Opera

(Marvins-Underground-K-12) #1

Jacques Offenbach (1819–1880)



  1. Faris, Alexander. Jacques Offenbach.New York: Scribner, 1980. 273p. ISBN
    0-684-16797-2. ML410 .O41 F3.
    A straightforward biography, with backnotes and program notes for the operas.
    Table of stage works, 1839–1881, giving librettists and premiere information.
    Worklist of the nonstage works, by genre. Pictures and musical examples, bibli-
    ography of about 120 entries. Expansive index of names, titles, and topics.

  2. Hawig, Peter. Jacques Offenbach: Facetten zu Leben und Werk.Beiträge zur
    Offenbach-Forschung, 2. Cologne: Dohr, 1999. 311p. ISBN 3-925366-57-1.
    ML410 .O3 H395.
    A biography set in the context of culture under Napoleon III, with a useful sur-
    vey of research about the composer and desiderata for scholarship. Extended
    coverage of reception. Bibliography, 177 numbered items arranged by opera,
    name index.


Individual Works


La belle Hélène


ASO125 (1989).


Les contes d’Hoffmann


ASO 25 (1980), Rororo (1984).



  1. Eisenberg, Anna. “Jacques Offenbach: Hoffmanns Erzählungen.Analyse der
    szenischen Bearbeitung.” Ph.D. diss., U. of Cologne, 1974. 380p.


La périchole


ASO66 (1984).


Giovanni Pacini (1796–1867)


In IO–1810: Il barone di Dolsheim,v.29; L’ultimo giorno di Pompei,v.32; Il corsaro,
v.34; and Saffo (with excerpts from Furio Camilla), v.36.



  1. Lippmann, Friedrich. “Giovanni Pacini: Bemerkungen zum Stil seiner Opern.”
    Chigiana24 (1967): 111–124.
    Pacini wrote 90 stage works from 1813 to 1867. Style is romantic seria.
    Libretti are comparable in quality to those of Rossini, Donizetti, and Verdi;
    music is worthy of comparison to Bellini. Many works, such as Saffo,are wor-
    thy of revival. Musical examples, technical observations.


Ferdinando Paër (1771–1839)



  1. Minardi, Gian Paolo. “Paër semiserio.” In I vicini di Mozart(#90), 343–358.
    Griselda(1797) was his earliest semiseria (Italian equivalent of the opéra-
    comiquein the late 18th century); it is analyzed here, with a genesis account.
    Other operas in the genre are also examined: Camilla (1799), I fuorusciti di
    Firenze(1802), and the culminating Leonora(1804).


Ferdinando Paër 263

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