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Each presents the plot, background of the production, instrumental and vocal requirements, as well as scenic and costume needs, and both provide the entire text of the libretto in the original Italian, with an English translation.
The special edition libretto will available through Thornwillow Press , the publishing house of handmade, limited-edition books, and will be given to an esteemed group of individuals who exemplify excellence in their respective fields.
An anonymous sheaf of arias, seven of them corresponding in texts to arias from the libretto of the Prague Argippo, was found in the Furst Thurn und Taxis Hofbibliothek in Regensburg.
On the other hand, he sees a man who repeatedly sacrificed artistic integrity, accepted every libretto apparently without ever requesting revisions, played one publisher against another, and blamed others for his lack of success: his publisher Sonzogno for insufficient promotion, Ricordi for waging a war against him, and famous performers such as Enrico Caruso, Tita Ruffo, and Arturo Toscanini for not performing his works more often.
Words with music; creating the Broadway musical libretto.
viii), and to base underlaid text on the principal musical source, Bartlet offers instead a "principal source complex," including the following items: the extensive set of parts found in the Bibliotheque-Musee de l'Opera (Paris), including parts originally copied for Versailles but reused in Paris, as well as parts originally copied for Paris (all revised numerous times for subsequent Paris revivals); a prepublication issue of the 1749 engraving of the score (a unique exemplar), extensively annotated by numerous hands, including the composer's, for the various Paris productions--that is, an item that other specialists in French opera have sometimes called a "production score"; the 1749 edition itself; and the published librettos of 1745 and 1749.
It is appropriate that the libretto and score of Orlandini's Adelaide have been included and consulted among the text sources--although the Venetian libretto was not published "in the spring of 1729 by Marino Rofletti" (p.
Another difference from earlier anthologies, which modernized the German texts, is that the librettos are given here in the orthography of Bach's manuscripts.
As it is, an essay such as that of Anne-Marie Gouffies never answers the questions it poses in its title: are fin-de-siecle librettos a "refined stage of highbrow art" or merely "dexterity in mediocrity"?
Although the librettos of all three are extant, sometimes the direct musical evidence for a passage is lost, thus requiring Pacholke to reconstruct some recitatives tentatively or to discuss questions of aria transposition (as, for example, in the notes for the aria "Quell'onda, che si frange," pp.
The printed librettos of 1720 provided the Italian text in full with an English translation on the opposite page; while the recitatives are indeed fully translated, the English versions of the arias are only summaries, "giving the essential information but often omitting finer points" (p.
Two pairs of essays consider first the libretto and then its musical setting.
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