A gathering of 23 papers read at the conference, including several of special
interest: Pierluigi Petrobelli, “Boito e Verdi”; Marcello Conati, “Il valore del
tempo: Verdi e Boito, preistoria di una collaborazione”; Giovanella Cresci
Marrone, “La ‘romanità’ del Nerone”; and Giovanni Morelli, “Qualcosa sul
Nerone.” Michele Girardi on Falstaffis entered at #1882. Name index.- Nicolaisen, Jay. “The First Mefistofele. 19thCM 1 (1978) 221–232.
Despite a worthy libretto, the 1868 premiere was a disaster. Nicolaisen com-
pares it with the revision for 1875, finding “compromises and concessions...
to popular taste.” The original was “sincere and determined.” - Ashbrook, William. “Boito and the 1868 MefistofeleLibretto as a Reform
Text.” In Reading Opera(#218), 268–287.
It is a reform opera because it minimizes the number of arias and duets and the
old structures of romantic opera. Boito placed “form over formula.” - Brusa, Fillipo. “Il Neronede Arrigo Boito.” RMI31 (1924): 235–443.
A thorough study, well documented. Detailed attention to the text, with a cri-
tique of its historical accuracy; technical analysis of the music.
Giovanni Bononcini (1670–1747)
Il Xerseis in HS,v.8.
- Ford, Anthony. “Music and Drama in the Operas of Giovanni Bononcini.”
PRMA101 (1974–1975): 107–120.
A general view of the operas in terms of structure. There were changes in the
period away from the continuo aria toward more use of the orchestra and
toward fewer aria numbers. Bononcini omitted the opening orchestral ritor-
nello to carry on the action, as Handel did. He alternated textures and tempi to
suggest extreme emotions. Text, music, mood, and character were always well
matched. - Wolff, Hellmuth Christian. “Bononcini—oder die Relativität historischer
Urteile.” Revue belge de musicologie11 (1957): 3–16.
A well-documented study of Bononcini’s style and the context of his times.
Useful comments on the writings of other scholars and quotations from them.
Wolff observes that there is no thorough analysis of the operas. There is newer
information in Wolff’s chapter in NOHM5. - Lindgren, Lowell. “The Three Great Noises ‘Fatal to the Interests of
Bononcini.’” MQ61-4 (October 1975): 560–583.
Biographical background, with details on Bononcini’s misguided activities in
London after 1720. - Lindgren, Lowell. “I trionfi di Camilla.” Studi musicali6 (1977): 89–159.
A study of the libretto and music to Bononcini’s Il trionfo di Camilla(1696).
The text, by Silvio Stampiglia, was highly popular, being set 37 times in 70
years. Genesis, comparisons of versions, and an appendix list of Stampiglia’s
Giovanni Bononcini 131