frequent.” As coloratura “becomes excessive, the device is marked and its
uncanny significance emerges.” There is some formal irregularity in the mad
scene, but it ends with a cabaletta that is “almost startling in its formal regu-
larity.” The conclusion is that conflicting interpretations are the norm regard-
ing madness. Lucia is clearly “defeated both by the forces of musical language
and by the oppressive power of the plot.” This attention to “excess” is also
found in the study by McClary (#391).- Bortolotto, Mario. “Sul sestetto nell’opera Lucia di Lammermoor.” In Atti
(#764), v.1, 51–60.
An interesting study of the sextet, identifying musical elements that form
“objective correlatives” of the dramatic situation. One such element is the
gradual slide toward metrical irregularity. Musical contrasts between the two
parts of the ensemble also respond to shifts in the action.
See also Ashbrook (#790).
Lucrezia Borgia
- Kaufman, Thomas G. “Lucrezia Borgia: Various Versions and Performance
History.” DSJ5 (1984): 37–81.
Reception study, considering changes made for later performances and variant
titles. Valuable chronology of performances, 1833–1902. - Guaricci, Joseph. “Lucrezia Borgia.” DSJ2 (1975): 161–177.
Genesis, synopsis, technical notes with musical examples.
Maria di Rohan
- Barblan, Guglielmo. “Maria di Rohan.” DSJ2 (1975): 15–33.
Genesis, reception (it was enthusiastic), revisions in score and libretto. No
musical analysis. Appendix by John Watts gives performance history, 1957–
Maria Padilla
- Parker, Roger. “Maria Padilla: Some Historical and Analytical Remarks.” DSJ
5 (1984): 20–34.
Reception history; analysis of vocal aspects and overall structure. - Ashbrook, William. “Donizetti and Romantic Sensibility in Milan at the Time
of Maria Padilla.” DSJ 5 (1984): 8–19.
Cultural background of Milan and its relation to the emotional and romantic
aspects of the libretto.
Maria Stuarda
- Commons, Jeremy, Patric Schmid, and Don White. “19th Century Perfor-
mances of Maria Stuarda.” DSJ3 (1977): 217–242.
Productions of 1835–1865 in various European houses, with changes in the
score made for the different performances.
162 Opera