Dom Sébastien
ERO,v.29.
Don Pasquale
ASO108 (1988).
- Rattalino, Piero. “Il processo compositivo nel Don Pasqualedi Donizetti.”
NRMI4 (1970): 51–68; 263–280.
Genesis: the sketches, modifications of the original libretto; various settings
and melodies for the duet between Norina and the doctor in act 1. Instrumen-
tation was changed after the premiere.
L’elisir d’amore
ASO95 (1987).
Emilia di Liverpool
- Commons, Jeremy. “Emilia di Liverpool.” M&L40-3 (July 1959): 207–228.
A stage history, noting the various versions; it was not a successful work. Man-
uscripts, documents, and printed editions are compared. The revival in Liver-
pool, for the city’s 750th anniversary, is described.
L’esule di Roma
- Kaufman, Thomas G. “L’esule di Roma: A Performance History.” DSJ 4
(1980): 104–109.
There were more than 60 productions in the 19th century. This is a chronology
of 1828–1869, with casts, of performances in Italy, Spain, Eastern Europe, and
Latin America.
La favorite (La favorita)
ERO,v.28.
- Ashbrook William. “La composizione de La favorita.” DSJ2 (1972): 13–27.
A detailed genesis account.
La fille du regiment
ASO179 (1997).
- Loveland, Karl. “Reading Donizetti’s La fille du regiment: Genesis, Transfor-
mation, and Interpretations.” Ph.D. diss., U. of Rochester, 1996. 337p.
Lucia di Lammermoor
ASO55 (1983).
- Smart, Mary Anne. “The Silencing of Lucia.” COJ4-2 (July 1992): 119–141.
The mad scene in a feminist context. Some critics regard Lucia’s decline as
“positive, even liberating” (Clément; Peter Conrad); she is “joyful, airy, and
peaceful.” Smart observes that the “same melismatic formulas occur in saner
moments or in other operas, but in Lucia’s mad scene they are longer and more
Gaetano Donizetti 161