how 18th-century plot devices were rejected in this period and how new
ideas—tragic endings, intense personal conflicts, the love triangle—appeared.- Cancelled entry.
- Balthazar, Scott L. “The primo ottocentoDuet and the Transformation of the
Rossinian Code.” JM7–4 (Fall 1989): 471–497.
Rossini’s procedures were maintained in the early 19th century. Later, Bellini,
Donizetti, and Verdi changed the musical and dramatic design. Duets of 1815–
1830 are analyzed.
See also #511.
- Budden, Julian. “Wagnerian Tendencies in Italian Opera.” In Music and The-
atre(#68), 299–332.
Lohengrinwas the first Wagner work to be performed in Italy (Bologna, 1871,
in Italian); the premiere was a success, but at La Scala in 1873 there was riot-
ing. Tristanwas acclaimed in Bologna, 1888; that event, and the publication in
1894 of an Italian translation of Oper und Drama,brought Wagner great
renown; among younger composers he was the “major prophet of the age.”
Puccini and Catalani were enthralled by him. However, Wagnerian theory
never took root in Italy, and the Ringwas not admired. Clear influences on
Puccini are described: his orchestra tells of “things that are not in the text,”
and motives foreshadow events to come. - Celletti, Rodolfo. “Il vocalismo italiano da Rossini a Donizetti.” Analecta
musicologica5 (1968): 267–294; 7 (1969): 214–247.
The first part of this study, on Rossini, was also published separately (#1579).
It concerns the sunset of bel canto,marked by the changing roles given to
tenor, soprano, baritone, and contralto and their voice ranges. Rossini’s prac-
tice of writing out voice parts entirely replaced the earlier freedom of singers to
improvise and ornament. - Gossett, Philip. “The Chorus in RisorgimentoOpera.” COJ2 (1990): 41–64.
Considers the chorus as a political statement—representing “a people,” usu-
ally dominated by a foreign power. Examples are Rossini’s La donna del lago
and Guillaume Telland Verdi’s La battaglia di Legnano. - Powers, Harold S. “One Halfstep at a Time: Tonal Transposition and ‘Split
Association’ in Italian Opera.” COJ7 (1995): 135–164.
Departures from original tonality were often made via half-step transpositions
to suit performers. Powers agrees with Allan Atlas (#1484), who thought that
Puccini, at least, did those things in the context of an alternative tonal struc-
ture. Powers also deals with the views of Roger Parker and James Hepokowski
on the transposition issue. His conclusion is that in nearly all cases of transpo-
sition there were musical justifications: they “allow the passage in question to
participate in the web of tonalities in a different manner, but not one that is
random or without tonally expressive implications.”
Italy 461