Poliuto
- Black, John. “Cammarano’s Self Borrowings: The Libretto of Poliuto.” DSJ 4
(1980): 89–103.
While composer self-borrowing has been well studied, librettist self-borrowing
has not. Black uses Poliutoas a case study for it. (Cammarano made no secret
of his practice.) Eight of the 15 set pieces in Poliutowere used in later works;
these are carefully described.
See also Zanolini (#786).
Regina di Golconda
- Mioli, Piero. “Da Alina, regina di Golcondaa Don Pasquale: La prima buffa
nel vocalismo donizettiano.” Studi donizettiani4 (1988): 127–161.
In contrast to Rossini, who made modest demands on the soprano voice,
Donizetti gradually created the “prima donna assoluta,” requiring agility and
“canto di bravura.” This development is tracked from Alina(1828) to Don
Pasquale(1843).
Roberto Devereux
ERO,v.26.
- Black, John. “Elisabeth d’Angleterre, Il conte d’Essex,and Roberto Dev-
ereux.” DSJ5 (1984): 135–146.
A play by Jacques Ancelot, Elisabeth d’Angleterre(1829) was the source used
by Cammarano for the Roberto Devereuxlibretto (1837). It was also used by
Felice Romani for his libretto Il conte d’Essex(1833; music by Mercadante).
Romani accused Cammarano of plagiarism. Black’s comparison of the three
texts demonstrates that Cammarano used Ancelot directly and did not steal
anything from Romani.
Antonio Draghi (1634/1635–1700)
There is little recent writing about Draghi, who composed 170 works between 1662
and 1699.
- Neuhaus, Max. “Antonio Draghi.” Studien zur Musikwissenschaft1 (1913):
104–192.
Gives the operas in chronological order, with casts, extended musical extracts,
historical
context, and structural analysis. No index.
Paul Dukas (1865–1935)
Ariane et Barbe-Bleueis in ASO149/150 (1992).
- Suschitzky, Anya. “Ariane et Barbe-Bleue: Dukas, the Light, and the Well.”
COJ9-2 (July 1997): 133–162.
Genesis; sources in Maeterlinck (Mélisande, after Pelléas, goes to Bluebeard
and is again captive in a dark castle); use of Debussy’s music. The article’s
164 Opera