- Parker, Roger. “Leonora’s Last Act: Il trovatore.” In Leonora’s Last Act
(#1808), 168–187.
Considers certain poor matches between words and music in Verdi, focusing
on Leonora’s aria “D’amor sull’ali rosee,” suggesting that such “uneasy dis-
junctions” may be their “customary state of existence.” Speculates that “part
of the reason for this aria’s effect lies precisely in the gaps that increasingly
emerge between its words and it music.” Leonora’s vocal liberation pulls
against the strictures of the “juggernaut called plot.”
Les vêpres siciliennes (I vespri siciliani)
ASO75 (1985).
- Budden, Julian. “Varianti nei Vespri siciliani.” NRMI6 (1972): 155–181.
Genesis and revisions, and a discussion of reception—which became increas-
ingly unfavorable. - Vlad, Roman. “Unità strutturale dei Vespri siciliani.” In Il melodramma ita-
liano dell’ottocento: Studi e ricerche per Massimo Mila,43–90 (Turin: Einaudi,
1977; ML1733.4 .M5).
Finds formal coherence in the opera based on recurrence of melodic motives.
See also Neuls-Bates (#1927).
Alexei Nikolaevich Verstovskii (1799–1862)
- Abraham, Gerald. “The Operas of Alexei Verstovsky.” 19thCM7 (1984):
326–335.
Askold’s Tomb(Askold’ova mogila) (1835) was the earliest Russian opera to
achieve any lasting success and was the first to be staged in the U.S. (1869).
Abraham gives a general description, with musical examples.
Heitor Villa-Lobos (1887–1959)
- Appleby, David P. Heitor Villa-Lobos: A Bio-Bibliography. Bio-Bibliographies
in Music, 9. New York: Greenwood, 1988. xiv, 358p. ISBN 0-313-25346-3.
ML134 .V65 A7.
There is no research literature on the operas. This bibliography cites some
reviews and short notices.
Leonardo Vinci (1696–1730)
- Meikle, Robert Burns. “Leonardo Vinci’s Artaterse: An Edition with an Edito-
rial and Critical Commentary.” Ph.D. diss., Cornell U., 1970. 656p. - Strohm, Reinhard. “Leonardo Vinci’s Didone abbandonata(Rome 1726).” In
Essays on Handel(#953), 213–224.
Genesis, the libretto by Metastasio, borrowings, technical analysis. Vinci’s
music “is determined by words, rhymes, and phrase-shapes.”
Leonardo Vinci 361