Vocal Ornaments In Verdi

Vocal Ornamentation in Verdi: The Phonographic Evidence Author(s): Will Crutchfield Source: 19th-Century Music, Vol. 7, No. 1 (Summer, 1983), pp. 3-54 Published by: University of California Press Stable URL: http://www.jstor.org/stable/746545 . Accessed: 29/09/2011 06:37 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

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Vocal the

Ornamentationin

Verdi:

Evidence Phonographic

WILLCRUTCHFIELD The gap between the introduction of the necessary technology around 1500 and the actual invention of the phonographin 1877 was followed by a few tantalizing decades of delay. Liszt, Wagner,Clara Schumann, and Jenny Lind went to their graves unrecorded before comprehensive documentation of the foremost international artists got underway around 1903-05. Still, early recordedsound 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 alluded 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 characteristics of their live performances, and the primi19th-Century Music VII/1(Summer1983).C by 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 recordinghorn, 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 standardswe have forgotten to expect, the old performerswere 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 prefer1Aperceptiveandhighly readablediscussion of the problem is found in the introduction to J. B. Steane's The GrandTradition: Seventy Years of Singing on Record (London, 1974), pp. 4-12.

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ences a compromise which recordingsdisallow. The phonographoffers a constant challenge to the belief that authentic practices, especially those traceableto composers or their associates, are the surest guide for modern executants. Few, to cite one example from among many, would wish to hear Bart6k played in the lefthand-before-the-right style which seems to have been so automatic with the composer that he did not shed it even for his own forwardlooking music. In The New Grove, Howard Mayer Brown suggests that Verdianoperamay present a similar case. "Itseems likely," he writes, "that vocal performancein both lieder and operawas a good deal more mannered then than now"; and later, "With the evidence of early recordingsto go on, it would be relatively simple for modern performersto give 'authentic' renderingsof 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 praisedfor their authenticity.'"2 Poortaste did cropup from time to time, and I have not skewed the argument by suppressingit in the transcriptions which follow. But it was not the rule. The style preservedon the old discs is in large part recommendable as an enriching, corrective influence on modern performance. Italian opera'svocal language retained a vocabulary of ornamentation longer and more consistently than is often understood, and the languageas 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. I. THE MUSIC AND ITS PERFORMANCE Artists and repertoire. Roberto Bauer's Historical Records 1898-1908/9 lists 1,633 recordings of Verdiby 469 singers.3Hundredsmore lay 2The New Grove Dictionary of Music and Musicians, 6th

edn., ed. Stanley Sadie (London,1980),XIV,390.

3Bauer's New Catalogue of Historical Records 1898-1908/9

(London,1947)lists all the lateralcut classical vocal recordings known to him at the time of its compilation. Cylinders and recordspressed from master cylinders ("verticalcut") were excluded;these are listed by Victor Girardand Harold M. Barnes in Vertical Cut Cylinders and Discs (London,

1964).Biographicalinformationon these singers is in some cases plentiful, but in most, scarce. The principaland most

4

beyond the scope of the catalogue, have come to light since its compilation, or were made by the same artists afterits cut-off date. "Ideally,while engagedin such a task as this," wrote the chronicler of singing, John Steane, at the outset of his much largerone, "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 heardthan is noted here."4 The informationpresentedhere is drawnfrom a surveyof just over 1,200earlyVerdirecordings.5 These include what I take to be nearly all the significantones, though some outstandingexample pro or contra my argumentsis probablyto be found on a disc I have passed over,not had access to, or neverheardof. Fromthis material,207 musical examples (from 142 recordingsby 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 examplesfromthe specialized world of the "coloratura"soprano.Variants which persist in modem performances(extra high notes, mostly) have been documented representatively rather than comprehensively. convenient source is Kutsch and Riemens, Unvergaingliche Stimmen: Sdingerlexicon, 2nd rev. edn. (Bern, 1975). The

considerablyshorter first rev. edn. (1966) is translatedinto

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 Recordof Singing to 1914 (New York, 1977). For convenient chronological placing of the artists whose performancesare 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 referenceworks. 4Steane,p. 2. SRoughlya sixth of these, including most of the more important ones, have been reissued on long playingrecordsat one time or another(see table 2 for a listing of reissues available at the time of writing).Forthe rest, I am greatlyindebtedto the Motion Pictures,Broadcasting,and RecordedSoundDivision of the Libraryof Congress,and especially to the Collection of Historical Sound Recordingsat Yale University. The Yale archive, assembled for the most part by Laurence Witten, is almost certainlythe most extensive repositoryin 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 conclusions reached by study of the reissued material. I owe special thanks to Tulin Duda and to the curator, Richard Warren,for help with this project.

The artists have been surveyed exclusively in Verdi,although their recordingsof Donizetti and Bellini have more to tell of Verdianthan of earlier practice. Indeed the discs of the more progressive performers tell of a practice that is already postVerdian.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, Mascagni's, Caruso's, Wagner's) came to the fore. That change had been taking place during the pre-recordingperiod is certain as well: one need hardly look farther than Chorley's account of Fraschini,6whose singing he found quite unpleasantly bombastic in 1847, but on whom he looked back ("Alas!")as a comparatively moderate 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, II 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 "programnote" which backed the famous Caruso-Scotti duet of 1906: This duet, togetherwith the tenorsolo in Caruso's list, areaboutthe onlynumberswhichremainofVerdi'soperaof LaForzadel Destino,whichwas nevera greatsuccess,its storybeingdolefulandso crowded with horrorsthatnot even the beautifulmusic could atoneforthe gloomyplot.7 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.

ErnestNewman (London,1926),pp. 190-91. 7Victor89001 (1906).

include "Pace,pace").But of Simon Boccanegra, Don Carlos, Les VWpressiciliennes, and especially the earlier operas-those in which ornamentation plays a more centralrole and in which there is such renewedinterest today-only an occasional snippet was recorded. The Verdian "full-stop" cadenza. Virtually all Verdi'scantabile ariasup through Forzaconclude with a brief, static tonic-dominant coda, a fermata over the V7chord or a rest following it, and an unaccompanied vocal cadence.8 Verdi came to view this convention, though, as one that opera could affordto use more sparingly, if not to discardaltogether. In the later works, the functions of the cadenza are increasingly integratedinto a more controlled, continuous musical fabric (as in "O patria mia" and "Tu che le vanita").9 Verdi'sfull-scale cadenzas are generally composed of three basic functional units: A, the note(s) appearingdirectly over the V7chord, B, a floridmelisma or declamatory sequence, and C, a brief peroration resolving to the final tonic.' A simply defines the dominant-seventh function of the cadenza. It may be a short group of notes circling the dominant or outlining the 8AlthoughVerdi eventually emancipated himself from the obligatorycadenza,he still seems to have felt that at the end of a cantabilehe had to arriveat the tonic and linger there a while. Interestingly, though, while the earlier arias wind down with a tonic/dominant alternation, the later ones ("CelesteAida," "0 tu che in seno agl'angeli,""0 ma chhre compagne")tend to rest on the tonic alone. Could this have been a safety measure?In "Pace,pace"and "O patriamia," Verdiallowed the final cadencesto resemble ever so slightly those of the old cavatinas-and in each case at least one celebratedsopranotook the hint (probablyunintended, but see also note 55) and sanga cadenza.This could never have been tried in "Celeste Aida":the signal is never sent. 9Sincethe present essay is concerned principallywith Italian singing, it seems most convenient to referto the French operasand excerpts from them by the familiar Italian titles. Acoustic recordingsby Frenchsingersof excerpts from Don Carlos, Les Vdpres siciliennes,

and !Jrusalem exist, al-

though not in greatnumber, and are worth study. 10The"a due"cadenzasof duets were often of greaterlength, with two ormore roulade-phrasesfor the B section; 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 recordingsone occasionally finds them shortened (forexample in the De Lucia/Huguet duets from Rigoletto and Traviata [G&T054084 and 054081, 1906]).The peroration (C)is sometimes elaborated(asin exs. 9-10, which conclude an elaborate "a due" cadenza sung, in these cases, at full length). 5

WILL CRUTCHFIELD Verdi Ornamentation

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A

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B

-IF

-FC-

I'ha re

-

-

-

-

-

-

- --------

--

-

so per

me!

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

r

A

B

r

C

lento3

mi-se- re-re,

mi-se-re - re dun po-ve-ro cor!

ah!

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

B

rA-r1 r _dim.

C

ed allarg.

ma, ma, _se_al-finti tro-vo an-cor, ti tro-vo an-cor, Dio m'e-sau-di, Dio me -sau - di!

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 floridform, 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 line(s) 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 slurredpairs of notes, or a gruppetto or other ornament on one of the syllables. Sopranosare nearly always given melismatic cadenzas. The male characterscan 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 6

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. Just 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 formulas. This pattern is flexible and frequently modified, most often by extendingone or more of the three sections. Another modified type, found mostly in the early operasand in the male roles, might be called the "nominal" cadenza: B is omitted, and occasionally the A and C functions are elidedinto 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 requiredin the cadenza: see "D'amorsull'ali rosee" and "I1balen.") Syllabic cadenzas rarely dip below the middle of the range, but roulades frequently extend to or beyond the lowest pitch otherwise sung.

A

WILL CRUTCHFIELD Verdi Ornamentation

B

-I

ciel,_ e so-lein cielpre-de - der-ti la mor-te

e so-loin

par - ra,

me

la

mor - tea_ me

par - r!

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

r

C

A -

spa-ri-an, qua-si spa-rianper me.

Example v: "Dal pifi remoto esilio," from I due Foscari

r

A+C a piacere

il no -memio

fa - r6

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 nineteenthcentury 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 otherwise")." This was still true during the first phase of Verdi's career, and it was true particularly of the closing cadence. Part II of the younger Garcia's Traits complet de 1'art du chant,12with its copious and elaborate examples, was broughtout in 1847; two years later, as Verdi was completing the fifteenth of his twenty-seven operas, Mme Cinti-Damoreau produced her Methode de chant,'3 which is of special interest partly because so many compos-

"Revue et Gazette musicale

Caswell (see fn. 13).

IV (1837), 95ff., quoted in

'2Manuel Garcia (the younger), Trait6 complet du l'art de

chant, partII,trans. and ed. Donald V. Paschke (New York,

ers for whose works her changements were intended put their signatures to the compendium as members of the Paris Conservatoire's Committee on Musical Studies. The notebooks of the Marchisio sisters, preservedin the Pierpont Morgan Libraryand partially published in Ricci's Variazioni, Cadenze, Tradizioni, vol. I,14 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 gradualthat diminution was. The post-Verdiansinger's choice and composition of cadenzas was governed by three sometimes conflicting influences: the traditional

1975).

'3SeeAustin Caswell, "Mme. Cinti-Damoreauand the Embellishment of Italian Operain Paris: 1820-1845," Journal of the American Musicological Society 27(1975), 459-92.

'4Luigi Ricci, Variazioni, cadenze, tradizioni per canto, 2

vols. (Milan, 1937).

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concept of the cadenza as a locus for extended solo expression; progressive, modernizing values, in light of which florid vocalism and (to a lesser extent) the cadenza itself came increasingly to be seen as irrelevant;"'and modification of compass to suit the performer'srange. The first of these three principles is reflected in the all but universal assumption that nominal cadenzaswere meant for elaboration(exs. 24, 15-18, 57-59, 63). Full-length ones were often extended as well. The three-partfunctional division, though usually still present as an underlying framework, was no longer obligatory. Example 2 shows a nominal cadenza amplified simply by extending A and C ratherthan 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).Example 5 is typical: the roulade (B)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. Example 6, used in the same aria,bears some trace of that outline as well, but is essentially a replacement rather than a variant. The growingpreferencefor declamatory sing-

'5Itis only recently that "fidelity to the composer's score" has begun to challenge this as a guiding principle for performancechoices in Italian opera. Serafinand Toni's Stile, tradizioni e convenzioni del melodramma italiano del settecento e dell'ottocento (Milan, 1958) routinely recommends cuts to keep the drama moving for modem audiences, extrahigh notes to addexcitement, and the omission of cadenzas"troppoflorido." 16Wehave some evidence of this procedureas observedduring Verdi's early career. The cadenza of Fenena's prayer "puntataper la Zecchini" gives a two-octave descent from high C (the A and B functions joined, or simply an elaborate A?);in anotherhand, a furthermelisma is sketched in under Verdi's typically simple C phrase. See David Lawton and David Rosen, "Verdi'snon-definitive revisions: the early operas,"in Atti del III congresso internazionale di studi verdiani (Parma,1974),pp. 189-237. 8

ing is felt in several ways. In the process of augmentation 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 Trovatore 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 replacedentirely 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. 11, 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 floridB (constructing a suitable A phraseif 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). Similarreduction of Verdi'ssyllabic cadenzas is for all intents and purposesnon-existent."7 The altered cadenzas often require more text than Verdi's.In these cases the wordsin the original may be reiterated,or the singermay reachfarther back into the text, following the example of Verdi'sown longer syllabic cadenzas.'8 Modification of range occurs in cadenzas of all types. Where Verdi does not match the cadenza's compass to that of the aria, the discrepancy 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 adjustedto give scope to an upward extension otherwise unprovided for (exs. 4, 12, 13, 15-18, 21, 22, 29, 35, 37-39, 4345, 47-50, 58, 59, 63, 64). Top notes are almost

171t is just perhaps significant that the single example found--a very strangelittle version of Rigoletto's "Miei signori" (Col. 1767) with spurious prelude and postlude and melody instruments doublingthe vocal line-is sung by Albertode Bassini,who resistedhis colleagues'syllabic cadenzas in Ballo, Trovatore,and Sonnambula. 18Itis interesting to note that varyingthe text when it reappearsin the cadenzadid not seem to sit well with some singers. WhereVerdialters it in Luisa Miller for the sake of preserving a rhythmic figure, both Giuseppe Anselmi (Fono 62166)andFernandode Lucia(ex. 22) contradicthim; de Lucia, however, was ready enough to alter the text to arrange forhis preferredvowel ("e")on the high notes.

always addedwhere 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 Verdi's originals; the juxtaposition of the majorand 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 3-21, or occasionally 4-3- or 6-5-1, a "Rubini"'9 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" cadence (exs. 6, 8, 11, 42, 50, 57, 59). Today, when certain variant cadenzas have become standard and are regularly heard in identical form from singer after singer, the diversity 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 distinguished from other solo forms in Verdi. Ballate, canzoni, and romanze end without them.20 At or shortly before the final cadence, though, will often be found a fermata, an ad libitum markingof some kind, or a suspension of the ac19This cadential ornament, named after its popularizer Giovanni Battista Rubini (1794-1854), is one of the most common and enduringornamental traditions of Italian opera,persistingeven into the periodof 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 operasit was nevertheless routinely introduced. 20Exceptions occasionally come in cases like Medora's "Non so le tetre immagine," where a strophic romanzafills

companiment. These are seen as points for possible elaboration-not, as far as I am aware, with the kind of extended cadenza that would 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 nineteenthcentury 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 key21(or, in the minor-majorformat, the approachto the major) (exs. 81, 85, 86, 89, 99, 130), and the end of the last principal melodic period (beforethe "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 fullscale cantabiles. Ornaments for these cadences were generally simple: a gruppetto (exs. 82, 83, 85, 91, 92, 95the traditional cavatina function (i.e., entrance-aria);presumably the fermata at the end of Luisa Miller's similarly situated "Lovidi e il primo palpito"would have been so amplified in performance. 21Inthis case the ad libitum moment may come on the last cadence of the old key, or afterit, acting as a dominant seventh bridge,or both.

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97, 99, 102, 103, 110-16), passing tones (ex. 79), "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, 117, 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 fermatas.22 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 warrantmention. A typical Verdian melodic approachto the I chord is frequently altered either by interposition 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 apparent 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 precededby the scalic note below. In that case, the acciaccatura may begin either on the principalnote as described,or on the note below, or in the modern single-pitch fashion (the note of melodic approachsubstituting, apparently,for the first note of the ornament).Examples cropup 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 (1908) and 43738 (1906), among other versions by each. 10

Verdi used a rising two-note embellishment ("slide,"in English terminology) with some frequency (see, for example, "Abbietta zingara," the Rigoletto quartet, and Posa's romance). This decoration turns up on records occasionally (exs. 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 absence from all this is the trill. ForGarciain 1847 the trill was still taken for grantedas partof 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 introducedthe 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.23 In striking contrast, it is difficult to think of an extensively recorded Frenchman who does not trill, and a fair number of Germans, Englishmen, and others give evidence that this ability was lost sooner in Italy than elsewhere. Strophicvariationand 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 cabalettamay be embellished.The phonographicevidence on this question, however, is extremely sparse, and as far as it goes it suggests that the convention had limited currency by the beginningof the new century. 23As far as I am aware, there are only four to be heard on

acoustic recordings:bass FrancescoNavarrini (in Rossini's "Pro peccatis," Fono 62024), baritone Eugenio Giraldoni (the first Scarpia,in "Perme giunto," G&T 52404), and the tenors Anselmi ("Un'aura 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 trill, shows an awareness of the lack: in two recordings(the famous "Pieta signore" of disputed authorship [Phono M 1879] and "Ah, si, ben mio" [ex. 108]),he employs a quick, measuredalternationbetween leadingtone andtonic which correspondsto Garcia'sdescriptionof the "slow trill."

The cabaletta was held in such contempt by critics and reformersin the latter half of the old one that Verdi, who did much to weed it 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 recordingera is suggested by the list of De Lucia's operatic records:24among these are at least twelve solos for which there exist cabalettas-only one of which he recorded. The familiar practice of omitting dramatically nonessential 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 conceivable snippet, omitted these cabalettas. The reduction of others to a single stanza prevailed as well, and not solely as a concession to sidelength (as it might arguably have been when a cabalettawas squeezed onto the same side as its cantabile). Severalrecordsof cabalettas without cantabiles (e.g., Giacomelli's "Tutto sprezzo," Cigada's"Vieni meco," and Ruffo's "Perme 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 "Semprelibera"and "Perme 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 separate 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 appearin both verses.25In gen-

24A complete list is in fact not yet available. I am gratefulto Michael Henstock of the University of Nottingham for documentation of the late Phonotype recordingsof this singer. 25Thismuch-debated high C is often, and plausibly, defendedas a second-stropheembellishment. It is equally possible, however, to see it as a variationof a musical repeatinternal to the strophe.

eral, the testimony of the gramophoneis that by 1900 this tradition was dormant. Though the paucity of recordingsdiscourages 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).26The fermata before the piu 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 provedhardyenough to renderextensive 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 briefcadenza (e.g., Galli-Curci or Pacini in "Sempre libera"; Tetrazzini in "Di tale amor"). There remain the other strophic arias: ballate, canzoni, and full-scale cantabiles like "Ah, fors'e lui"27 and "Quando le sere al 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 recordis one of the most convincing phonographiclinks 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 (1874) and also the one with which, shortly afterward, she impressed the great Teresa Tietjens (1831-77), who may have coached her in it. Certainly she studied it with Appolonia Bertucca, who was at that time attached to Tietjens's touring company, and who years later dis-

26Theornamentation of "corroa morir" in ex. 177 also occursat "la spegner6,"just beforethe shift to minor.Acciaccaturasand trills areoccasionally found at analogouspoints in such cabalettasas "Semprelibera"("ilpensier," just before the tenor interrupts)and "Di tale amor"(at "inebrio"). fors'6lui" was probablynot thought of as strophicby 27"Ah, the turn of the century-although Lilli Lehmann's onestanza recordings(Odeon50353 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 performancesuntil recent years)only the first stanza, the singerforgetshimself 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. 11

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cussed with Nordica "how Tietjens had phrased the cavatina, how Parepa-Rosahad 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 phonographicpreservation of a pre-phonographicstyle. It is also worth noting that Nordica, in a letter to the critic Hermann Klein, singled out this aria, and in particular this first part of it, as the most satisfactory of her generally disappointing records.29The 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 appropriateto 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 Lucia goes fartherin his delightful record (exs. 96, 138, 140), but almost all of his abbellimenti appear in the first verse as well! Caruso has an extra turn in the repeat of "Ladonna," Anselmi an addedBbin "Quandole sere," and Battistini a G0 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 phraseis repeatedwithin a single movement.

workable repertoireof singers who found them difficult as written. It is striking testimony to the influence of Verdi'soperas 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 registers. 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 B?,and who often sounds as though he is in difficulty on C and Db.But many other baritonesfollowed his example in raisingthe low A of "Eritu" 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 transpositionswhich occasionally appear). Simplification of fioraturawas almost universal practice in II 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 removal of what apparentlyseemed excessive textual reiteration (exs. 185, 190, 194).

Facilitations (exs. 184-96). The other changes occasionally found in the melodic line are more practicalthan decorative. Puntature (alterations of the vocal line so that it can be sung by a voice of differentrangebut with the originalaccompaniment) were standardpractice in Italian opera for most of the nineteenth century. Verdiwas often criticized for uncomfortablyhigh vocal writing, and he made or approved adjustments on several occasions to bring high roles into the

Recitative (exs. 197-207). We know that ornaments and roulades were commonly introduced by singersinto the recitatives of primo ottocento operas. In his early and middle-period operas, Verdihimself wrote a greatdeal of fioraturainto the recitatives of cavatinasfor soprano.As faras I am aware, recordingsgive no example of extensive embellishment along these lines where the score does not indicate it, but singers will occasionally adda turn of acciaccatura(exs. 201, 203). At the very end of most recitatives, Verdileft soloists somewhat more to their own devices. The conclusion is usually a sustained dominant on two syllables, with an octave dropif the tessitura is congenial (orif the sentiments justify extremes of range),or in the same octave with minor-inflecteddecorationof neighboringtones. In

28IraGlackens, Yankee Diva: Lillian Nordica and the Golden Days of Opera(New York, 1963),pp. 26-29, 146. 29Letterof 15 May 1908 to Klein, quoted in William R. Moran,"Recordingsand Lillian Nordica"(pub.as an appendix to Glackens,pp. 283-300).

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-

12

ers would often add them where he did not (exs. 202, 204-07). II. THE RECORDEDEVIDENCEIN PERSPECTIVE A briefand 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 pairBattistini and De Lucia, 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 Lucia 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. Comparedto 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 elders 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 declamation (exs. 34, 52, 53); Giuseppe Kaschmann (b. 1850) is fleet in the written fioratura,lingering and decorative in his internal cadences (exs. 90, 128);FrancescoD'Andrade(b. 1859)pleads with a bold flourish as Rigoletto (ex. 145); and Antonio Magini-Coletti (b. 1855) is perhaps superior in roulade to Battistini himself. De Bassini, Kaschmann and D'Andrade recordedfew 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.3o) More prolific were Ancona (b.

30Thesefiguresdo not count multiple recordingsof the same excerpt, or the many Verdiarias De Bassini is listed as hav-

1860), Scotti (b. 1866), Bonini (b. 1865) and Corradetti (b. 1866), all of whom point ahead to a less florid, less delicate manner. With the group born in the 1870s, even though some of them preserve certain of Battistini's technical abilities, 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 broaderstudy would document 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 approachto 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 "coloratura" sopranos) maintained variety in their cadenzas considerably longer than did the men. (No female Verdiansof Battistini's generation left sufficient recordingsfor us to be able to say whether they were more various yet in

ing recordedon cylindersfor the almost legendarycatalogue of Gianni Bettini. A very few of these have recently come to light (lago'sCredo and part of the Aida Nile Scene are reissued on Mark56 826);furtherdiscoveries in this areacan be expected to yield information of greatinterest. 3Ornamentation is only one, and usually not the most important,of many ways in which earlyVerdianperformances differedfrom those to which we are accustomed. Tempo choices, phrasingand articulation, approachto rubato and dynamics, and certain aspects of vocal technique all reflect assumptionswhich differfrom those held, andlargelytaken for granted, today. Still, because ornamentation involves changing "the notes," one encounters opposition to it on principlefrom many musicians who arewilling 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 recordingsof Alfredo's"De' miei bollenti spiriti"by Fernando de Lucia (who takes 2 minutes 34 seconds over it and sings pianissimo for perhapshalf the aria)and Jan Peerce under Toscanini (1'35'and quite loud all the way through).De Lucia's recordingalso has one unwritten gruppettoand an extra high note in the cadenza which Peerce could have adoptedwithout appreciablychangingthe characterandimpact of his performance;if, though continuing to stick to "the notes," he had adoptedinstead De Lucia'sbroaderand gentler approach,the differencewould have been vast. 13

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those years, as would seem likely.) Still, the trend is clear. Modern, progressive influences had been around for some time, graduallygaining ground.32What the recordssuggest is that by the 1890s, 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 progressivemusic. Their approachaccords 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 Falstaff). 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 Azucena's racconto, they would refrain from any extraneous 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 Carusosings a flourish up to top C).

32ThesopranoClaraNovello, for instance, reports(and endorses)simplification of roulade by Giorgio Ronconi (Verdi's first Nabucco) in the early 1840s. See MackenzieGrieve, ClaraNovello (London,1955),p. 121. 14

Performancepractice and composer's intent. What in fact were Verdi's own opinions on embellishment? There appearsto 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 matterof course.He was quick to voice his views on matters of performancethat 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 "massacred" Aida33 in Rome includes the complaint that "not only was the romanza ["Celeste Aida" or "0 patria mia"] transposed, but several measures 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 ornamentation of some kind. Ornamentation of some kind was also probably behind his comment on Maria Malibran: "sometimes marvelous, but sometimes in bad taste,,"34and his distrust of Sophie Cruvelli as one of "these caricatures of Malibranwho have only her oddities without any of her genius."35 Certainly Jenny Lind's embellishment seemed excessive to Verdi'sproteg6 Emmanuele Muzio (who nevertheless thought Lind "a marvelous artist in every sense of the word"): "She has an incomparableagility-indeed she is apt to show off her technique in fiorature and gruppetti and trills, the sort of thing which people liked in the

33Letterof 25 March 1875 to Giulio Ricordi,transl. in Hans Busch, Verdi'sAida: The History of an Operain Lettersand Documents (Minneapolis, 1978),p. 380. 34Letter of 27 December 1877 to OpprandinoArrivabene,in Verdiintimo: Carteggiodi Verdicon il Conte Opprandino Arrivabene (1861-1886), ed. Annibale Alberti (Verona, 1931),p. 205. 35Letterto Brenna of 5 October 1850, in G. Morazzeni, Verdi: Lettere inedite (Milan, 1929), pp. 31-32; quoted in BuddenI, 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 written."37 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 approximatedthe fashion "people liked in the last century" (Angelica Catalani's fashion, for instance), then a comment on her overgracingin Verdihas little or no relevance for a De Lucia. Even if Lind did no more than is preservedin the tasteful renditions transcribedtoward 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.38By contrast, Verdi might very possibly have thought Battistini's ornaments 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 distinction between the earlieroperas 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 careerhe was readyto make, or to let others make, puntature in partswhose range did not suit that of the singer engaged for them.39 At the height of his

36Letter to Antonio Barezzi of 16 June 1847, in L. A. Garibaldi, Giuseppe Verdi nelle lettere di Emmanuele Muzio ad

Antonio Barezzi (Milan, 1934), pp. 325-27; quoted in Budden I, 317. 37Letterof 11 April 1871 to Giulio Ricordi;trans. in Busch, p. 150. 38SeeOtto Goldschmidt's appendixto W. S. Rockstro,Jenny Lind (New York, 1894). 39Verdireadily proposed a puntatura as an alternative to transposing "Celeste Aida," and told Ricordi in 1881 he

fame he demanded and got unprecedented authority for the premiere of Don Carlos, yet was flexible enough to expend considerable effort on 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 "O don fatal," and later approvedmodifications, and suggested more, when a mezzosoprano did eventually sing it.40When conductorial authority along modern lines began to be asserted in Italy, Verdi wrote: If thingsare as you say, it is betterto returnto the

modest conductors of earlier times.. . . When I began

scandalizingthe musicalworldwith my sins, there was the calamityof the primadonnas'"rondos";todaythereis the tyrannyof the conductors!Bad,bad! Butthe firstis the lesserevil!!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 Rodrigo.42)Maurel is supposed to have won Verdi's approval for a striking rhythmic change in Rigoletto: "Youhave done something psychological, Maurel. When Rigoletto was written, our singers had nothing-well, psychological in them."43The 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 (1972), 750; and FrankV. DeBellis and Federico Ghisi, "Alcune lettere inedite sul Don Carlos dal carteggio Verdi-Mazzucato," in Atti del H1 congresso internazionale di studi verdiani (Parma, 1971), pp. 531-41. 41Verdito Giulio Ricordi, 18 March 1899, in FrancoAbbiati,

GiuseppeVerdi,vol. IV (Milan, 1959),p. 367. The particular conductorin question was ArturoToscanini. 42Ricci,II, 11. 43AlgernonSt. John-Brenon, "Giuseppe Verdi," Musical Quarterly2 (1916), 130-62. This account (p. 139)is complicated by the fact that it is almost impossible to imagine an alteration of the sort described("aneffective change in the rhythm,"without "changinga word or a note") in the first phraseof 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'sunusually slow tempo for the passagewas the subject of some debate on the occasion of his Roman performances of 1883 (see Verdiintimo, pp. 301-02): could this be what is meant? 15

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claimed, on Tullio Serafin's authority, that Verdi had sanctioned replacement of the florid "Alla vita" cadenza with a syllabic one;44according to the tenor Giovanni Martinelli, Toscanini said that the composer had not objected to interpolated Bbs in Manrico's serenade and aria (see exs. 70, 153).45 Another anecdote, recounted by Martinelli among others, has the composer approvingthe celebratedhigh 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 behavior when next he came to write for the apparent perpetrator of the crime, Enrico Tamberlik. 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 condemned as an enormity in Trovatore:he transposed the cabaletta into Bb, not because the muses had urged another key sequence on him, but because "nobody will be able to sing what was written for Tamberlik."46So much for "Di quella pira"! The ghost of Verdi, insofar as we can perceive him, frowns disapprovalnot 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 forbidding "any insertions, any mutilations, any lowering or raising of keys, in short, any alteration which requires the smallest change in the orchestra 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-

44Seeaccompanyingbooklet to Metropolitan Opera'sreissue of their 1943 Ballo broadcastwith Sved. 45Martinelli, "Singing Verdi," Musical America, March 1963,pp. 14-15, 45. 46Letterto Tito Ricordiof April 1863, in Abbiati II, 732. 47Letterof 20 May 1847 to Giulio Ricordi(I copialettere, pp.

37-40). 16

blings were revised to match. More to the point is the implication that even at his most inflexible Verdicould accept changes which didnot require orchestral adjustment. The kind of ornamentation we have been discussing, with few exceptions, does not. Indeed Verdi's instrumentation seems at times to provide for it explicitly. Very often, especially in the early operas, orchestral doubling of the voice is suddenly removed 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 "Semprelibera," and the fioraturawhich 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: Buddendescribes a score of Macbeth in which Verdi wrote at the beginning of the murder duet "Gli artisti sono pregati di non fare le solite cadenze."49Budden 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 familiarity with period practice suggests a different interpretation. The prohibition of appoggiaturas also strikes Budden as over-cautious, but it was not: as we have seen, singers were still quite ready to add unwritten appoggiaturasif the line in question seemed to want them. Verdi's instruction was practical and necessary pre48Sembrich'svariantin this example may be seen as a facilitation-that is, a way of getting around the low B6-but whateverits origin,the result is clearlyused in an ornamental way. This is confirmedby the records(e.g.,Selma Kurz's, Grammophon053354; and Rosa Raisa's, Vocalion 70039) where the BIis sung with no troublethe first time, and Sembrich's variant or one like it employed as a repeat decoration. 49BuddenI, 506fn.

WILL

CRUTCHFIELD Verdi a-gl'im

pe - ti

d'a-mor

Example vii: from I Lombardi

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 ornamentationof internal cadences. It is even less likely that elaborationsand/or substitutions at the final cadenzadisturbedhim. He must have heardthem constantly, but although he came to invite them less and less, there is no evidence that he found them inappropriatewhere he had done so. (Theargumentcould be raisedthat some of the substitutes transcribedhere are dull and trivial, but that is anothermatter.) 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'scareerfor Giuseppina Strepponi. It is the merest display piece: arpeggio,staccato, "qualche trillo, qualche scala ascendente credendo di imitare I'usignuolo."50Strepponi and everyone else would have concluded it with a cadenza in the spirit of the piece. Yet over the final V7chord Verdiwrites 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 it? Haste? The

descriptionof the sort of salon/display-piecehe did S5Verdi's not like to write (letter of 1871 to OpprandinoArrivabene, Copialetterep. 620). The arietta itself is reprintedin Frank Walker," 'L'abandonde,'a forgotten song," Bollettino quadrimestraledell'istituto di studi verdiani 1 (1960),no. 2, pp. 785-89 and 1069-76.

je veux,

je veux ta mort,

je

veux _ ta

Ornamentation

mort

viii:fromJerusalem"s Example 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 J1rusalem (where the piece appears transposed a tone lower), an impressive 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 recordingsby singers whose paths crossed the composer's. Of the singers cited in this article, seven worked with Verdi on roles they sang in premieres:52 Tamagno (Otello, Don Carlo [1884 version], Adorno in Boccanegra [1881 version]; exs. 70, 75, 105, 171, 176, 177), Maurel (Iago in Otello, Falstaff, Boccanegra [1881 version]; exs. 77, 172), Navarrini (Lodovico in Otello, GrandInquisitor in Don Carlo [1884 version]; exs. 73, 118, 204), Pini-Corsi (Ford in Falstaff; exs. 196, 205), De Reszke (Fiesco in Boccanegra [1881 version]; ex. 11), Garbin (Fenton in Falstaff; exs. 156, 157), and Arimondi (Pistol in Falstaff; exs. 119, 202). Several others are widely said to have been admired 51The text of the cadenza is shown here as Verdi first wrote

it. Later,perhapsadvised that the word "veux"was no good for a high note, he scribbledin the autographan incomplete replacementwhich the published score resolves unconvincingly. Thanks are due to Martin Chusid and the American Institute of VerdiStudies forpermission to consult the Institute's microfilms of this and other autographs. 52Thefirst four made recordsfrom the operas (and the first two from the actual roles)they sangwith Verdi.De Reszke's ariais from Ernani;it was his performancein an Ernanirevival that apparentlypersuadedVerdito accept him forBoccanegra(see BuddenII,267). 17

19TH

CENTURY MUSIC

by him, among them Battistini (numerous examples throughout), Nordica (exs. 27, 109, 178, 179) and Bellincioni (exs. 43, 111, 158, 160). In the case of Bellincioni, who was the first Santuzza and Fedora, the opera in which she impressed Verdi is both known and representedin her slender legacy for the gramophone: Traviata. This recording is highly typical of the style observed in the earliest generation of Verdians-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 beforethe recordthat she "brokeaway from every outmoded tradition of the lyric stage, abandoning[her]selfto recitar cantando.''53His 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 engagedfor the premieres). The singer for whom Verdi's admiration is most persuasively documented, excluded until now because her few recordsinclude 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 recordedto any significant extent who belongs to the operatic world of Verdi's middle period. Patti sang Rigoletto, Trovatore, and Traviata in the world's great musical centers within a decade of their composition. Traviatais one of the operasin which Verdi's admiration for her-keen, deep, and longlasting-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 floridMalibran-"the purest style of singing."54 To Giulio Ricordi he writes of her "marvelous execution" without a qualifying expression of 53GemmaBellincioni, Io ed il paloscenico (Milan, 1920), quotedin J. B. Richards,"GemmaBellincioni," RecordCollector 16, nos. 9-10 (January1966), 199-219. 54Letter of 27 December 1877 to Arrivabene,in Alberti, p. 205. 18

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.""In the same letter, he specifically singles out her "Ah, fors'e 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 1893.56 All this lends particular interest to the surviving 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."57Klein 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).58An interpolation made by the German soprano MargaretheSiems (the first Marschallin) has been included here (ex. 200) mainly because Ricci attributes a similar one to Patti.59 But the best documentation of Patti's style is found in the pair of Bellini arias she recordedin

55Letterof 5 October 1877 to Giulio Ricordi,in Busch, pp. 406-08. See also p. 410, fn. 3, for discussion of a cadenzato "Opatriamia" sung by Patti in New York(1883),which (the management claimed on Patti's behalf) was written by Verdiexpresslyfor her. The idea is not as preposterousas it may seem when one realizes that Verdi apparentlywrote a cadenzafor "O don fatal" without intending it as a part of the publishedscore. 56Patti'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 Traviataperformancesleft by Verdi's protege Emmanuele Muzio (CarteggiVerdianiIV, ed. A. Luzio [Rome, 1947],p. 223). Interestingly,Muzio notes that "the cadenza [of 'Ah, fors'e lui'] was good and simple: it was little applauded,because the public expected a tourde force."Apparentlyit was all right by Verdi'smost enthusiastic supporterfor Patti to have her own Traviatacadenza;obviously it was normal for the public to expect her to have one (of a differentsort).Muzio makes special mention of the fact that she sang only one verse of "Addiodel passato";some sopranosmust still have been singing both in 1886. 57H.SutherlandEdwards,The Prima Donna: Her History and Surroundingsfrom the Seventeenth to the Nineteenth Century,vol. II(London,1888),p. 120. 58Klein, p. 287. 59Ricci, I, 83.

1906. These take careful listening: few voices are still functional after fifty years of hard public use,60 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 credeamirarti" 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, portamenti, 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. III. CONCLUSIONS

The idea of the composer and his score as the only legitimate authorities in matters of interpretation has been aroundfor many years. It has been increasingly accepted both in theory and (with some time-lag and misunderstanding) in practice. Yet it 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-changingingredient, 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 it 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 substance. They have a claim on the conscientious performer's attention complementary to the composer's own. The no-cuts-and-come-scritto 60Patti'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.

approachfavored in some quarters begs important questions to an unacceptable degree, and the phonographic evidence can aid attempts to addressthem. Forinstance, to take an example outside the categoryof embellishment, few who have heard the old discs will disagree that we tolerate an unjustifiable neglect of piano singing nowadays. Certainly, at least in the early operas, the nominal cadenzas requireelaboration, and singers who wish to grace the major internal cadences should be encouraged to do so. The twonote realization of the acciaccatura ought at least to be tried. No singer should be barred from roles like Leonora, Azucena, Henri, or Stankarfor lack of the odd extreme note. This is not to say that period practice, as represented on records, should be adopted uncritically. Although many departuresfrom 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 addedappoggiaturasin exs. 204-07 make little difference one way or the other, the one in ex. 202 surely betrays a failure of perception. On several other issues (updatingof florid cadenzas, interpretationof rests and slurs, interpolations in the later operas,and so on), it is best to take an equivocal stance. But that is all to the good, since it implies experimentation, variety, and choice: an antidote to the growing, depressing tendency for musical interpretations to resemble one another. Cabalettas can be sung and ornamentedin one performanceand omitted in favorof verism at another.One productioncan be staged to discouragemid-scene applauseand anotherto rekindlethe electric interactionbetween stage and audience that was such a vital part of Verdi'soperatic 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 generations of interpreters. 19

WILL CRUTCHFIELD Verdi Ornamentation

19TH

CENTURY MUSIC

The rub comes when certain kinds of interpretations, certain ways of approaching the executant's task, come to have such dominance that other valid perspectives are obscured. It is in just such cases that we can usefully follow Verdi's maxim: "torniamo all'antico: sarcd un progresso." C. S. Lewis put it well in advising students of theology to spend more time, on the whole, with old books than with new:

Not, of course, that there is any magic about the past. People were no cleverer then than they arenow; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errorswe are already committing; and their own errors, being now open and palpable,will not endangerus.61 61C.S. Lewis,introductionto a translationof St. Athanasius's Incarnation (New York, 1946).

Musical Examples A Note on the 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 adlibitum passage can be perceived in various ways. Many important aspects of dynamic shading, accentuation and rubato can be indicated only approximately. At times unclear 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 instructional conventions and have not tried to specify the subtler dynamic and rhythmic nuances. Dynamics 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 arguablybear them, although when the devices that might call for such markings have seemed to me particularly prominent, the markingshave been used. Portamento, when clearly audibleat normal playing speed, is indicated by a slur mark; the slur is therefore not used in its conventional function of joining notes which share a syllable. No attempt has been made to distinguish between slight and pronounced portamento (at resolutions to the tonic in particularthe voice will almost always settle firmly on the pitch of arrivalbefore 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.* Readerswill understandthat *"Urnafatale"fromForzais shownin its pre-revision keyof F major,which seems for some reasonto have remained in Italyforsometime (severalrecordings standard appearto playatthatspeed,andRiccigiveshis cadenzasfortheariain

F). Some scores of the revised opera print the cantabile in F and the cabaletta in E, but Battistini (who includes the transitional 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 "Io la vidi," for instance, was recorded both from the four-act and five-act versions; more surprisingly, Giovanni Gravina's 1902 "Il lacerato spirito" (G&T 52367) follows the 1857 rather than the 1881 Boccanegra score.

20

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 recordsand 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 appropriateone. (Is ex. 180 an ornament or a facilitation? Should ex.143 be interpreted 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'snotation of the passage (as found in the Ricordi piano-vocal scores). Attribution is by artist's last name only; furtherdetails are providedin the tables. Many of the embellishments shown are sharedby artists other than the ones to whose recordsI have ascribed 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. 160-62, but by Arnoldson, Arral, Barrientos, Bori [Edison], Brambilla, 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 appearanceon records, or from the earliest singer to have employed it, or from the artist most closely associated with the role, or with Verdi, or with a prephonographicVerdian 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 section (unvaried)is not shown.

WILL CRUTCHFIELD Verdi Ornamentation

Final Cadenzas ("Full-Stop")

Ernani: "Ernani involami" (complete cadenza shown)

Nabucco: "Dio di giuda"

(complete cadenza shown)

I"•"-,

a - do - rar

-

-

ti

o

gnorsa -pr6

--,--_

un' e

Ex. 1: Stracciari - den que glian-tri a me

-

a-do-rar

ti

o - gnor a-do-rar-ti

Ex. 5: Sembrich allarg.

a-do-rar - tip-gnor sa- pr6

den dide-li-zia,

un' e 6I

Ernani: "Come rugiada" cadenza

(complete

ah,

allarg.

que gl'an - tri

a

me

shown)

allarg.

Ex. 6: Caligaris no iomo-ri

d'af-fan

- r6

u- n'e

Ex. 2: De Lucia

io_

mo-ri-r6 per te,

per te, per te io mo-ri - r6

F0 -

no, d'af-fan-no

0

+

io mor

r

-

tria(?) me

no, d'af-fan-no,

u - n'e-(ah)

den que-gl'an-tri a me

Ex. 8: Gabbi

Ex. 4: Scampini

d'af-fan

que- gl'an -

Ex. 7: Talexis

Ex. 3: Caffetto

d'af-fan

den

d'af-fan-nomo-ri - rb

u-n'e - den di de-li - zia

ah si, que-gl'an-tri a

me 21

19TH

CENTURY MUSIC

Emani: "Da quel di" (C shown)

Ex. 12: Chaliapin

--" i vil

del

per_

i

ii -

an-co

te

i

i

-

i

------

rajl cor,

p

re

tuo

Fi'ii

an-co-rail cor

an-co - rajlcor,

Ex. 9: Corsi / Battistini Ex. 13: Lanzoni vil

0

per te mi do-ve-van gl'an-nijal-me-no far di_

1

del

ge - lo

tuo re

-

an- co

ra

il

cor

Ex. 10: Boninsegna / Cigada

vil

per te

del

tuo re

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

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

w ------------------ 7?ro 1"-- ----- an-co ra an-co-rail

sce-gli,

al-tro scam

po

no,

cor no, no, no, non v'e

Ex. 11: De Reszke

Ex. 14: Battistini mi

do - ve -vangli an - ni al-me - no

fardi sce-gli, al-tro scam-po, al-tro scam-po piuinon v'd,ah no,

ge-loan co-ral cor, far di ge-lo an-co-ra ii

22

cor

no al-tro scam-po piti non v'6

Ernani: "O de'verd'anni miei"

I due Foscari: "Questa dunque e l'iniquo mercede" (B and C shown)

(complete cadenza shown) a piacere

il no-memio

WILL CRUTCHFIELD Verdi Ornamentation

fa - r6

Ah, ren-de

---------

te,

Ex. 15: Battistini (presto)

ahren-de-teilfi - glioa me! il

no

--------

me mio,Ex. 19: Corradetti

il no

-

me mi - o

fa

- r6 deh, ren-de - te, ren-de - te il fi - glioa me,

Ex. 16: Kaschmann ren-de-tei1fi-glio e vin-ci-tor_

de'se

co - ii

il

a_

me

no - me

Ex. 20: Bonini

mi

-

-

il no

o,

memio

fa - r6

Ah,

si, ren-de-te, ren-de-teilfi-glio a

me

I due Foscari: "O vecchio cor" (complete cadenza shown) Macbeth: "Pieta, rispetto, onore"

(complete cadenza shown) pian - gi, _ pian

p e legate

- gipur tu

sol _ la

Ex. 17: Corradetti

pian - gi,_pian-gi,

pian

gi

pur tu

Ex. 18: Amato

be-stem-miajahi

la ne-nia tua

sa

las-so la ne

nia,

- ra

Ex. 21: Battistini /

pian ---

plan - gi

-

-

pur

tu

-

-

gi,

pian - gi,

(presto)

sollabe-stem-mia ahilas-so la ne

nia, la ne-niatua

sa

-

ra 23

19TH

CENTURY MUSIC

Luisa Miller: "Quando le sere al placido" (B and C shown)

Ex. 25: Caruso

ah in

fS

- li-co

suo-nqon-ge

> •

>

-----

"t'a-mo" di-ce

le sfe-re-g

si,

ian-ge - lii

morendo

3P

no,nonin-vi-di6 per - a, mi tra-di

ahmi tra-di

-

te

a

Ex. 26: Constantino

Ex. 22: De Lucia

KF .

F

.

non in-vi-di6 per

in suo-no an-ge-li-co "a-mo te so-lo" ah mi tra-di-aahi-

mr,ahi-me,

-

- a

tu mi_tra-di

-

te

Trovatore: "Tacea la notte" (complete cadenza shown)

a

adagio ed eguale

(ter-) ra

Rigoletto: "Parmi veder le lagrime" (B and C shown)

un_ ciel

sem - br6

dolciss. allarg.

A

A

A

ten.

Ex. 27: Nordica (presto)

ah!

non

in-vi-di6 per

te

A,

(ter-) ra

Ex. 23: Albani

le sfe - req-g1jin-ge-li,

ah

sem - br6

le sfe-re-g1-in-ge-li,

Ex. 28: Chelotti

f

(presto)

no, no, no, non in-vi-dib per

te (terra un)

ciel

ter-raun ciel sem - br6

la

Ex. 24: Anselmi Ex. 29: Ciaparelli (presto)

le sfe-re a-gl'an-ge-li,

le sfe-rea-gl'an-ge -li, (terra un)

non in-vi-dib6_per

24

te

ciel

ah

la ter-rasm ciel

si,

sem - br6

Ex. 34: De Bassini

Ex. 30: Burzio

(un) ciel, un ciel sem-brb

la_ ter - ranmciel sem- br6

WILL CRUTCHFIELD Verdi Ornamentation

del mio cor (sic) la tem-pe-sta del miocor

la

Ex. 31: Mazzoleni F, P

k ip i

1I|

I

F

r_

L_

(ter-) ra ah

P 6v

si

,.-

un ciel

-

sem

br6

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

par - ra,

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

- der-ti lamor-tea me

e so-loincielpre-ce

la

par - ra

mor - teame

Ex. 35: Albani

e so-loin ciel pre-ce-der-ti la mor-te a me

ah,

la tem-pe-sta del

mio cor

par-ra,

la mor-teome par

-

rA

Ex. 36: Biel

Ex. 32: Campanari

sper-dail so-le d'un suo sguar - do

la

tem-pe -

sta, la tem-pe-sta del mio cor

e so-loin ciel pre-der-ti la mor-tea me

la mor - te,

par-ra,

la mor-te a me

par - ra

Ex. 37: Signorini

Ex. 33: Corradetti

sper-dajlso-le d'un suo sguar-do la tem-pe-sta delmio co-re,

la tem-pe - s st

la mor-te,

del _ mio cor

e so-loin ciel re-ce-der-ti la mor-tea me

la mor - te,

lamor-tea

mepar

par-rd,

- ra

25

19TH CENTURY MUSIC

Ex. 38: Caruso

Ex. 41: Raisa

KF e so-loin ciel pre-ce - der-ti

la

par-ra

mor - te a me,

la mor-te a me

Ah,

a me par - ra ah,_

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

Ex. 39: Gilion :

f

Ipp

ne del

mio_ cor

e so-lQoncielpre-ce - der - ti la mor-teqame

Ex. 42: Corsi

_

la mor-te,

par-ra,

la mor-te a me par - ra si,_ le

Ah,

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

pe-ne,

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

ah,

del cor

le pe

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

ne

del

cor

Ex. 40: Tetrazzini

Ex. 43: Bellincioni

PA-$ le pe

0it. -

-

-

-

- -

-

(presto)

-

ne del mio

ah

-zia, cor,

de - li-zia al cor

ah!

ah si, le pe - ne del cor,

si

ah

si

cro-ce de-li -

de-li - zia al

cor

ah Ex. 44: Sembrich (presto)

del

26

cor

ah

cro-cq de-li

-

Ex. 49: Brambilla zia al cor, cro

WILL CRUTCHFIELD Verdi Ornamentation

ce ede-li - zia al cor Ah

Ex. 45: Tetrazzini al_

cor

ah

Traviata: "De' miei bollenti spiriti" (complete cadenza shown) f cro-ceede-li - zia,de-li-ziaal co - re,

si,

...im-me-mo-re

io vi-vo qua-sijn ciel,_ ah si, io vi -

dim.

cro-ceqede-li -zia

al _

_-

vo qua-si in cie - lo,

cor

io vi-vo qua - siin

ciel

Ex. 50: De Lucia Ex. 46: Melba

rit.

A

...im-me-mo-re

io

vi - voin ciel,

in cie

-

lo,

Ah io vi-vojn cie-lo, ah, in ciel al

cor

Traviata: "Di provenza il mar" (complete cadenza shown) f dim.ed. allarg.

Ex. 47: Pacini

Al

cor,

de - li-ziaal cor,_ de-li ziaal_

ma,

ma, _ se"l-fin ti tro-vQn-cor, ti tro-vQn-cor

Dio m'e sau-di,

cor

Dio m'e

sau - di!

Ex. 51: Battistini Ex. 48: Huguet

Ah

_

_

ma, _ seal-fin ti tro-voan-cor, ti tro-voan-cor

_

al

cor

Diom'esau-di,ah!

Diom'esau

- di

27

19TH

CENTURY MUSIC

Ballo: "Ma dall'arido stelo divulsa" (B and C shown)

Ballo: "Alla vita che t'arride" (complete cadenza shown)

lento

o-v'e la

ah!

pa - tria

3

3

col suo splen-di-dqav-ve - nir

mi-se-re-re-d'un po-ve-ro

Ex. 56: Burzio

Ex. 52: De Bassini

(presto)

(presto)

o-v'e la pa-tria

cor

Ah

Ah!

Si - gnor_

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

Ex. 53: De Bassini (presto)

Si-gnor

pie-ti di me, _

ah, pie-ti

-

ta

si - gnor

Ballo: "Ma se m'e forza perderti" (complete cadenza shown)

L

3 o-v'e la pa-tria

- i

_m'a

--

S..f,-'-0

Ah!

l'ul-ti

- ma_ o-ra del no-stroja-mor se fos-se l'ul-ti-ma del

col suo splen-di-do av-ve - nir no-stro a-mor Ex. 54: Battistini

Ex. 57: Caruso

o-v'? la pa-tria col suo splen-di-djav-ve-nir?

Col_

suo splen-di-do av - ve - nir

I I F S~,, , , l'ul-ti-ma o-ra del no-stroa-mo-re, o-ra del no-stro a mor

Ex. 58: Gilion

Ex. 55: Scotti

o-v' la pa-tria, o-v'6 la pa-triacol suo splen-di-do av -

ve-nir,

28

l'ul-ti - ma, l'ul-ti-ma o-ra del no-stro a-mor co-me se fos-se

colsuo splen -di -

do_

av - ve - nir

l'ul-ti - ma_ o-ra del no-stroa-mor

o

-

radelno - stro

a - mor

se fos-se l'ul - ti-ma

Ex. 59: Vignas

gLIW,

3

30

WILL CRUTCHFIELD Verdi Ornamentation

Forza: "Pace, pace" (complete cadenza shown)

I

l'ul - ti - ma

o-ra del no-stroai-mor

se fos-se l'ul-ti -

in-van la

pa - ce que-st'al - main-van spe - rar

ma elno-stroa - mor

Ex. 63: Tetrazzini* Forza: "Urna fatale" (B and C shown) in-van la

pa - ce

que-st'al

-

-

ma

mi_ con - ci - t6, in-van spe - rar _ mi con-ci - t6 *Before this is dismissed as an anomalous intrusion of "coloratura" practice, it 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 (Grammophon 66100).

Ex. 60: Battistini S(presto)

mi_

con-ci - t6

di-sper-sa va

pen-sie-roche al-l'at-to

dailimal_

in - de-gnomi con-ci

-

t6

Don Carlo: "Per me giunto"

(complete cadenza shown)

Ex. 61: Magini-Coletti 41S,

mi con-ci-tb

cheal-l'at

(presto)

mor - raper te

tQjn - de

Ex. 64: Giraldoni gno

mi con-ci-t6

il pen - sier mor - raper te

Ex. 62: Bellantoni

mi

con-ci-t6

con - ci-t

che al-l'at-to in-de - gno mi

ah, an - cor

29

19TH

CENTURY MUSIC

Final cadences without "full-stop"

Rigoletto: "Questa o quella"

Rigoletto: "La donna e mobile" con forza

se

(bel-) ta_

pun - ge

mi

e

di

pen - sier

Ex. 67: Bonci S(presto)

_ u-na qual-che bel - t e

Ex. 65: De Lucia

di pen-sier

Ex. 68: Caruso (presto)

rail. .

f

' "P

se

(bel-) ta

S

np

f

"

mi

pun-ge

e

di

a tempo

Ex. 69: Caruso

f,2f

u-na qual-che bel -

(Presto)

t,

e Ex. 66: Caruso

(bel-) ti,

ah si,

u e-upun - ge

se

mi

er

u -naqual-chebel - ta

dipen-sier

Trovatore: "Deserto sulla terra" con forza

::: tr

mag-gior il tro-va - tor

Ex. 70: Tamagno

mag-gior il

30

tro

-

-

-

va - tor

pen - sier

Ballo: "Di' tu se fedele"

nel-l'a - ni-me

Otello: "Ora e per sempre addio"

no - stre non en - tra ter - ror

Ex. 71: Albani rit. 7

e que- stoj l fin

Ex. 75: Tamagno tempo

-a

nel-l'a

WILL CRUTCHFIELD Verdi Ornamentation

- ni

-

me

no-stre

nonen

- trater- ror

e que - sto l fin

Ex. 76: De Negri

Ballo: "Saper vorreste" f.

e que-sto il la la la la

la

tra

fin

la

Ex. 72: Tetrazzini

Falstaff: "Quand'ero paggio" la la la la

la

ah! va-go leg - ge -ro gen-ti - le, gen - ti - le,

gen - ti - le

Don Carlo: "Dormir6 sol" Ex. 77: Maurel* a-morper me non ha

va-go

leg

-

ge

- ro

gen-ti-le,

gen

-ti - le,

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

gen

ti - le

gen - ti - le

Ex. 73: Navarrini

a-mor per me

non ha

*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 time, and as transcribed here thereafter (and the third goround is in French).

Ex. 74: Luppi 3

a-mor per me_ non ha

31

19TH

Internal cadences

CENTURY MUSIC Nabucco: "Tu sul labbro"

Ernani: "Emani involami"

leg - ge sor

-

ge - r

-

sa

-

pp

3

3

dim>

que - gl'an-tri a me

ran_

Ex. 82: Wedekind

Ex. 78: De Angelis

leg - ge sor-ge-rA,

latualeg-ge_ sor-ge- rA

sa

-

que - gl'an - tri_

ran_

a

me

Ernani: "Emani involami" Ernani: "Come rugiada al cespite"

mibe - 6

d'a-morche

-

E

-

che

mi_ be - 6

Ex. 80: Caffetto

-

den

Ex. 83: Sembrich

un E

Ex. 79: De Lucia

d'a - mor

un

-

-

-

den

Ernani: "Emani involami" dim. allarg.

que

-

-

gl'an - tri

me

-a_

Ex. 84: Sembrich d'a-mor

che mi be - 6

M

(saran)

Ernani: "Come rugiada al cespite" adagio

E Ah! D

32

-

que

gl'an-tria me

Ernani: "Da quel di"

Ah!gio-iae vi-ta

Ex. 81: De Lucia

Ahi

Lal arg

-

Ex. 85: Battistini

-

me!

Ah,

gio

-

-

-

ie

vi - ta

Ex. 86: Parvis

Ah,_

Ernani: "O de'verd'anni miei"

gio

iae

o fa - r6

-

il no-me mi

vi - ta

WILL CRUTCHFIELD Verdi Ornamentation

Ex. 90: Kaschmann

n:t. "

Ernani: "Da quel di"

del

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

fa - rb

tuo re

Ernani: "O sommo Carlo" Ex. 87: Battistini A

del

tuo re

3

del - le tue

-

ge

-

ste-mi

- ta - tor

Ex. 91: Battistini

f

te i

del-le tue ges

Ernani: "Lo vedremo"

no, no, non v'e

-

mi - ta-tor

I due Foscari: "O vecchio cor"

Ex. 88: Battistini

l'a-vel t'a-vrk,l'a-vel t'a - vr Ex. 92: Amato

no no,

non v'e

rf

1'a-vel

fit.

p

t'a-vrk, I'a

-

vel

t'a - vra

Ernani: "0 de'verd'anni miei" Macbeth: "Pieta,3 rispetto, onore" Al piiuisu-bli- me

tro

-

no_ la

tu - a

ca - nu -

e - t ta•

Ex. 93: Battistini

Ex. 89: Ancona

Al piilsu-bli-me

tro

-

-

no

la tu-a

ca-nu

- ta

e- ta

33

19TH

CENTURY MUSIC

Macbeth: "Pieta, rispetto, onore"

lane-niatu-a

Rigoletto: "E il sol dell'anima"

sa - ra

sa

Ex. 94: Battistini

r6 per te

Ex. 98: De Lucia

la ne - nia tua

sa - ra

sa

-

-

-

ro

per

te

"Quando le sere al placido"

Luisa Miller:

Rigoletto: "Parmi veder le lagrime" lo

sguar-do in-na-mo - ra - to ca - ra fan-ciul-laa

-

ma - ta

Ex. 95: De Lucia a tempo

ltPr~it.

Ex. 99: De Lucia 3

lo

in-na-mo - ra - to

sguar-do

ca- ra fan-ciul

la a - ma-ta

Rigoletto: "Questa o quella" con brio

de-gl'a-man- ti

le

sma - nie

de - ri - do "Tutte

Rigoletto:

le feste

al tempio"

Ex. 96: De Lucia -

(l'an)

rit.

de-gl'a-man-ti le

-

sia pii cru - del

de - ri-do

sma - ni - e

Ex. 100: Boronat rit.

Ex. 97: Anselmi si

ah)

de-gl'a - man - ti

le

sma

-

-

nie

nel-l'an-sia pi

cru - del

Ex. 101: Barrientos

a tempo

de

-

-

ri - do_

(l'an)

-

sia,

cru - del

nel-l'an-sia pifi•

34

Rigoletto: "La donna e mobile"

Trovatore: "I1balen del suo sorriso"

PP leggero

e

di

nuo-voin fon - dea meco

pen - sier

Ex. 102: Caruso A

3

3

- rag - gio

Ex. 106: Parvis

rit.

3

e

WILL CRUTCHFIELD Verdi Ornamentation

3

di

pen - sier

3F

in

nuo-voinfon-de

co - rag

me_

-

gio

Ex. 107: Corradetti 3

Rigoletto: "Bella figlia dell'amore" k M

33

nuo-vQin-fon - de a

.

me

cor - rag

-

gio

pe-ne,le mie pe-ne con-so - lar Ex. 103: Caruso

Trovatore: "Ah, si, ben mio" pe-ne, lemiepe-ne

con

dim.

- so-lar

mor - te a me

la

par

-

rA

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

I-pp

un

tro-va-tor

can - t6 mor

la

Ex. 104: Chelotti

te a me

-

ntf

r

par un

tro-va-tor_

can - t6

Trovatore: "Deserto sulla terra"

Trovatore: "Miserere" dim.

1

tutta

3._

un coral tro-va - tor

(cada) - ver_

fred - do

sa - r

Ex. 109: Nordica uncoretal

tro - va - tor

unco-real tro - va -tor

(cada) - ver

gi_

fred - do sa - ri

35

19TH

CENTURY MUSIC

Traviata: "Pura siccome un angelo"

Traviata: "Un di, felice"

dim.

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

de-li-zia al cor

Ex. 114: Battistini

Ex. 110: Zenatello

de

-

li

-

lie

zia al cor

ne

- ti,_lie-ti

ren - de

-

va

Traviata: "Pura siccome un angelo" Traviata: "Ah, fors'e lui" non vo-gliajlvo-stro cor, no,

no

de-li-zia al cor

Ex. 115: Battistini Ex. 111: Bellincioni

de

-

li

-

nonvo-gliail

zia al cor

vo - strocor,

Ex. 112: Tetrazzini Traviata: "Di provenza il mar" ppp

li - ziaal cor

de

rai

dio m'e-sau - di

Ex. 116: Battistini Traviata:

"De' miei

bollenti --

col pla-ci -do

spiriti" stent.

=-

dio m'e-sau

ppp

-

diom'e-sau

sor - ri-sodel-l'a-mor, del-l'a-mor

Ex. 113: De Lucia col

n>PP

sr

-

ri-rl

dl-l

o

pl-.-d col pla-ci-do

36

sor - ri-sodel-l'a-mor,

-

•dl' del-l'a

tempo

- mor

-di

di

ah,

no

:=- pp

f

tut - toilfu - tu-ro

WILL CRUTCHFIELD Verdi Ornamentation

Ex. 121: Scotti

Traviata: "Parigi, o cara"

-_

accel.

del - l'a-mi - co tuo

ne ar - ri-de - rA

-

pri

la

mo

fe

Ex. 117: De Lucia f

lunga

:::-

Ex. 122: Sammarco

PP

tut-toil fu - tu - ro

ne ar-ri-de

-

ra del-l'a-mi-co tuo pri - mo -a

fe

Simon Boccanegra: "I1 lacerato spirito" con espress.

re-saal ful-gor de-gl'an-ge-li, pre-ga,Ma-ria,per me

Ex. 118: Navarrini

Ballo: "Eri tu"

per - du

re-saal ful-gor de-gl'an-ge-li, pre-ga, Ma-ria,_ per me

te! o spe-ran - ze

d'a-mor

Ex. 123: Battistini

per-du

Simon Boccanegra: "I1 lacerato spirito"

-

- te, o

spe-ran-ze d'a

-

mor

pre-ga per me

Ex. 119: Arimondi

pre-ga

Ballo: "Saper vorreste"

(at repeat)

nol

per me

ra - pi - ra

o gra - dotE

bel -

Ex. 124: Tetrazzini

Ballo: "Eri tu" f

3

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

nol

ra - pi - ra

gra - dopo

bel - tA

f

Ex. 125: Trentini Ex. 120: Battistini Sgra

del - l'a-mi - co tuo

pri

-

mo

la

f

nol

ra-pi rb -

gra

- do

-

do1o

bel

bel-t 37

19TH

CENTURY MUSIC

Don Carlo: "Per me giunto"

Forza: "Urna fatale" dolciss.

in

-

3

e

mi

gno

-

con

ci

tb

la - gri

Ex. 126: Battistini f

-

in - -

-

la - gri-mar

mar,

S con-ci - t6

gno mi

.,

W

,

*R-

la - gri - mar, la- gri-mar

Forza: "Pace, pace" Aida: "Celeste Aida" -

pa-ce mio Di

o

tu di mia vi-ta sei lo splen- dor

Ex. 127: Boninsegna rit.

Ex. 131: De Lucia r

r

pa-ce mio Di

o tu di mia

vi-ta sei lo_ splen -dor

Don Carlo: "Carlo, che e sol"

de - gno,_ah

sa - riapii

so

nol

in-ver_

Aida: "Celeste Aida" PPPP

Ex. 128: Kaschmann

sa - riapiii

vi-ci-no al sol

de

- gno in-ver

nol_

Ex. 132: Caruso

so

P

-

vi - ci - noal sol

Don Carlo: "Carlo, che & sol"

f

se tor-ne - rA,se tor-ne-ra, sal-vo_

sa ri

Aida: "Morir, si pura e bella"

Ex. 129: Kaschmann f 3

(ri-)

ve

- da,

sal-vo_ 38

per - che

Ex. 130: Battistini

-

(ri-) ve-da,

co-si_

trop-po sei bel

- la

3

se tor

sa

--rit.

- ne - ri, setor-ne-ri,

Ex. 133: Del Papa

3

r-

trop-po sei bel

la

co - si_

it.

I" , per - che

WILL CRUTCHFIELD Verdi Ornamentation

Melodic variants

Lombardi: "La mia letizia"

Rigoletto: "Questa o quella"

do-ve mor - tal

sol chi vuo - le

si ser-bi fe - de

le

Ex. 134: Venerandi - mor

_non v'haj

se non ve li-ber - t6

do-ve mor - tal

Ex. 138: De Lucia rit.

Ex. 135: Escalais*

vuo-le

solchi

si ser-bi fe - de-le

do-ve mor - ta - le *That this interpolation resembles rather closely one Verdi himself made for the French version of the aria suggests that such a device was already typical in the composer's day. Escalais also recorded the aria with its French text, but kept to the Italian musical version except for the interpolated high notes.

p

nonYv'ea-

a tempo

-

mo

re

se non v'e li-ber - t

Ernani: "O sommo Carlo" 3

3

Rigoletto: "Questa o quella"

del - le tue ge- stei-mi - ta - tor se mi Ex. 136: Cigada

del - le

pun - ge, se_ mi

pun - ge

(at repeat)

tue ge - ste i - mi

Macbeth: "Pieta, rispetto, onore" dim.

-

ta - tor

Ex. 139: Caruso

se mi

pun - ge, se mi

pun-ge

non spar-ge-ran, non spar-ge - an Ex. 137: Battistini

non spar-ge-ran, non spar-ge - ran

Ex. 140: De Lucia

se

mi

pun - ge, se_

mi

pun - ge

39

19TH

CENTURY MUSIC

Rigoletto: "Caro nome"

Rigoletto: "Parmi veder le lagrime" atr

ca - ro

no

me tuo

sa

le sfe- rea-gl'an-ge-li

r

-

Ex. 144: De Lucia 3

Ex. 141: Brambilla le sfe-re a - gl'an ca - ro

no - me tuo

sa

-

ge-li

ra

Rigoletto: "Cortigiani, vil razza" 3

ri-da- te a me la

Rigoletto: "E il sol dell'anima"

fi - glia

cantabile r

r

w ,F,

F

EJ1 sol del - 'a - ni - ma,

la

(Verdi's repeat) vi-taa

- mo

-

re

3

ri-da- te a me la

3

fi - glia

Ex. 142: De Lucia -

,r

Ex. 145: D'Andrade (at repeat)

F F

Evjlsol del - l'a-ni-ma,

la

vi - taea - mo - re

ri-da - te a me_

Rigoletto: "Parmi veder le lagrime"

da_quelci-glio

Rigoletto: "La donna e mobile"

e dipen - sie - ro

Ex. 146: De Lucia

da_quel ci 40

glio

la

e dipen - sie-ro

fi - glia

Trovatore: "Di geloso amor"

(At "latempesta,"the score gives an oppurechoice between an unembellished and an embellished musical repeatof the phrase"nuovainfonde a me coraggio.")

allarg. a piacere

Trovatore: "Il balen del suo sorriso"

--

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

3

la

3

tem - pe-sta

cor del_ mio_

Ex. 147: Pacini, G. accel.

dolciss. r ,

largo

,

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

la

tem - pe-sta

del_ mio_

cor

Ex. 150: De Bassini I

C,

Trovatore: "Stride la vampa" -

tem la___ rall.

la

te-trafiam - ma

pe - sta_

del

mi- o, delmrnio_cor

Ex. 151: Pacini, G. Ex. 148: Bruno la la

tem - pe - sta

te-tra fiam - ma _ del mio cor

Trovatore: "I1 balen del suo sorriso" dolce

d'un suo

Trovatore: "I1 balen del suo sorriso" sguar-do

WZ19

I

-

le fa-vel-liinmio fa - vo-re

Ex. 149: De Bassini

d'un suo

Ex. 152: Corradetti (at repeat)

sguar-do

le

fa - vel

-

linmio

fa

- vo - re

41

WILL CRUTCHFIELD Verdi Ornamentation

19TH CENTURY MUSIC

Trovatore:

e

"Ah, si, ben mio"

Traviata:

so-loin cielpre - ce-der-ti

Ex. 153: Gilion

"Un di, felice"

(melodic

repeat)

del - l'u-ni - ver - so

Ex. 157: Garbin

(at repeat)

nit.

e

Trovatore:

I'u -

del

pre - ce-der - ti

so - lojn ciel

ni - ver - so

"Miserere" Traviata:

Leo-no-raad-dio, ad-di

o

"Ah, fors'e lui"

3,1"

3

;I*.-

-

de'suoico-lo-rioc - cul - ti, de'suoico-lo-rrioc- cul - ti Ex. 154: Mieli

(at repeat) rit. 3

3

Ex. 158: Bellincioni

Leo-no - raad-dio,

ad - di

-

o de' suoi co-lo-rioc

Trovatore:

di

te,

di_ te

scor - dar-mi

Ex. 159: Pacini (at repeat)

te,__

di _ te_

"Un di, felice"

quel-1 a - mor-che

pal-pi-to

Ex. 156: Garbin

quel-l'a - mor che

42

de suoi co-o-ri oc -

cul-ti

____-.

Traviata:

cul-ti,

"Miserere"

Ex. 155: Talexis

di

-

scor-dar-mi

________-

___,

______

Traviata:

"Ah, fors'e lui" (melodic

del-l'u-n - ver-so

Ex. 160: Bellincioni

pal-pi-to

etc.

de suoi co-lo-ripc - cul - ti

del

-

I'u - ni - ver - so

repeat)*

Ex. 161: Melba

Traviata: "Di provenza il mar"

(in tempo)

del

WILL CRUTCHFIELD Verdi Ornamentation

con forza

I'u- ni - ver - so

-

Dio m'e sau-di,

Dio m'e sau-di

Ex. 165: Magini-Coletti

Ex. 162: Huguet rit.

del

l'u

Dio m'e sua-di,

rn-ver - so

-

*The ornament shown in exs. 160-62 probably dates from very early in the opera's performing history. It is shown as an oppure in the first French piano-vocal score (Violetta, op-

Ballo:

Dio m'e -au-di

"Alla vita che t'arride"

era en quatre actes, musique de G. Verdi [Paris:Benois, c 18641).

te per - du - to, te per-du-to o-v'~ la

pa - tria

Ex. 166: Battistini (at repeat) Traviata: "Di provenza il mar"

dolce

te per - du - to, teper-du-too-v'?la

pa

- tria

Di pro - ven-za 11mar,il suol, chi dal corti can-cel-lo

Ballo:

Ex. 163: Battistini

"Alla vita che t'arride"

ah, te per - du - to Di pro - ven

-

zajl

mar,_ il

suol, chi dal Ex. 167: Battistini

cor_ ti can-cel-16 ah, te

Traviata:

S h -

"Di provenza

VI -PL ----

V'

il mar"

Forza: "0 tu che in seno" dolce

F

sejn me spe-me non fal-li

Ex. 164: Battistini

sejnme

per - du-to

spe-me non fal-li

soc-cor

-

-

-

- --

ri - mi

Ex. 168: De Lucia

soc-cor

-

ri - mi

43

19TH CENTURY MUSIC

Aida: "Celeste Aida"

Otello: "Esultate"

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

lo vin-sel'u- ra - ga - no

Ex. 169: Anselmi

Ex. 171: Tamagno

le dol-ci eb - brez-zo del pa - trio suol (sic)

lo vin-se l'u-ra-ga

Aida: "Celeste Aida"

- no

Otello: "Erala notte"

er-ger-tin tro-no

l'in-ti-mo in - can-to

Ex. 170: Bonci

Ex. 172: Maurel

i-ti-o

er - ger - tiun tro-no

in

-

can-to

l'in-ti-moin - can-to

Cabaletta and strophic embellishments Ernani: "Vieni meco" P

3

Ernani: "Vieni meco"

legate

in-trec-ciar

ti

3

vo' la

vi - ta

vie- ni

in-trec- ciar ti vo'

che_ fe - li - ce

rit

-

-

la__

vi

-

ta,_

-3 vie-ni

che fe

-

ra

(presto)

a tempo

3

ce

44

fa

Ex. 174: Battistini

Ex. 173: Battistini 3

stent.

- li - ce,

fa

ah,

-

che fe-li

r

.

IKI che_

fe - li - ce

ti

WILL CRUTCHFIELD Verdi Ornamentation

Trovatore: "Tacea la notte"

Ex. 175: Corradetti

che_

fe

- li

-ce_

1. (2.

e bel - lainciel se - re - no qual d'uom che pre-gajd - di - o)

Ex. 178: Nordica

fa - ra

10

rall.

*Corradetti,singing without Battistini's full complement of assisting soloists and chorus, jumps here to the soprano melody of the coda here ratherthan resolving his own line.

e

bel-lainciel

se - re

-

-

-

no

Trovatore: "Tacea la notte"

Trovatore: "Di quella pira"

pi

fi

ra

bre

vo

stro

Ex. 176: Tamagno

pi

mo-stra-valie-tQe pie - na

2.

un no-me, il no-me mio

Ex. 179: Nordica

fi

ra

1.

bre

vo

stro mo-stra-va

lie

-

-

to e pie-na

Trovatore: "Di quella pira"

Traviata: "Sempre libera" o

- me

te -coal

-

no

cor-roa mo - rir (vo-) lar, ah!_ ah!b

ah!_ ah!

Ex. 177: Tamagno o

o

t6

te-coal - me

no

cor-roa

mo - rir

dee 45

19TH

Traviata: "Sempre libera"

Ex. 180: Melba

CENTURY MUSIC il_ mio_pen-sier

(ah)

Ex. 182: Melba

Ex. 181: Galvany

(ah)

rall

presto

rit.

.

r (lunga)

pen-sier

il

(ah) Ex. 183: Boronat

a tempo

A" -, I .:

-(ah)

Facilitations

Nabucco: "Anch'io dischiuso un giomo"

in) torno

Ex. 185: De Lucia

mo-ri - ro

no_ o

d'af-fan

Ex. 184: De Frate rit.

Ernani: "Ernani involami" dim. allarg.

6

-

(in) tor

no que

Ernani: "Come rugiada al cespite" n>d-f

A

A

-

a

gl'an - tri

me

Ex. 186: Ciaparelli allarg.

d'af-fan - no, d'af - fan - no, d'af-fan-noio_ mo- ri - r6

46

-

allarg.

A-

que

-

gl'an- tri

-

a

me

t

WILL CRUTCHFIELD Verdi Ornamentation

Ernani: "O de'verd'anni miei"

Ernani: "Emani involami" p

vo - lap

Ah!

il no-me mi - o fa - ro

no - me,

il

Ex. 190: Casini

PP

re - ca

tem - po_ epres - to 3

3

dimia

fu - gaillie

- to_ i - stan - te

-

-

no

il

-

memi - o fa - rb

Ex. 187: Sembrich

i

'-t7 FiJ

F

vo

Ah!

Due Foscari: "O vecchio cor"

3i

laepres

- to

dimia

re - ca

Ernani:

---

fi

un

glio

a tempo

rit.

fu - ga_illie - to_is- tan - te

"Da quel di" con forza

Ex. 191: Bonini

-

fi

un

glio

"> no,_ non_ puo - te im - por - re

cor, no,

Ex. 188: Corsi

tra

4,,0,.. no,_

cor, no,

Luisa Miller:

F --E

no,_ nonpuo-te im - por - re

"Quando

-

di - a,

le sere al placido"

a

ah, mi tra-di

Ex. 192: De Lucia I

ty,

tra

di - a,

I ,--,-.L ah, mi tra-di

-

a

Ernani: "O de'verd'anni miei" Traviata: "Sempre libera"

leggeriss.

,crc

-

d---------(vo-) lar, ah!_ ah!

Ex. 193: Melba

Ex. 189: Campanari

cre

- de

ah!_ ah!

-

-

i

(ah!) 47

19TH

CENTURY MUSIC

Ballo: "Alla vita che t'arride"

sue

vit

Forza: "Toh, toh, poffare il mondo"

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

E la ra - gion?

la ra - gion?

Propec-ca-ta

Ex. 194: De Bassini ve-stra, pei vo-stri pec - ca-ti sue

vit

ti - me a _col - pir

Forza: "Egli e salvo"

Ex. 196: Pini-Corsi (parl.)

di tuo pa-dreti fe'il vol-to ros - seg-giar E la ra - gion?

Ex. 195: Battistini

di tuo pa-dretife'il vol-to ros-seg-giar

E la ra - gion?

Propec-ca-ta

ve-stra, pei vo-stri pec - ca-ti

Recitatives Macbeth: "Pieta, rispetto, onore"

Ex. 199: Caruso

6

• i

in-a-ri - di - ta

.

di - let

-

.

I, ta

-

Ex. 197: Battistini

in-a

ri - di

ta

Traviata: "Ah, fors'&lui"* f

Rigoletto: "Parmi veder le lagrime"

del

r I, vi - ver

allegro

mi

o

Ex. 200: Siems di

-

let

-

-

to

P

den

Ex. 198: De Lucia

di - let

48

-

-

ta

h

ich mich weih

-----

te

*Verdi's autograph contains at least one and perhaps two canceled melismas, rising to B6,at this point.

Traviata: "Sempre libera"

Forza: "Scena della finestra"

di vo - lut-ta_ne' (vortici)

WILL CRUTCHFIELD Verdi Ornamentation

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

Ex. 201: Huguet Ex. 205: Pini-Corsi di vo-lut-ta

gio-(ir)

f

(sic)

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

Simon Boccanegra: "I1 lacerato spirito"

A te l'e-stre-moad - di-o

Forza: "Egli e salvo" Ex. 202: Arimondi nul-laeine

dis-se

A te l'e-stre-moad - di-o

Ex. 206: Battistini

Simon Boccanegra: "I1 lacerato spirito"

ra- pi -ta a

le - i

la ver-gi-nal

co - ro-na

ver-gi -nal

co - ro-na

nul-la e ne dis-se

Ex.203: Navarrini

ra-pi-taa

le - i

la

Forza: "Egli e salvo"

Ballo: "Eri tu"

Don Al-va-ro ilfe - ri-to!

nel suo fra-gi-le pet-to Ex. 204: Battistini

nelsuofra-gi-le

Ex. 207: Battistini

pet-to

Don Al-va-ro•A fe - ri-to!

49

19TH

Table I

CENTURY MUSIC

BIOGRAPHICAL DATA ON ARTISTS* Dates: ** Abbreviations:

Birth-Debut in a major role-Death 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 (1878-1900-1942). World-famous Italian baritone. KR, S. G6. Ancona, Mario (1860-1889-1931). World-famous Italian baritone. KR, S, G6. Anselmi, Giuseppe (1876-1896-1929). World-famous Italian tenor. KR, S, G6. Arimondi, Vittorio (1861-1883-1928). Leading Italian bass. KR. Barrientos, Maria (1884-1898-1946). World-famous Spanish coloratura soprano. KR, S. Battistini, Mattia (1856-1878-1928). World-famous Italian baritone. KR, S, G6. Bellantoni, Giuseppe (?-?-?). Minor Italian baritone. Wagnerian roles at La Scala pre-World War I; a few impressive Fonotipia recordings 1909-14. Bellincioni, Gemma (1864-1879-1950). Leading Italian soprano. KR, S, G6. Biel, Julian (1870-?-?). Career details scarce (a few Scala appearances, including Manrico). Recorded for G&T in 1903 (Milan). Bonci, Alessandro (1870-1896-1940). World-famous Italian tenor. KR, S, G6. Bonini, Francesco Maria (1865-1896-1930). Leading Italian baritone. KR. Boninsegna, Celestina (1877-1892 [as a student]; 1897-1947). Leading Italian soprano. KR, S, G6. Boronat, Olimpia (1867-1885 or 1886-1934). 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 directorate. Several records for G&T, Pathe. Campanari, Giuseppe (1855-?-1927). Leading Italian baritone. KR. Caruso, Enrico (1873-1894-1921). 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-?-1927). Italian soprano. Career details scarce. Shared title role in first complete recording of Aida (1907). Ciaparelli, Gina (1881-?-1936). Italian soprano (later records under the name of Gina Viafora). KR. Cigada, Francesco (1878-1900-1966). Leading Italian baritone. KR. Constantino, Florencio (1869-1892-1920). Leading Spanish tenor. KR. Corradetti, Ferruccio (1866-1892-1939). Italian baritone. KR. Corsi, Emilia (1869-1886 or 1887-1927). Italian soprano. Largely provincial career; one season at La Scala. Member 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 (1881-1903-1962). 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, 18981900. De Lucia, Fernando (1860-1885-1925). World-famous Italian tenor. KR, S, G6. De Reszke, Edouard (1853-1876-1917). World-famous Polish bass. KR, S, G6. Di Negri, Giovanni (1850-1878-1925). 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 (1865-1891-1924). Leading Italian tenor. KR, S. 50

Gilion, Mario (1870-1902(?)-1914). Italian (or Franco-Italian?) tenor. Career principally Italian, with some Eastern European seasons, but recorded in French and Italian for Fonotipia, 1906-14. Giraldoni, Eugenio (1871-1891-1924). Leading Italian baritone. KR, S. Huguet, Josephina (1871-1888-1951). Leading Spanish soprano. KR, S. Kaschmann, Giuseppe (1847-1869-1925). World-famous Italian baritone. KR, S. G6. Lanzoni, Agostino (1853-?-1918). Italian bass. Mostly provincial career in leading roles; first Jehovah in 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-famous French baritone. KR, S, G6. Mazzoleni, Ester (1883 or 1884-1904 or 1906-?). Leading Italian soprano. KR. Melba, Nellie (1861-1885-1931). World-famous Australian soprano. KR, S. Mieli, Oreste (1870-?-1924). Italian tenor. KR. Navarrini, Francesco (1855-1878-1923). Leading Italian bass. KR, S. Nordica, Lillian (1857-1878-1914). World-famous American 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 (1878 or 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 (1866-1889-1936). 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-?-1911). French soprano. KR. Tamagno, Francesco (1850-1874-1905). World-famous Italian tenor. KR, S, G6. Tetrazzini, Luisa (1871-1890-1940). World-famous Italian soprano. KR, S. G6. Trentini, Emma (1878-1904-1959). Leading Italian soprano. KR. Venerandi, Pietro (?-?-?). 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 (1876-1898 [as baritone]-1901 [tenor]-1949). Leading Italian tenor. KR, S, G6. * Most of these singerswere prominenton what might be called the Italiancircuit: i.e., the lesser Italianhouses and the Italianstaffedand -organizedseasons of operaheld regularlythroughoutthe Spanish-speakingworld and, to a lesser extent, in leading cities of EasternEuropeand the Middle East. ** When accounts conflict, the dates given by TheNew Grovearepreferred.If there is no article in TheNew Grove, all relevant dates aregiven. Table 2 DATA ON THE RECORDINGS Ex. # Artist

1 2 3 4 5 6 7 8 9

Stracciari De Lucia Caffetto Scampini Sembrich Caligaris Talexis Gabbi Battistini/ Corsi

Place/date*

Opera

Aria

Nabucco Ernani

"Dio di giuda" "Come rugiada"

Original*

Col D12470 Phono M 1811 Berliner 52462 GC 2-52611 "Emani involami" Col 1364 G&T 53326 Fono 92111 Col 10124 "Da quel di" G&T 054103

*

recorded

LP transfer **

Milan, 1925 Naples, 1917 Milan, 1900 Milan, 1908 New York, 1903 Milan, 1904 Milan, 1908 Milan, 1903 Milan, 1907

99-29 GV 575 Y2 35232

CO 326, GV 100 Table 2 continues 51

WILL CRUTCHFIELD Verdi Ornamentation

19TH

CENTURY MUSIC

Ex. # Artist

Opera

10 Boninsegna/ Cigada 11 De Reszke 12 Chaliapin 13 Lanzoni 14 Battistini 15 Battistini 16 Kaschmann 17 Corradetti Due Foscari 18 Amato 19 Corradetti 20 Bonini 21 Battistini Macbeth 22 De Lucia Luisa 23 Albani Rigoletto 24 Anselmi 25 Caruso 26 Constantino 27 Nordica Trovatore 28 Chelotti 29 Ciaparelli (as Viafora) 30 Burzio 31 Mazzoleni 32 Campanari 33 Corradetti 34 De Bassini 35 Albani 36 Biel 37 Signorini 38 Caruso 39 Gilion 40 Tetrazzini 41 42 43 44 45

Raisa Corsi Bellincioni Sembrich Tetrazzini

46 47 48 49 50

Melba Pacini Huguet Brambilla De Lucia

51 52 53 54 55 56 57 58 59 60 61 62 63

Battistini De Bassini De Bassini Battistini Scotti Burzio Caruso Gilion Vignas Battistini Magini-Coletti Bellantoni Tetrazzini

64 Giraldoni 52

Traviata

Ballo

Forza

Don Carlo

Aria

"Infelice"

Original

Place/date recorded

G&T 054062

Milan, 1905

LP transfer

New York, 1903 Col 1221 (take 2) HMV 052389 St. Petersburg, 1912 Fonodisc Mondial 246 c. 1913 GB 1004/5 "Lo vedremo" CO 326, GV 100 G&T 054105 Milan, 1907 CO 326, GV 100 Milan, 1907 "O de' verd'anni" G&T 052141 G&T 052032 Milan, 1903 "O vecchio cor" Odeon 37226 Milan, 1905-06 New York, 1913 GV 561 Vic 88438 "Questa dunque" Odeon 37227 Milan, 1905-06 Fono 39760 Milan, 1906 HMV 052369 CO 328, GV 79 "Pieta, rispetto" Milan, 1912 GV 575 "Quando le sere" Phono M1792 Naples, 1917 "Parmi veder" Odeon 110136 99-113 1911-14 Fono 62151 Milan, 1907 New York, 1913 Vic 88429 New York, 1910 Col 30463 "Tacea la notte" Col mx.30134 (unp.) New York, 1906 SYO 6 Fono 39913 Milan, 1906 Vic 74116 Camden, 1908 Fono 39934 Milan, 1906 Fono 92539 Milan, 1909/10 "Il balen" Vic 81082 Camden, 1905 Fono 92294 Milan, 1909 New York, 1902 Col 307 99-113 1911-14 "Ah, si, ben mio" Odeon RO-2016 G&T 52692 Milan, 1903 GC 2-52669 Milan, 1908 Vic 88121 New York, 1908 ARM1-2767 Fono 39653 99-72 Milan, 1906 "D'amor sull'ali" Vic 88426 New York, 1913 GEMM 220-227, OASI 572 99-52 Pathe 60070 US, 1917 Milan c. 1910-12 GB 1006 Odeon 110221 GV 568 G&T 053019 "Ah, fors'e lui" Milan, 1903/04 New York, 1903 Y2 35232 Col 1366 Vic 88293 New York, 1911 GEMM 220-227, OASI 572 Vic 88064 New York, 1910 Fono 39237 Milan, 1905 CO 373 G&T 53474 Milan, 1906 Phonodisc 145 Milan, 1906 "De' miei bollenti" G&T 052129 RS 305 Milan, 1906 "Di provenza" CO 327 HMV 052317 Milan, 1911 "Alla vita" Col 1695 (Take 1) 1904-05 1904-05 Col 1695 (Take 3) CO 326 G&T 052142 Milan, 1907 New York, 1905 Vic 81070 "Ma dall'arido" Fono 39514 Milan, 1906 "Ma se m'e forza" Vic 88346 New York, 1911 ARM1-3571 Fono 92662 Milan, 1909 Fono 62083 Milan, 1907 CO 412/3 HMV 2-052251 "Urna fatale" Milan, 1924 CO 393 Fono 92620 Milan, 1910 Fono 92729 Milan, 1910 OAS1 633 New York, 1914 GEMM 220-227, Vic 88502 "Pace, pace" OASI 572 "Per me giunto" G&T 52404 99-58 Milan, 1903

Ex. #

Artist

Opera

65 66 67 68 69 70

De Lucia Caruso Bonci Caruso Caruso Tamagno

Rigoletto

71 72 73 74 75 76 77

Albani Tetrazzini Navarrini Luppi Tamagno De Negri Maurel

78 82 86 89 91 97 98

De Angelis Wedekind Parvis Ancona Battistini Anselmi De Lucia

99 100 101 103 106 108 109

De Lucia Boronat Barrientos Caruso Parvis De Lucia Nordica

110 114 117 118 119 120 121 122 125 127 128 130 131 132 133 134 135 136 141 145 146 147 148 151 153 154 155 156

Zenatello Battistini De Lucia Navarrini Arimondi Battistini Scotti Sammarco Trentini Boninsegna Kaschmann Battistini De Lucia Caruso Del Papa Venerandi Escalais Cigada Brambilla D'Andrade DeLucia Pacini, G. Bruno Pacini, G. Gilion Mieli Talexis Garbin

Aria

Original

Place/date recorded

WILL CRUTCHFIELD Verdi Ornamentation

LP transfer

"Questa o quella" Phono C 1761 Naples, 1917 G&T 52344 Sera. 60146 Milan, 1902 Mark56 725 "La donna" Edison Ambreol 29001 1913 R7 Zono X1555 Milan, 1902 VIC-1430 Vic 81025 Milan, 1904 GEMM 208/9 Trovatore HMV 7-52277 "Deserto sulla Milan, 1903 terra" "Di' tu se fedele" Vic 64082 Ballo 1907 GEMM 220-227 London, 1909 "Saper vorreste" GC 053222 Don Carlo "Dormiro sol" Fono 74034 GV 14 Milan, 1907 Fono 39319 Milan, 1905 GEMM 208/9 Otello "Ora e per sempre"G&T 52675 Milan, 1903 Zono 1556 Milan, 1902 Fono 62016 "Quand'ero Milan, 1907 Falstaff paggio" Nabucco "Tu sul labbro" Col D 18059 Milan, 1928-29 OASI 528 Ernani "Emani involami" G&T 53464 Dresden, 1905 "Da quel di" New York, 1906 Col 30032 New York, 1907 R 5213 "O de verd'anni" Vic 88062 GV 100, CO 326 Milan, 1907 "O sommo Carlo" G&T 054107 CO 359 "Questa o quella" Fono 62148 Milan, 1907 Rigoletto RS 305 "E il sol G&T 054084 Milan, 1906 dell'anima" "Parmi veder" Phono C 1745 Naples, 1917 "Tutte le feste" GC 053186 Milan, 1908 99-3, SYO-9 Fono 39543 Milan, 1906 "Bella figlia" New York, 1907 ARM1 2766 Vic 96000 Trovatore "Il balen" Col 10574 Milan, 1905 GV 575 "Ah, si, benmio" Phono M1791 Naples, 1917 "Miserere" New York, 1906 SYO 6 Col mtx 30135-2 (unp.) Traviata "Un di, felice" G&T 52712 Milan, 1903 "Pura siccome" HMV 054395 CO 325, GV 100 Milan, 1912 RS 305 G&T 054081 Milan, 1906 "Parigi, o cara" GV 14 Milan, 1907 Boccanegra "Il lacerato spirito"Fono 62025 New York?, 1907 GV 95 Col. 30090 Ballo CO 326 G&T 052146 "Eri tu" Milan, 1907 Vic 85044 New York, 1904 CO 363 Fono 39270 Milan, 1905 Milan, 1904 "Saper vorreste" G&T 53153 Forza G&T 053088 GV 534 "Pace, pace" Milan, 1907 Don Carlo "Carlo, che e sol" G&T 052031 Milan, 1903 "Per me giunto" HMV 052404 GV 34 Milan, 1913 Aida "Celeste Aida" Phono M 1763 GV 575 Naples, 1917 New York, 1904 VIC 1430 Vic 85022 New York, 1898 Mark 56 826 "Morir, si pura" Bettini 5 Lombardi "La mia letizia" Col 10446 Milan, 1905 Fono 39533 OASI 597 Milan, 1906 Ernani Milan, 1906 "O sommo Carlo" G&T 054078 "Caro nome" Wotama 10101 Milan, 1906 Rigoletto "Cortigiani" Lyrophone d'A 10 Berlin, 1906-07 R 5204 "La donna" RS 305 G&T 52411 Milan, 1902 Trovatore "Di geloso amor" Fono 69004 99-84 Milan, 1905 "Stride la vampa" G&T 53227 Milan, 1902 "Il balen" 99-84 Fono 39003 Milan, 1904 Milan, 1909 "Ah, si, ben mio" Fono 92631 GV 96 "Miserere" Zono X2552 1902-03 RS309 Fono39347 Milan, 1905 Traviata "Un di, felice" G&T 52428 Milan, 1903 Table 2 continues 53

19TH

CENTURY MUSIC

Ex. Artist #

165 168 169 170 171 172 173 175 176 180 181 183

Magini-Coletti De Lucia Anselmi Bonci Tamagno Maurel Battistini Corradetti Tamagno Melba Galvany Boronat

Opera

Forza Aida Otello Ernani Trovatore Traviata

184 De Frate

Nabucco

186 Ciaparelli

Ernani

187 189 190 191 195

Sembrich Campanari Casini Bonini Battistini

196 200 201 204 205

Pini-Corsi Siems Huguet Battistini Pini-Corsi

Aria

"Di provenza" Fono 92000 "O tu che in seno" Phono M 1798 "Celeste Aida" Fono 62561 Fono 39695 "Esultate" G&T 052101 "Erala notte" G&T 2-32814 "Vieni meco" G&T 054106 Fono 92310 "Di quella pira" G&T 52678 "Sempre libera" G&T 03026 GC 054209 G&T 53346 "Anch'io GC 53554 dischiuso" "Emani involami" Col 3307

Vic 88022 "O de' verd'anni" Vic 85087 Zono X 493 Due Foscari "O vecchio cor" Fono 39831 Forza HMV 7-52194 "Egli e salvo" Traviata Ballo Forza

"Toh, toh, poffare" G&T 2-52557 Parlo P 250 "Ah, fors'&lui" G&T 54296 "Sempre libera" HMV 2-052254 "Eri tu" "Scena della G&T 54349 finestra"

* As a practical aid to locating the records, issue numbers have been favoredover matrix numbers,which are the only unique identifiers of recordings.Abbreviations:Col = Columbia; Fono = Fonotipia;GC = GramophoneCompany; G&T = Gramophoneand TypewriterCompany (predecessor of GC); Parlo = Parlophon; Phono = Phonotype; Vic = Victor; Zono = Zon-O-Phone/Zonofono.

**Places are unknown in several instances. Recent researchhas shown that a numberof the Fonotipiarecordings long thought to have been made in Milan were in fact made in London, but a listing which would make correction of this tablepossible is not availableat the time of writing. Recordingdates are often uncertain as well, and may in some cases refer to publication rather than recording.More specific information may be found in the discographieswhich appear regularly in The Record Collector and Recorded Sound, the journal of the British Institute for Recorded Sound. ***This list, again compiled with convenience in view, gives only reissues known by me to be available for sale at the time of writing. Several of the other recordscited here have been reissued at one time or anotherand no doubt will be again. Prefixes: 99 = Club "99"; GV and RS = Rubini Records;Y = Odyssey records;GB = Bongiovannirecords; GEMM = Pearl Records; CO = Court Opera Classics

(Preiser);SYO = Sunday Opera Records; ARM1 = RCA's Caruso series; VIC = Victrola; Sera. = Seraphim; R = Ro-

coco Records;OASI = OASI Records;RLS = a reissue series of BritishEMI. 54

Original

79 see 2 80 see 3 81 see 2 83 see 5 84 see 5

Place/date recorded

Milan, 1907 Naples, 1917 Milan, 1910 Milan, 1906 Milan, 1903 Paris, 1903 Milan, 1907 Milan, 1909 Milan, 1903 London, 1904 Milan, 1908 St. Petersburg, 1904 Milan, 1908

LP transfer

GV 575 GEMM 208/9 CO 326, GV 100 GEMM 208/9 RLS 719 OASI 574 99-3, SYO 9

New York, 1906-07 New York, 1906 New York, 1905 Milan, 1901 Milan, 1906 CO 412/13, GV Milan, 1921 101 Milan, 1906 c. 1912 CO 373 Milan, 1906 CO 412/13 Milan, 1924 Milan, 1907

137 138 139 140

see 21 see 65 see 66 see 65

142 see 98

192 193 194 197 198 199 202

see 95 see 180 see 52 see 21 see 99 see 25 see 119

see 9 see 9 see 14 see 16

143 see 99 144 see 99 149 see 34 150 see34

203 see 118 206 see 195

92 see 18

152 see 33

207 see 195

85 87 88 90 93 94 95 96

see 21 see 21 see 22 see 65

157 see 156 158 see 43 159 see 47

102 see 68

160 see 43 161 see 46

104 see 28

162 see 48

105 107 111 112

163 see 51 164 see 51 166 see 54

see 70 see 33 see43 see 45

113 see 50 115 see 114

116 see 51 123 see 120

124 see 72 126 see 60 129 see 128

167 see 54 174 see 173 177 see 176

178 see 27 179 see 27 182 see 180 185 see 2 188 see 9