- Black, John. “Cammarano’s Libretti for Donizetti.” Studi donizettiani 3
(1978): 115–131.
Not seen. - Commons, Jeremy. “De l’opera semi-seria.” In Opera teatrale(#765), 181–
The semi-seria,an Italian adaptation of the opéra-comique,mixed singing
with spoken dialogue and used contemporary themes and characters. Opera
buffawas more fully “comic”; semi-seriahad only some comedic elements.
Social (not political) problems were addressed, leading on to verismo.
Donizetti’s Emilia di Liverpool, Alina, Gianni da Calais,and Otto mesiare
discussed in this context. Both Donizetti and Bellini incorporated such themes
into their serious operas to make the characters more empathetic to audiences,
with the result that semi-seriawas overshadowed, and the genre all but disap-
peared by 1842, the date of Linda di Chamounix.That was Donizetti’s final
work of semi-seria,after which he turned completely to tragedy.
- Smith, Marion. “The livrets de mise en scèneof Donizetti’s Paris Operas.” In
Opera teatrale(#765), 371–391.
Examines the 11 staging manuals (livrets) by Louis Palianti, of Donizetti’s
French (or translated into French) operas. In general, the manuals grow more
complex over time. They vary in style but have certain common features: all
describe how scenes were to be “blocked,” and many deal with set and cos-
tume. They refer to specific scenes and libretti. The main focus is on placement
and movement of the characters, especially in recitative and ensembles; little is
said about how the singers comport themselves in arias. Full descriptions and
illustrations of the staging directions for three finales of Les martyrsat the
Paris Opéra in 1840. - Zedda, Alberto. “La strumentazione nell’opere teatrale di Donizetti.” In Atti
(#764), v.1, 453–540.
An elaborate study of orchestral practice of Donizetti’s time. His basic orches-
tra is described, along with special instruments used on occasion (harp, organ,
tam tam, bells, guitar, etc.) His qualities as an orchestrator are examined, with
reference to the instrumentation of specific numbers: overture, ensemble,
cavatina, and so forth. Musical examples are used to demonstrate Donizetti’s
use of each instrument, and all the operas are analyzed from this aspect. - Zanolini, Bruno. “L’armonia come espressione drammaturgica in Gaetano
Donizetti.” In Atti(#764), v.2, 775–823.
An insightful discussion of formal and tonal procedures in Donizetti’s
Neapolitan period, with Poliuto(1848) analyzed in detail as an example.
Other operas are involved as well. Modulations get special attention. The
composer did not invariably keep one key through a number as Rossini did: he
was more like Verdi, who was quite free in this regard. There were comments
from the audience after the paper was read, with interesting views expressed
on tonality in late-19th-century opera.
Gaetano Donizetti 159