ex. 95: De Lucia

Ex. 99: De Lucia

in-na-mo - ra - to

cara fan-ciul - la-a - ma-ta

Rigoletto: "Questa o quella" co-0

w de-gl'a-man - ti le sma - rile- de - rl - do

Rigoletto: "Tutte le feste a1 tempio" Tr--,

Ex. 96: De Lucia ==- D

/l'an) - - sla-piu cru - del

U de-gl'a-man-ti le sma - ni - e de - ri-do-

Ex. 100: Boronat

Ex. 97: Anselmi

- ( a h ) si ;el-l'gn-siapiu c;u - del

de-gl'a - man - ti le sma - - nie Ex. 101 : Barrientos

a ternno

u de - - ri - do-

-(l'an) - sia, nel-l'an-sla piu- cru- del

Rigoletto: "La donna e mobile" Trovatore: "I1 balen del suo sorriso" WILL CRUTCHFIELD V e r d ~ Ornamentat ion

-e di pen - s i e ~

nuo-vojnfon - de-a me-co - rag - gio

Ex. 102: Caruso Ex. 106: Pawis

fi

e d i pen - sier nuo-vo_infon-de- in meco - rag - gio

Ex. 107: Corradetti

Rigoletto: "Bella figlia dell'amore"

nuo-vdn-fon - de a me- cor - rag - gio

Ex. 103: Caruso

Trovatore: "Ah, si, ben mio" d

pe-ne, lemie pe-ne-con - so - lar

la mor - te a me par - ra

Trovatore: "Tacea la notte" Ex. 108: De Lucia - PP

un tro-va-tor- can - to

la mor - te a me

Ex. 104: Chelotti

un tro-va-tor- can - to

Trovatore: "Miserere" Trovatore: "Deserto sulla terra"

tutta h dim.

un cor a1 tro-va - tor Tcada) - ver- fred - do- sa - ra

Ex. 105: Tamagno Ex. 109: Nordica

un co - re-. tro - va - tor -(cads) - ver- gia- fred - do sa - ra

19TH Traviata: "Un di, felice" CENTURY

MUSIC

de-11-zia-a1 cor

Ex. 110: Zenatello

de - - li - zia-a1 cor

Traviata: "Ah, fors'e lui"

de-li-zia-a1 cor

Ex. 11 1 : Bellincioni

he - li - zia-a1 cor

Ex. 112: Tetrazzini

-de - li - zia-a1 cor

Traviata: "De' miei bollenti spiriti" -- PPPstent.

" col pla-ci - do sor - ri-so del-l'a-&or, del-l'a - mor

Ex. 113:De Lucia

col pla-ci-do sor - ri-sodel-l'a-mor, del-l'a - mor

36

Traviata: "Pura siccome un angelo"

lie - ti, -lie-ti ne ren - de - va

Ex. 114: Battistini

lie - ti, - lie - ti n e ren - de - va

Traviata: "Pura siccome un angelo"

non vo-gliallvo-stro cor, no, no

Ex. 115: Battistini _=_

non-vo-gliajlvo - strocor, ah, no

Traviata: "Di provenza il mar" ppp rail.,p*

" dio m'e-sau - dl

Ex. 116: Battistini n

diom'e-sau - di

Ex. 121: Scotti WILL CRUTCHFIELD Verdi Ornamentation

del - l'a-mi - co tuo pri - mo- la fe

Ex. 117: De Lucia Ex. 122: Sammarco

del-l'a-mi-co tuo prl - mo l a fe

S i m o n Boccanegra: "11 lacerato spirito" con espress.

re-sa-a1 ful-gor de-gl'an-ge-li, pre-ga, Ma-ria, per me Ballo: "Eri tu"

Ex. 1 18:Navarrini per - du - te! o spe-ran - z e d'a-mor

re-sa-a1 ful-gor de-gl'an-ge-li, pre-ga, Ma-ria, -per me E ~ ,123: ~ ~ ~ t i ~ t i ~ i

S i m o n Boccanegra: "11 lacerato spirito" per-du - te, o s p e - r a n - z e d'a - - - mor

pre-ga per me

Ex. 119: Arimondi (at repeat) Ballo: "Saper vorreste"

pre-ga- per me V

no1 ra - pi - ra gra - do2 be1 - ta

Ex. 124: Tetrazzini Ballo: "Eri tun

del-l'a-mi-co tuo p r ~ - mo la fe no1 ra - pi - ra gra - dos- be1 - ta

Ex. 125: Trentini Ex. 120: Battistini

del - l 'a-m - co tuo p n - mo- la fe no1 ra - pl - ra gra - d o 2 be1 - ta

CENTURY MUSIC

Forza: "Urna fatale" Don Carlo: "Per me giunto"

gno micon - cl - to la - gri - mar, la - gri-mar- co-siL per - che

Ex. 126: Battistini Ex. 130: Battistini

i n - d e - - - gno m i con-ci - to la - gri - mar, la - gri-mar- co - si- per - che

Forza: "Pace, pace" _=-

Aida: "Celeste Aida"

Ex. 127: Boninsegna

-tu di mia vi-ta sei lo splen - dor

pa-cemio Di - - o

Don Carlo: "Carlo, che e sol"

Ex. 131: De Lucia A

" tu dl mia vi-ta sei lo - splen - dor


PPPP

Ex. 128: Kaschmann 33

vi-cl-no21 sol

sa - ria pih de - gno in-ver nol- so- Ex. 132: Caruso

Don Carlo: "Carlo, che e sol" f

-vi - ci - no-a1 sol

[ri-) ve - da,-se tor-ne - ra, se tor-ne-ra, sal-vo- sa ra Aida: "Morir, si pura e bella"

Ex. 129: Kaschmann -

trop-po sei be1 - la

1 - ve - d a , se tor - ne - ra, setor-ne-ra, Ex. 133: Del Papa

sal-vo- sa - ra trop-posei be1 - la

3 8

19T~ CENTURY

MUSIC

Rigoletto: "Caro nome"

ca - ro no - m e tuo- sa - ra

Rigoletto: "Parmi veder le lagrime" c

I I 7' a. -,

r,:,+-- : ., e ,-

:P-" le sfe - re-a-gl'an-ge-li ---

Ex. 141: Brambilla

Ex. 144: De Lucia 3

c a - r o no - me t u o sa - - ra

Rigoletto: "Cortigiani, vil razza"

Rigoletto: " E il sol dell'anima" ri-da - te-a m e la fi - glia

-- (Verdi's repeat)

Ex. 142: De Lucia

Ex. 145: D'Andrade (at repeat) -, $52

E a e £ ~ - - lr

ri-da - te a m e la fi - glia

Rigoletto: "Parmi veder le lagrime" Rigoletto: "La donna e mobile"

e dipen - sie - ro

Ex. 143: De Lucia Ex. 146: De Lucia

e dipen - sie-ro

Trovatore: "Di geloso amor"

" un ac - cen-to pro-fe - ri - sti

Ex. 147: Pacini, C

un ac - cen-to pro - fe - ri - st1

Trovatore: "Stride la vampa"

Ex. 148: Bruno

la te-tra fiam - m a 2

Trovatore: "I1 balen del suo sorriso"

d'un s u o sguar-do

Ex. 149: De Bassini

d'un suo sguar-do


(At "la tempesta," the score gives an oppure choice between an unembellished and an embellished musical repeat of the phrase "nuova infonde a me coraggio.")

WILL CRUTCHFIELD Verdi C h ~ m e n t a t l o n

la- tem - pe-sta del- mlo- cor

Ex. 150: De Bassini -l a tem -

mi - o, del mio- cor

pe - s t a del----

Ex. 151: Pacini, C

l a tem - pe - sta

- delmio cor


le fa-vel - lunmio fa - vo -re

Ex. 152: Corradetti (at repeat)

le fa - vel - lunmio fa - vo - re

19TH Trovatore: "Ah,-si, ben mio" Traviata: "Un di, felice" (melodic repeat) CENTURY _==-

MUSIC . . . - . -

u e so-lojn cielpre - ce-der-ti del - l'u-ni - ver - so

Ex. 153: Gilion (at repeat) Ex. 157: Garbin Ilt.

d e so - lojn ciel-pre - ce-der - ti del - l'u - ni - ver - so

Trovatore: "Miserere"

Traviata: "Ah, fors'e lui"

" de'suoico-lo-rLoc - cul - ti, de'suoico-lo-riioc - cul - ti

Ex. 154: Mieli (at repeat)

Ex. 158: Bellincioni

de'suoi co-lo-riLoc - cul-ti,- desuol co-o-rl oc

Trovatore: "Miserere"

" cul-tidl te,_ dl - te scor - dar-ml

Ex. 159: Pacini Ex. 155: Talexis (at repeat)

, h.,

- etc

- desuolco-lo-rwc - cul - ti di te,_ di- t e scordar-mi

Traviata: "Un di, felice" Traviata: "Ah, fors'e lui" (melodic repeat)'

Ex. 156: Garbin Ex. 160: Bellincioni

d Y -quel-l'a - mor-che-e pal-pl-to ' del - l'u - ni - ver - so

42

.,

Ex. 161: Melba Traviata: "Di provenza il mar" WILL CRUTCHFIELD- con iorzc

' del - I'u - nl - ver - so Dlo m'e sau-di, Dio m'e sau-dj

Ex. 162: Huguet Ex. 165: Magini-Coletti

Dio m'e sua-di, Dlo m'e sau-di

'The ornament shown in exs. 16&62 probably dates from very early in the opera's performing history. It is shown as Ballo: "Alla vita che t'arride" an oppure in the first French piano-vocal score 1 Violetta, opera en quatre actes, musique de G. Verdi [Paris: Benois, c 18641).

te per - du - to, te per-du-to-o-v'e la pa - tria

Ex. 166: Battistini (at repeat)

Traviata: "Di provenza il mar" dolce f * , f T- * * ff ,?f---,.," , Lr 8

te per - du - to, te per-du-to-o-v'ella pa - tria Dl pro - ven-zajl mar, 11 suol, chl dal cortl can-cel-lo

Ballo: "Alla vita che t'arride" Ex. 163: Battistini

I ah, te per - du - to Dl pro - ven - z a 1 mar,_ 11 suol, chi dal

Ex. 167: Battistini

cor- ti can-cel-lo

ah, t e per - du-to

Traviata: "Di provenza il mar" Forza: "0 tu che in seno" dolce

soc-cor - - - - ri - mi

Ex. 164: Battistini Ex. 168: De Lucia n

sejn me spe-me non fal-li soc-cor - - - - - - 11 - ml

1 9 T ~ CENTURY

MUSIC


le dol-ci brez-ze del pa - trio suol

Otello: "Esultate"

Ex. 169: Anselmi Ex. 171: Tamagno

" le d o l - c ~ e b - brez-zodel pa - trio suol (sic) - lo vin-se l'u - ra - ga - no

Aida: "Celeste Aida" z?

J

Otello: "Era la notte"

er-ger-tm tro-no l'in-ti-mojn - can - to

Ex. 170: Bonci Ex. 172: Maurel

er - ger - t b n tro-no l'in-ti-mojn - can-to

Cabaletta and strophic embellishments

Ernani: "Vieni meco" Ernani: "Vieni meco"

in - trec-ciar ti vo' la vi - ta vie - ni che- te - 11 -

Ex. 173: Battistini

in-trec-ciar ti vo' l a vi - ta,- vie-ni

Ex. 174: Battistini IDICS~OI

.. che- fe - 11 - ce, a h , c h e f e - 1 1 - -

n J A d ! * en-

ce fa - ra

-

EX. 175: Corradetti n, ..

Trovatore: "Tacea la notte" WILL CRUTCHFIELD Verdi Ornamentation

the- fe - li - ce che- fe - li - Ce-(2. qua1 d'uom che pre-ga-Id - di - o)

Ex. 178: Nordica

rall. 10

'Corradetti, singing without Battistini's full complement e bel-lainciel s e - r e - - - - no of assisting soloists and chorus, jumps here to the soprano melody of the coda here rather than resolving his own lme.

Trovatore: "Tacea la notte"

Trovatore: "Di quella pira"

Ex. 176: Tamagno Ex. 179: Nordica

mo-stra-va lie - - - - to e pie-na

-Trovatore: "Di quella pira" Traviata: "Semvre libera"

(vo-) lax, ah!- ah!- ah'- ah!

Ex. 177: Tamagno

o te-co-a1 - me - no cox-ro-a_ mo - rir

1 9 T ~ Ex. 180: Melba Traviata: "Sempre libera" CENTURY

MUSIC

Ex. 182: Melba h iluneal

Ex. 181: Galvanv

Ex. 183: Boronat a tempo A

Facilitations

Nabucco: "Anch'io dischiuso un giorno" Ex. 185: De Lucia

d'af-fan - - - - - no- 10- mo-r l - r o

Ex. 184: De Frate Ilt. Ernani: "Emani involami"

6 d ~ m allarg.

[in) tor - - - no

que - - gl'an - tri- a- m e

Ernani: "Come rugiada a1 cespite" Ex. 186: Ciaparelli allarg.

Ernani: "Emani involami" Ernani: "0 de'verd'anni miei" A

WILL CRUTCHFIELD Verdi Ornamentat ion

A h ! v o - l ag tem - po- epres - to

Ex. 190: Casini

Ex. 187: Sembrich Due Foscari: "0 vecchio cor"

Ex. 191: Bonini

Ernani: "Da quel di" con iorza un f i - - glio

COT,no, no, - non- puo - te im - por - re Luisa Miller: "Quando le sere a1 placido"

Ex. 188: Corsi tra - di - a, ah, mi tra-di - a

cor, no,- n o , no,- non-puo-te im - por

Ernani: "0 de'verd'anni miei"

- re Ex. 192: De Lucia

-tra - dl - a, ah, mitra-di

Traviata: "Sempre libera"

- a

Ex. 189: Campanari Ex. 193: Melba 6

* 2-i-r *

cre - de - - - - i

19TH C E N T U R Y

MUSIC

Ballo: "Alla vita che t'arride"

sue vit - ti-me, sue vit-ti-me2 col - pir

Ex. 194: De Bassini

sue vit - ti - me2-col - pi1

Forza: "Egli e salvo"

di tuo pa-dre tife'il vol-to ros - sLg-giar

Ex. 195: Battistini m-

di tuo pa-dre ti fe'il vol-to ros-seg-giar

Macbeth: "Pieta, rispetto, onore"

in-a- r i - di - ta

Ex. 197: Battistini

i n - a ri - di - ta

Rigoletto: "Parmi veder le lagrime"

Forza: "Toh, toh, poffare il mondo"

E la ra - gion? la ra - gion? Propec-ca - ta

ve-stra, pel vo-strl pec - ca-ti

Ex. 196: Pini-Corsi

E la ra - glon? E la ra - gion? Propec-ca-ta

ve-stra, peivo-stripec - ca-ti

Reci tatives

Ex. 199: Caruso

A f-----. allegro

- del vi - ver mi - - - - - - o

Ex. 200: Siems -

Ex. 198: De Lucia - d e n i c h mich weih - - - - - - te

'Verdi's autograph contains a t least one and perhaps t w o canceled melismas, rising to Bt, a t this point.

Traviata: "Sempre libera"

U di vo - lut-ta- ne' [vortici)

Ex. 201: Huguet

" di vo-lut-ta-gio-[ir) [sic)

Simon Boccanegra: "I1 lacerato spirito"

A te l'e-stre-mo-ad - di-o

Ex. 202: Arimondi

A te l'e-stre-mo-ad - dl-o '

Simon Boccanegra: "I1 lacerato spirito"

ra - pi -ta-a le - i la ver -gi - nal co - ro - na

Ex.203: Navarrini

ra - pi- ta-a le - i la ver-gi -nal co - ro - na

Ballo: "Eri tu"

nel suo fra-gi-le pet-to

Ex. 204: Battistini

3

Forza: "Scena della finestra"

r r

Quel san - t'uo-mo? ... ilmo-ti-vo?

WILL CRUTCHFIELD Verdi Ornamentation

Ex. 205: Pini-Corsi

f P

Quel san - t'uo-mo? eh ... ilmo-ti-vo?


nul-la-eine dis-se

Ex. 206: Battistini

nul-la-e ne dis-se


Don Al-va-rojjlfe - ri-to!

Ex. 207: Battistini

I I I - -*: :* !; ;4 ,

nel suo fra-gi-le pet-to DonAl-va-rojjlfe - ri-to!

: : 7' ! I ! /

CENTURY MUSlC BIOGRAPHICAL DATA ON ARTISTS*

Dates: " Birth-Debut in a major role-Death

Abbreviations: KR = Entry in Kutsch & Riemens (1975 edn.; see fn. 3). S =Entry in Scott, The Record of Singing (see fn. 3) .

G6 =Entry in The New Grove.

Albani, Carlo (1872-?-?). Leading Italian tenor. KR. Amato, Pasquale (1878-190&1942). World-famous Italian baritone. KR, S. G6. Ancona, Mario (1860-1889-1931). World-famous Italian baritone. KK, S, G6. Anselmi, Giuseppe (187618961929) . World-famous Italian tenor. KR, S, G6. Arimondi, Vittorio (1861-1883-1928). Leading Italian bass. KR. Barrientos, Maria (1 884-1898-1946). World-famous Spanish coloratura soprano. KR, S. Battistini, Mattia (18561878-1928). World-famous Italian baritone. KR, S, G6. Bellantoni, Giuseppe (?-?-?).Minor Italian baritone. Wagnerian roles at La Scala pre-World War I; a few impres-

sive Fonotipia recordings 1909-14. Bellincioni, Gemma (1864-1879-1950). Leading Italian soprano. KR, S, G6. Biel, Julian (187&?-?). Career details scarce (a few Scala appearances, including Manrico). Recorded for G&T in

1903 (Milan). Bonci, Alessandro (1870-18961940). World-famous Italian tenor. KR, S, G6. Bonini, Francesco Maria (1865-18961930). Leading Italian baritone. KR. Boninsegna, Celestina (1877-1892 [as a student]; 1897-1947). Leading Italian soprano. KR, S, G6. Boronat, Olimpia (1867-1885 or 18861934). Leading Italian soprano. KR, S, G6. Brambilla, Linda (1859 or 1869-1890 or earlier-1933). Italian soprano. KR. Burzio, Eugenia (1872-1903[?]-1922). Leading Italian soprano. KR, S. Caffetto, Carlo (1870-?-1910). Italian tenor. Career details untraced. Early "budget-label" recording artist. Caligaris, Rosa (?-?-?). Italian soprano. Appearances at La Scala (incl. Trovatore)during Toscanini's first direc-

torate. Several records for G&T, Pathe. Campanari, Giuseppe ( 1855-?-I 927). Leading Italian baritone. KR. Caruso, Enrico (1 873-1 894-1 921). World-famous Italian tenor. KR, S, G6. Casini, Lelio (1863-1887-1910). Italian baritone. Career details scarce. Successful teacher (of Titta Ruffo, among

others). Chaliapin, Feodor (1873-1893 or earlier-1938). World-famous Russian bass. KR, S, G6. Chelotti, Teresa (1861-1-1927). Italian soprano. Career details scarce. Shared title role in first complete record-

ing of Aida (1907). Ciaparelli, Gina (1881-?-1936). Italian soprano (later records under the name of Gina Viafora). KR. Cigada, Francesco (1878-190&1966). Leading Italian baritone. KR. Constantino, Florencio (1869-1892-1920). Leading Spanish tenor. KR. Corradetti, Ferruccio (18661892-1939). Italian baritone. KR. Corsi, Emilia (1869-1886 or 1887-1927). Italian soprano. Largely provincial career; one season at La Scala. Mem-

ber of famous singing family (cousin of Antonio Pini-Corsi). Many recordings for G&T and Odeon. D'Andrade, Francesco (1859-1882-1921). Leading Portuguese baritone. KR, S. De Angelis, Nazzareno (188 1-1903-1962). Leading Italian bass. KR, G6. De Bassini, Alberto (1847-1870 [as tenor]-?). Italian baritone. KR. De Frate, Ines (1854-?-1924). Italian soprano. S. Del Papa, Dante (1854-?-1923). Italian tenor. Career details untraced. Recorded (in New York) for Bettini, 1898-

1900. De Lucia, Fernando (1860-1885-1925). World-famous Italian tenor. KR, S, G6. De Reszke, Edouard (1853-18761917). World-famous Polish bass. KR, S, G6. Di Negri, Giovanni (185&1878-1925). Leading Italian tenor. KR, S. Escalais, Leon (1859-1883-1941). Leading French tenor. KR, S. Gabbi, Leonilda (1863-1882-1919). Italian soprano. Sister of the slightly more prominent soprano Adalgisa

Gabbi (b. 1857), who replaced Romilda Pantaleoni in early Otello revivals. She made a few records as "Signora Gabbi" and several under her married name (Leonilda Paini). The former group is listed in Bauer as "probably" by Adalgisa, but close comparison of the arias appearing in both groups leaves little question that only Leonilda made records.

Galvany, Maria (1878-1899-1941). Leading Spanish soprano. KR, S. Garbin, Edoardo (1 865-1 89 1-1924). Leading Italian tenor. KR, S.

Gilion, Mario (1870-1902(?)-1914).Italian (orFranco-Italian?)tenor. Career principally Italian, with some East- WILL em European seasons, but recorded in French and Italian for Fonotipia, 190614. CRUTCHFIELD

VerdiGiraldoni, Eugenio (1871-1891-1924). Leading Italian baritone. KR, S. Ornamentation Huguet, Josephina (1871-1 888-195 1).Leading Spanish soprano. KR, S. Kaschmann, Giuseppe (1847-1869-1925). World-famousItalian baritone. KR, S. G6. Lanzoni, Agostino (1853-?-1918). Italian bass. Mostly provincial career in leading roles; first Jehovahin Perosi's

Mose. Luppi, Oreste (1870-1892-1950). Leading Italian bass. KR. Magini-Coletti, Antonio (1855-1880-1912). Leading Italian baritone. KR, S. Maurel, Victor (1848-1867-1923). World-famousFrench baritone. KR, S, G6. Mazzoleni, Ester (1883or 1884-1904 or 1 9 0 6 ? ) .Leading Italian soprano. KR. Melba, Nellie (1861-1885-1931). World-famousAustralian soprano. KR, S. Mieli, Oreste (1870-?-1924). Italian tenor. KR. Navarrini, Francesco (1855-1878-1923). Leading Italian bass. KR, S. Nordica, Lillian ( 1857-1 878-1 914).World-famousAmerican soprano. KR, S, G6. Pacini, Giuseppe (1862-1887-1910). Leading Italian baritone. S. Pacini, Regina (1871-1888-1965). Leading Portuguese soprano. KR, S. Parvis, Taurino (1878or 1879-?-?). Leading Italian baritone. KR. Pini-Corsi,Antonio (1858-1878-1918). Leading Italian baritone and buffo. KR, S, G6. Raisa, Rosa (1893-1913-1963). Leading Italian soprano (Polish-born).KR, G6. Sammarco, Mario (1868-1888-1930). World-famous Italian baritone. KR, S, G6. Scampini, Augusto (1880-1905-1907). Leading Spanish tenor. KR. Scotti, Antonio (18661889-1936).World-famous Italian baritone. KR, S, G6. Sembrich, Marcella (1858-1877-1935). World-famous Polish soprano. KR, S, G6. Siems, Margarethe (1879-1902-1952). Leading German soprano. KR, S, G6. Signorini, Francesco (1860-1882-1927). Leading Italian tenor. KR. Stracciari, Riccardo (1875-1900 or earlier-1955). Leading Italian baritone. KR, S. Talexis, Amelia ( 1875-2-1 911).French soprano. KR. Tamagno, Francesco (1850-1874-1905).World-famous Italian tenor. KR, S, G6. Tetrazzini, Luisa (1871-1890-1940). World-famousItalian soprano. KR, S. G6. Trentini, Emma (1878-1904-1959). Leading Italian soprano. KR. Venerandi, Pietro ( 3 - ? - ? ) . Italian tenor. Career details untraced. Early budget-label recording artist. Vignas, Francesco (1863-1888-1933). Leading Spanish tenor. KR, S. Wedekind, Erika (1868-1894-1944). Leading German coloratura soprano. KR. Zenatello, Giovanni (18761898[asbaritonel-1901 [tenor]-1949).Leading Italian tenor. KR, S, G6.

Most of these singers were prominent on what might be called the Italian circuit: i.e., the lesser Italian houses and the Italian-staffed and -organizedseasons of opera held regularly throughout the Spanish-speaking world and, to a lesser extent, in leading cities of Eastern Europe and the Middle East.

''When accounts conflict, the dates given by The New Grove are preferred. If there is no article in The N e w Grove, all relevant dates are given.

Table 2

DATA ON THE RECORDINGS Ex. Place/date * # Artist Opera Aria Original recorded LP transfer* '

1 Stracciari 2 De Lucia 3 Caffetto 4 Scampini 5 Sembrich 6 Caligaris 7 Talexis 8 Gabbi 9 Battistinil

Corsi

Nabucco "Dio di giuda" Col Dl2470 Milan, 1925 99-29 Ernani "Come rugiada" Phono M 1811 Naples, 1917 GV 575

Berliner 52462 Milan, 1900 GC 2-52611 Milan, 1908

"Emani involami" Col 1364 New York, 1903 Y2 35232 G&T 53326 Milan, 1904 Fono 92111 Milan, 1908 Co110124 Milan, 1903

"Da quel di" G&T 054103 Milan, 1907 CO 326, GV 100

Table 2 continues

10

20

30

40

50

60

19TH Ex. Placeldate CENTURY # Artist Opera Aria Original recorded LP transfer MUSIC

Boninsegnal G&T 054062 Milan, 1905 Cigada

11 De Reszke "Infelice" Col1221 (take 2) New York, 1903 12 Chaliapin HMV 052389 St. Petersburg, 1912 13 Lanzoni Fonodisc Mondial246 c. 1913 GB 100415 14 Battistini "Lo vedremo" G&T 054105 Milan, 1907 CO 326, GV 100 15 Battistini "0de' verd'anni" G&T 052141 Milan, 1907 CO 326, GV 100 16 Kaschmann G&T 052032 Milan, 1903 17 Corradetti Due Foscari "0vecchio cor" Odeon 37226 Milan, 1905-06 18 Amato Vic 88438 New York, 1913 GV 561 19 Corradetti "Questa dunque" Odeon 37227 Milan, 1905-06

Bonini Fono 39760 Milan, 1906 21 Battistini Macbeth "Pieta, rispetto" HMV 052369 Milan, 1912 CO 328, GV 79 22 De Lucia Luisa "Quando le sere" Phono M1792 Naples, 191 7 GV 575 23 Albani Rigoletto "Parmi veder" Odeon 1 10136 1911-14 99-1 13 24 Anselmi Fono 62 15 1 Milan, 1907 25 Caruso Vic 88429 New York, 1913 26 Constantino Co130463 New York, 1910 27 Nordica Trovatore "Tacea la notte" Col mx.30134 (unp.) New York, 1906 SYO 6 28 Chelotti Fono 399 13 Milan, 1906 29 Ciaparelli (as Viafora) Vic 741 16 Camden, 1908

Burzio Fono 39934 Milan, 1906 31 Mazzoleni Fono 92539 Milan, 1909110 32 Campanari "I1 balen" Vic 81082 Camden, 1905 33 Corradetti Fono 92294 Milan, 1909 34 DeBassini Co1307 New York, 1902 35 Albani "Ah, si, ben mio" Odeon RG2016 19 1 1-14 99-1 13 36 Biel G&T 52692 Milan, 1903 37 Signorini GC 2-52669 Milan, 1908 38 Caruso Vic 88121 New York, 1908 ARM1-2767 39 Gilion Fono 39653 99-72- . Milan. 1906

Tetrazzini "D'amor sull'ali" Vic 88426 New ~ o r k . 1913 GEMM 22&227. OASI 5 72

41 Raisa Pathe 60070 US, 1917 99-52 42 Corsi Odeon 1 10221 Milan c. 1910-12 GB 1006 43 Bellincioni Traviata "Ah, fors'e lui" G&T 053019 Milan, 1903104 GV 568 44 Sembrich Col 1366 New York, 1903 Y2 35232 45 Tetrazzini Vic 88293 New York, 19 11 GEMM 22&227,

OASI 5 72 46 Melba Vic 88064 New York, 1910 47 Pacini Fono 39237 Milan, 1905 48 Huguet G&T 53474 Milan, 1906 C 0 3 73 49 Brambilla Phonodisc 145 Milan, 1906

De Lucia "De' miei bollenti" G&T 052129 Milan, 1906 RS 305

5 1 Battistini "Di provenza" HMV 0523 17 Milan, 19 1 1 CO 327 52 De Bassini Ballo "Alla vita" Coll695 (Take 1) 1904-05 53 De Bassini Co11695 (Take 3) 1904-05 54 Battistini G&T 052142 Milan, 1907 CO 326 55 Scotti Vic 8 1070 New York, 1905 56 Burzio "Ma dall'arido" Fono 395 14 Milan, 1906 57 Caruso "Ma se m'e forza" Vic 88346 New York, 191 1 ARM1-3571 58 Gilion Fono 92662 Milan, 1909 59 Vignas Fono 62083 Milan, 1907

Battistini Forza "Uma fatale" HMV 2-052251 Milan, 1924 CO 412/3 6 1 Magini-Coletti Fono 92620 Milan. 1910 CO 393 62 Bellantoni Fono 92729 ~ i l a n :1910 OASI 633 63 Tetrazzini "Pace, pace" . Vic 88502 New ~ o r k , 1914 GEMM 220-227,

- - ~

&

OASI 572 64 Giraldoni Don Carlo "Per me giunto" G&T 52404 Milan, 1903 99-58

Ex. Placeldate WILL CRUTCHFIELD# Artist Opera Aria Original recorded LP transfer Verdi Ornamentation

65 De Lucia 66 Caruso

Rigoletto "Questa o quella" Phono C 1761 G&T 52344

Naples, 19 17 Milan, 1902 Sera. 60146

67 Bonci "La donna" Edison Ambreol291 001 1913 Mark56 725 68 Caruso Zono X1555 Milan, 1902 R 7 69 Caruso Vic 8 1025 Milan, 1904 VIC-1430 70 Tamagno Trova tore "Deserto sulla HMV 7-52277 Milan, 1903 GEMM 20819

terra" 71 Albani Ballo "Di' tu se fedele" Vic 64082 1907 72 Tetrazzini "Saper vorreste" GC 053222 London, 1909 GEMM 22&227 73 Navarrini Don Carlo "Dormiro sol" Fono 74034 Milan, 1907 GV 14 74 Luppi 75 Tamagno Otello

Fono 39319 "Ora e per semprel'G&T 52675

Milan, 1905 Milan, 1903 GEMM 20819

76 De Negri Zono 1556 Milan, 1902 77 Maurel Falstaff "Quand'ero Fono 6201 6 Milan, 1907

78 De Angelis Nabucco paggio"

"Tu sul labbro" Col D 18059 Milan, 1928-29 OASI 528 82 Wedekind Ernani "Emani involami" G&T 53464 Dresden, 1905 86 Parvis 89 Ancona

"Da quel di" Col30032 "0de verd'anni" Vic 88062

New York, 1906 New York, 1907 R 5213

91 Battistini "0sommo Carlo" G&T 054107 Milan, 1907 GV 100, CO 326 97 Anselmi Rigoletto "Questa o quella" Fono 62148 Milan, 1907 CO 359 98 De Lucia "E il sol G&T 054084 Milan, 1906 RS 305

dell'anima" 99 De Lucia "Parmi veder" Phono C 1745 Naples, 19 17

100 Boronat "Tutte le feste" GC 053186 Milan, 1908 99-3, SYO-9 101 Barrientos Fono 39543 Milan, 1906 103 Caruso "Bella figlia" Vic 96000 New York, 1907 ARM1 2766 106 Parvis Trovatore "I1 balen" Col 10574 Milan, 1905 108 De Lucia "Ah, si, ben mio" Phono M 179 1 Naples, 1917 GV 575 109 Nordica "Miserere" Col mtx 30135-2 New York, 1906 SYO 6

110 Zenatello Traviata (unp.1

"Un di, felice" G&T 527 12 Milan, 1903 114 Battistini "Pura siccome" HMV 054395 Milan, 1912 CO 325, GV 100 1 17 De Lucia "Parigi, o cara" G&T 054081 Milan, 1906 RS 305 118 Navarrini Boccanegra "I1 lacerato spiritol'Fono 62025 Milan, 1907 GV 14 119 Arimondi Col. 30090 New York?, 1907 GV 95 120 Battistini Ballo "Eri tu" G&T 052146 Milan, 1907 CO 326 121 Scotti Vic 85044 New York, 1904 CO 363 122 Sammarco Fono 39270 Milan, 1905 125 Trentini "Saper vorreste" G&T 53153 Milan, 1904 127 Boninsegna Forza "Pace, pace" G&T 053088 Milan, 1907 GV 534 128 Kaschmann Don Carlo "Carlo, che e sol" G&T 05203 1 Milan, 1903 130 Battistini "Per me giunto" HMV 052404 Milan,1913 GV34 131 De Lucia Aida "Celeste Aida" Phono M 1763 Naples, 19 17 GV 5 75 132 Caruso Vic 85022 New York, 1904 VIC 1430 133 Del Papa "Morir, si pura" Bettini 5 New York, 1898 Mark 56 826 134 Venerandi Lorn bardi "La mia letizia" Col 10446 Milan, 1905 135 Escalais Fono 39533 Milan, 1906 OASI 597 136 Cigada Ernani "0sommo Carlo" G&T 054078 Milan, 1906 141 Brambilla Rigoletto "Caro nome" Wotama 10101 Milan, 1906 145 D'Andrade "Cortieiani" Lvro~honed'A 10 Berlin, 1906-07 R 5204 146 De Lucia Milan, 1902 RS 305 147 Pacini, G. 148 Bruno 15 1 Pacini, G.

Trovatore "Dl geloso amor" Fono 69004 "Stride la vampa" G&T 53227 " 1 balen" Fono 39003

Milan, 1905 99-84 Milan, 1902 Milan, 1904 99-84

153 Gilion "Ah, si, ben mio" Fono 92631 Milan, 1909 GV 96 154 Mieli "Miserere" Zono X2552 1902-03 155 Talexis Fono 39347 Milan, 1905 RS 309 156 Garbin Travia ta "Un dl, felice" G&T 52428 Milan, 1903

Table 2 continues

19TH Ex. Place/date CENTURY # Artist Opera Aria Original recorded LP transfer MUSIC

165 Magini-Coletti 168 De Lucia 169 Anselmi

Forza Aida

"Di provenza" "0tu che in seno" "Celeste Aida"

Fono 92000 Phono M 1798 Fono 62561

Milan, 1907 Naples, 19 1 7 Milan, 1910

GV 5 75

170 Bonci Fono 39695 Milan, 1906 171 Tamagno 172 Maurel

Otello "Esultate" "Era la notte"

G&T 052101 G&T2-32814

Milan, 1903 Paris, 1903

GEMM 208/9

173 Battistini Ernani "Vieni meco" G&T 054106 Milan, 1907 CO 326, GV 100 175 Corradetti Fono 92310 Milan, 1909 176 Tamagno 180 Melba 181 Galvany

Trovatore Traviata

"Di quella pira" "Sempre libera"

G&T 52678 G&T 03026 GC 054209

Milan, 1903 London, 1904 Milan, 1908

GEMM 208/9 RLS 7 19 OASI 5 74

183 Boronat G&T 53346 St. Petersburg, 99-3, SYO 9 1904

184 De Frate Nabucco "Anch'io GC 53554 Milan, 1908 dischiuso"

186 Ciaparelli Ernani "Emani involami" Col3307 New York, 1906-07

187 Sembrich Vic 88022 New York, 1906 189 Campanari "0de' verd'anni" Vic 85087 New York, 1905 190 Casini Zono X 493 Milan, 1901 191 Bonini Due Foscari "0vecchio cor" Fono 3983 1 Milan, 1906 195 Battistini Forza "Egli e salvo" HMV 7-52 194 Milan, 1921 CO 412/13, GV

101 196 Pini-Corsi 200 Siems Traviata

"Toh, toh, poffare" G&T 2-52557 "Ah, fors'e lui" Parlo P 250

Milan, 1906 c. 1912

201 Huguet "Sempre libera" G&T 54296 Milan, 1906 CO 373 204 Battistini Ballo "Eri tu" HMV 2-052254 Milan,1924 CO412/13 205 Pini-Corsi Forza "Scena della G&T 54349 Milan, 1907

finestra"

As a practical aid to locating the records, Issue numbers 79 see 2 137 see21 192 see 95 have been favored over matrix numbers, which are the only 80 s e e 3 138 see65 193 see 180 unique identifiers of recordings. Abbreviations: Col = Co- 81 s e e 2 139 see66 194 see 52 lumbia; Fono = Fonotipia; GC = Gramophone Company; 83 see 5 140 see 65 197 see21 G&T = Gramophone and Typewriter Company (predeces- 84 see 5 142 see98 198 see99 sor of GCJ; Parlo = Parlophon; Phono = Phenotype; Vic 85 see 9 143 see 99 199 see 25 = Victor; Zono = Zon-0-Phoneizonofono. 87 s e e 9 144 see 99 202 see 119

88 see 14 149 see 34 203 see 118 " Places are unknown in several instances. Recent re- 90 see 16 150 see 34 206 see 195 search has shown that a number of the Fonotipia recordings 92 see 18 152 see 33 207 see 195 long thought to have been made in Milan were in fact made 93 see 21 157 see 156 in London, but a listing which would make correction of 94 see21 158 see 43 this table possible is not available at the time of writing. Re- 95 see 22 159 see47 cording dates are often uncertain as well, and may in some 96 see 65 160 see 43 cases refer to publication rather than recording. More spe- 102 see68 161 see 46 cific information may be found in the discographies which 104 see 28 162 see48 appear regularly in T h e Record Collector and Recorded 105 see 70 163 see51 Sound, the journal of the British Institute for Recorded 107 see 33 164 see51 Sound. 111 see43 166 see 54

112 see45 167 see54 "'This list, again compiled with convenience in view, 113 see 50 174 see 173 gives only reissues known by me to be available for sale at 115 see 114 177 see 176 the time of writing. Several of the other records cited here 116 see51 178 see27 have been reissued at one time or another and no doubt will 123 see 120 179 see 27 be again. Prefixes: 99 = Club "99"; GV and RS = Rubini 124 see 72 182 see 180 Records; Y = Odyssey records; GB = Bongiovanni records; 126 see 6 0 185 s e e 2 GEMM = Pearl Records; C O = Court Opera Classics 129 see 128 188 s e e 9 IPreiser); SYO = Sunday Opera Records; ARM1 = RCA's Camso series; VIC = Victrola; Sera. = Seraphim; R = Ro-coco Records; OASI = OASI Records; RLS = a reissue series of British EMI.

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Vocal Ornamentation in Verdi: The Phonographic EvidenceWill Crutchfield19th-Century Music, Vol. 7, No. 1. (Summer, 1983), pp. 3-54.Stable URL:


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11 Mme Cinti-Damoreau and the Embellishment of Italian Opera in Paris: 1820-1845Austin CaswellJournal of the American Musicological Society, Vol. 28, No. 3. (Autumn, 1975), pp. 459-492.Stable URL:

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13 Mme Cinti-Damoreau and the Embellishment of Italian Opera in Paris: 1820-1845Austin CaswellJournal of the American Musicological Society, Vol. 28, No. 3. (Autumn, 1975), pp. 459-492.Stable URL:

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40 A Note on Princess EboliAndrew PorterThe Musical Times, Vol. 113, No. 1554. (Aug., 1972), pp. 750-754.Stable URL:

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43 Giuseppe VerdiAlgernon St. John-BrenonThe Musical Quarterly, Vol. 2, No. 1. (Jan., 1916), pp. 130-162.Stable URL:

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