- Walter, M. “Komponistorischer Arbeitsprozess und Werkcharacter bei Doni-
zetti.” Studi musicali26 (1997): 445–518.
A valuable consideration of Donizetti’s work habits. He began with much
attention to the libretto; that part of his procedure has been well examined.
Walter goes on to reconstruct the way the composer worked on the score itself.
He composed at the piano, eight or nine hours a day; it was headwork, not
inspiration. Unless he knew the orchestra that would be performing, he waited
to orchestrate. He made no sketches for an overall plan and was ready to
change anything to adjust to the needs of singers or the demands of censors.
The article has 310 footnotes that lead to earlier writings on the composing
process of Donizetti and of other composers.
See also Balthazar (#511).
Individual Works
L’ajo nell’imbarazzo
- Watts, John. “L’ajo nell’imbarazzo.” DSJ1 (1974): 41–50.
Genesis, reception of the 1824 premiere, revision for Naples as Don Gregorio
(1826). Full performance history, plot synopsis.
Anna Bolena
- Gossett, Philip. “Anna Bolena” and the Artistic Maturity of Gaetano Donizetti.
New York: Oxford U.P. , 1985. xvii, 183p. ISBN 0-1931-3205-2. ML410
.D68 G67.
An important study, rich with technical detail. Genesis, influence of Rossini,
structural analysis, critical study of the compositional decisions. Comparisons
between the manuscript and the final version. Musical examples, footnotes; no
bibliography and no index.
Belisario
- Ashbrook, William. “Popular Success, the Critics and Fame: The Early Careers
of Lucia di Lammermoorand Belisario.” COJ2-1 (March 1990): 65–81.
The two premieres were within four months of each other. Their reception his-
tory is plotted, based on accounts in three contemporary journals. Belisario
was better received at first but soon fell behind Lucia. Casting of the soprano
roles is one probable reason.
Il campanello
- Narici, Ilaria. “Il campanello: Genesi e storia di una farsa napoletana.” In
Opera teatrale(#765), 93–110.
A discussion of the background of the work, the time in which it was com-
posed, and the relation between libretto and its literary sources; also premiere
information. All research sources are described: autographs, manuscripts, and
printed editions. With comments on the new critical edition of Donizetti’s
works and the editorial decisions involved.
160 Opera