La traviata: Critical Edition Study Score 9780226521329

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La traviata

THE WORKS OF · LE OPERE DI

GIUSEPPE VERDI SERIES I: OPERAS · SERlE I: OPERE TEATRALI VOLUME 19

Editorial Board . Comitato di Redazione Philip Gossett General Editor . Direttore responsabile

Julian Budden Martin Chusid Francesco Degrada Gabriele Dotto Ursula Gunther Giorgio Pestelli Pierluigi Petro belli Kathleen Kuzmick Hansell Managing Editor . Redattrice coordinatrice

This edition, made possible through the generosity of BRENA D. and the late LEE A. FREEMAN and by grants from the NATIONAL ENDOWMENT FOR THE HUMANITIES, is dedicated to the memory of LEE A. FREEMAN

Critical Edition – Study Score

The critical commentary for this volume, in English and Italian, is available free of charge at VerdiEdition.org. Il commento critico relativo a questa partitura è liberamente consultabile, in inglese e in italiano, sul sito VerdiEdition.org.

The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London Original edition © 1996 by the University of Chicago and CASA RICORDI s.r.l. Study score edition © 2017 by the University of Chicago and CASA RICORDI s.r.l. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2017 Printed in the United States of America 26 25 24 23 22 21 20 19 18 17   1 2 3 4 5 ISBN-13: 978-0-226-52129-9 (paper) (University of Chicago Press) ISBN-13: 978-88-8192-029-7 (paper) (Casa Ricordi Srl) ISBN-13: 978-0-226-52132-9 (e-book) (University of Chicago Press) The introduction to La traviata was translated from the English by Kathleen Kuzmic Hansell. L’introduzione a La traviata è stata tradotta dall’inglese da Kathleen Kuzmic Hansell.

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).

Contents · Indice

PREFACE

vii

PREFAZIONE

ACKNOWLEDGMENTS

ix

RINGRAZIAMENTI

INTRODUCTION

1

The History

xi

1

La storia

xlv

2 • Le fonti: xxviii

3 . Problems in Editing and Performing La traviata

xliii

INTRODUZIONE

2 • The Sources: General Observations

xli

osservazioni generali

lxiii

3 . Problemi redazionali xxxii

e di esecuzione de La traviata

lxvii

FACSIMILES

lxxvii

FACSIMILI

lxxvii

INSTRUMENTS OF THE ORCHESTRA

lxxxiii

ORGANICO

lxxxiii

CAST OF CHARACTERS

lxxxiv

PERSONAGGI

lxxxiv

INDEX OF NUMBERS

lxxxv

INDICE DEI PEZZI

lxxxv

LA TRAVIATA

Preface

The Works of Giuseppe Verdi (WGV), a joint publication of the University of Chicago Press and Casa Ricordi, is an edition of the music of Verdi both rigorously faithful to authentic sources and suitable for performance. It is divided into six series: I. II. III. IV. V. VI.

Operas Songs Sacred Music Cantatas and Hymns Chamber Music Juvenilia

Each volume begins with a three-part introduction: the historical background of the work or works; an overview of the sources; and special problems in editing and performing. A Critical Commentary, normally published in a separate volume, provides detailed treatment of the sources as well as critical notes giving alternative readings and explaining editorial decisions. Derivative piano-vocal reductions and orchestral and choral parts are available. When works exist in two distinct versions (/ Lombardillerusalem, Simon Boccanegra, etc.), each is published separately. Less extensive revisions are accommodated in appendixes. The main text reflects the definitive state of a work, not necessarily its final state. Should more of Verdi's musical sketches become available, they will be published separately. The music is derived from a principal source, almost always the composer's autograph manuscript. Additions to it from other sources in Verdi's hand are placed in pointed brackets: < >. Other additions are differentiated typographically: I. In italics: dynamics (f, p, cresc., dim.) trills (tr); missing words or syllables in the vocal lines; tempo markings (Andante); the number of woodwind or brass instruments playing (Solo, I, a 2); metronome markings (J = 88), etc. 2. In broken lines: slurs or partial slurs; crescendo and diminuendo hairpins or partial hairpins. 3. In smaller symbols: pitches; staccati; accents; fermatas. (Symbols that replace other symbols, e.g., > for A or J ~ for J, are printed full size. The replaced symbol is given in a footnote.)

Additions that extend symbols present in the principal source are not bracketed. Those derived from secondary sources (a manuscript copy, the first edition of the piano-vocal score, performing materials) are placed in parentheses: ( ). The source of such additions is specified in the Commentary. When an entire class of additions (e.g., metronome markings or indications of lor a 2) is derived from a specific secondary source, this is stated in the introduction to the score and not repeated each time in the Commentary. Finally, additions deemed essential by the editor but not found in the sources are placed in square brackets: [ ]. As an exception, stage directions derived from the principal source for the libretto (usually the first printed edition) are given in roman type and placed in parentheses. The appearance of the music is modernized in a number of ways: I. Current conventions for the order of instruments and voices are usually followed. The arrangement of the autograph is given in the Commentary. 2. Vocal lines employ only treble, tenorized treble, and bass clefs. The original clefs, together with the range of each part, are specified in the list of characters. 3. Verdi's use of accidentals is adapted to modern practice. Only when doubt exists about his meaning are bracketed accidentals introduced. 4. Verdi's abbreviations and signs of repetition are realized according to modern conventions, as are his instructions for one instrumental line to be read from another. Only when entire musical sections are involved

(e.g., "Dall' A al B") or where the notation is equivocal (e.g., when violas are instructed to play "col Basso") are these abbreviations listed in the Commentary. 5. When two or three woodwind or brass instruments are notated on a single staff, Verdi writes "Solo" to instruct the first instrument (Ob. I, Tr. I) to play alone. WGV preserves this notation. When the part continues to a new system, WGV adds a roman I. Verdi uses double stems to instruct both instruments to play the same part. WGV eliminates the second stem and adds, in roman type, "a 2." 6. Three trombones are frequently placed on a single staff. Verdi is insufficiently explicit as to how many instruments should play when only one or two notes are present. Whenever possible, WGV seeks contemporary evidence from performance materials, annotating the trombones "(I)," "(II,./ll)," etc. 7. When two parts written on a single staff play homorhythmically, WGV uses a single articulation for both parts even if Verdi provides two (e.g.

F~ = ( ) .

8. Abbreviations are spelled out without notice ("All.o" = "Allegro"). 9. Minor elements are normalized without note: whole rests added, signs of triplets or sextuplets ("3," "6") standardized, short slurs from a grace note to a principal note provided. A single missing staccato in the midst of a group of staccati is added without being differentiated typographically, etc. There are, on the other hand, certain aspects of Verdi's notation that have not been modemized: I. Transposing instruments follow the principal source. 2. The notation of percussion instruments is left unchanged, as are the terms Verdi uses to designate them. Particular problems affecting the timpani and cassa/gran cassa parts are discussed in the introduction to the score. 3. Verdi's original instrumentation is given in WGV. When unusual or obsolete instruments (e.g., cimbasso) are involved, suggestions for modern performance are made in the introduction to the score. 4. Verdi's manner of beaming notes together is preserved whenever it can be musically justified. 5. WGV follows Verdi's notation of a reduced score for the Banda sui palco. A possible interpretation is provided with the performing materials.

The principal musical source is also considered to be the principal source for the literary text of an opera. A complete collation is made with principal sources for the libretto. Verdi's text is usually favored over the reading of the libretto. Verdi's incomplete punctuation is supplemented from sources for the libretto. Manipulations of the punctuation are noted in the Commentary only when they are significant. Normally Verdi's spelling is preserved when it reflects a historically correct alternative to the libretto or to modern practice. The syllabic division of words, on the other hand, is modernized. Punctuation is omitted at the close of stage directions. Many elements of a Verdi autograph can be equivocal:

===-- )

I. Accents (» and diminuendi ( cannot always be distinguished. WGV seeks a musically convincing interpretation of the principal source; uncertain passages are mentioned in the Commentary. 2. There are occasions in which Verdi's slurs are ambiguous to the point of incomprehensibility, especially when a general legato is intended. WGV offers an interpretation. From the score, footnotes, and Commentary, it is possible to reconstruct the original notation. 3. Some performance markings (crescendi, dynamics, etc.) cannot be assigned unequivocally to one staff or another in the context of an

vii

viii

PREFACE

orchestral tutti. WGV nonetheless prints them as if they were associated with a single part.

are noted; the most significant ones in footnotes, others only in the Commentary.

Solo vocal lines for the most part follow precisely the principal source. Singers will find in the critical edition all the evidence they need to develop a personal interpretation of a role. Serious inconsistencies in orchestral and choral parts or in larger ensembles, on the other hand, are not allowed to stand. WGV seeks musically acceptable readings as close as possible to the principal source. All deviations from that source

A complete set of editorial norms is available from the University of Chicago Press. Departures from these norms necessitated by unusual situations in the sources or in the musical context are discussed in the Commentary. Philip Gossett General Editor

Acknowledgments

Many institutions contributed to the realization of this critical edition of La traviata. First among them I must mention Casa Ricordi for making available the autograph manuscript of the opera, and the University of Chicago Press, for furnishing highly efficient editorial and technical support. This publication was made possible by a generous gift from Brena D. and the late Lee A. Freeman, and by grants from the National Endowment for the Humanities." Part of my archival research was financed by the University of Siena, with funds from the Italian Ministry of Universities and Scholarly and Technological Research. The personnel at Casa Ricordi facilitated my stays in Milan in every way possible during my study of Verdi's autograph and research on the documents in the Archivio Storico. I should especially like to acknowledge Fausto Broussard, Luciana Pestalozza, Maria Teresa Confalonieri and, with particular sympathy, the late Carlo Clausetti. The American Institute for Verdi Studies at New York University, which I thank in the person of its Director, Martin Chusid, provided microfilm reproductions of most of the secondary sources. The staff of the Istituto Nazionale di Studi Verdiani in Parma, including Marisa Casati, Daniela Mazzoli, Fortunato Ortombina, and Lina Re, went out of their way to help me take advantage of their collection of reproductions of Verdi's correspondence and their rich library. It is difficult to find words to express my gratitude to Pierluigi Petrobelli, Director of the Istituto, but above all a friend who, from the start of my career as a musicologist, encouraged and followed my studies of Verdi, and in particular of La traviata. The Carrara Verdi family of Busseto deserves to be doubly acknowledged, for permitting me to use the Verdi correspondence in their custody, and for making available the autograph sketches of La traviata for this edition. Among the libraries that supplied materials and photographic reproductions utilized in this editon, I wish to thank the Civico Museo Bibliografico Musicale of Bologna, the libraries of the music conservatories of Milan ("G. Verdi") and Rome ("S. Cecilia"), the music divisions of the Bibliotheque Nationale in Paris and the Osterreichische Nationalbibliothek in Vienna, and the Gesellschaft der Musikfreunde in Vienna. The Centre International de Recherche sur la Presse Musicale of Parma assisted in my research on nineteenth-century music periodicals. Special thanks are due the Teatro La Fenice of Venice, whose archives of important doc-

• Although this work was made possible in part through research grants from the National Endowment for the Humanities, the opinions set forth do not necessarily reflect those of the Endowment.

uments and manuscripts are preserved at the Fondazione Ugo e Olga Levi. Many individuals assisted in bringing sources and documents to my attention, checking through them, securing photographic reproductions, and giving me advice and explanations of particular details, for which help I wish to thank Claudio Annibaldi, Annalisa Bini, David Bryant, Marco Capra, Damien Colas, Francesco Degrada, Gilles de Van, Mariella Di Maio, Alessandro Di Profio, James A. Hepokoski, Ralf Krause, Renato Meucci, Carlo Matteo Mossa, Michel Noiray, Paolo Pinamonti, Fabio Rossi, Paolo Trovato, and Mercedes Viale Ferrero. Giovanni Morelli, Roger Parker, and Mario Valente pointed out and gave me access to precious unpublished sources. My work profited greatly from study of the previous volumes published in this series. I wish to extend my thanks jointly to all their editors, whose editorial decisions often served me as models, and whose texts I freely utilized in preparing the introduction and the critical commentary. I should like to give special thanks to two people who, during the long gestation of this edition, exchanged positions on either side of the Atlantic Ocean. Gabriele Dotto followed the first stages of my work while at Chicago as Managing Editor of the series; then moving to Milan, where he is now,at Casa Ricordi, he gave me invaluable advice during my study of the autograph score. Kathleen Kuzmick Hansell, whom I came to know six years ago at the offices of Casa Ricordi, handled the final preparation of the volume as Managing Editor with exceptional care and skillfulness. My debt of gratitude toward Philip Gossett, General Editor of The Works of Giuseppe Verdi, is truly great. While scarcely needing to call attention to his merits as a Verdi scholar, I am thankful for how much I have learned from him, for his infecting me with a little of his enthusiasm and energy, and for his making the eight years that have elapsed during our collaboration not only fruitful ones but also extremely pleasant. It is to him credit is due for the scholarly rigor of this volume and for what I hope proves its practical utility in encouraging performances of the critical edition of La traviata. My wife Ileana followed my work with enthusiasm throughout this period; putting up with periods of inattention and irritability, she gave ear to my doubts and made wise contributions to their resolution. I wish to offer this volume to my teacher, Nino Pirrotta, in memory of his dear wife Lea, who passed away early this year, leaving all of us who knew her with the most vivid and affectionate memories .

Fabrizio Della Seta

ix

INTRODUCTION

1. The History La traviata, Verdi's nineteenth opera, was written expressly for Venice's Gran Teatro La Fenice, where it received its premiere on 6 March 1853. Dissatisfied with the work's initial reception, Verdi withdrew it from circulation until he could find a cast of singers who, in his judgment, would guarantee its success. Over a year later, after the composer had revised certain sections of the opera to suit the new singers, La traviata was restaged on 6 May 1854 at the Teatro San Benedetto in Venice. The resounding favor that greeted it then has persisted ever since. Verdi considered the revised version definitive, as he wrote to his Neapolitan friend Cesare De Sanctis on 26 May of the same year: "the transpositions and vocal adjustments [puntature J will remain in the score, because I consider the opera to be the one prepared for the present cast."1 The principal text of La traviata (the 1854 version), found in the composer's autograph score, is presented in the main body of this edition. Sections of the 1853 version subsequently modified are given in Appendix 2 of this volume, reconstructed partly from secondary sources. 2 The genesis of La traviata has been recounted often, recently with a richness of documentation that has brought order to the vast array of anecdotes, many unreliable, accumulated around the opera. 3 By referring to these recent, easily accessible reconstructions, the present history can limit itself to those portions of the documentary evidence useful to its narrative, occasionally enriched by new data. From the First Negotiations to the Contract After the success of Rigoletto, first performed at La Fenice on 11 March 1851, the administration of the theater sought to secure a commitment from Verdi to write a new opera also for the following 1851-52 season of Carnival and Lent. Negotiations between the administration, the composer, and the impresario, illustrated in 1. The autograph of the letter is in Rome, Accademia Nazionale dei Lincei; a reproduction is at the Istituto Nazionale di Studi Verdiani, Parma (hereafter I-PAi) , no. 11125; published in Alessandro Luzio, Carteggi verdiani, 4 vols. (Rome, 193547), 1:24-5. Whenever possible letters and documents have been verified against reproductions of the originals in the collection of I-PAi, with the exception of papers in the archives of the Teatro La Fenice (now housed at the Fondazione Levi, Venice), which are cited after Marcello Conati, La bottega della musica: Verdi e La Fenice (Milan, 1983). In the Italian transcriptions the original form of the texts, including orthographic details, is preserved. To facilitate consultation, however, some alterations are tacitly introduced: superfluous capitals are eliminated; abbreviations are spelled out, except for obvious ones; a "j" at the beginning of a word Of between vowels is changed to "i" (except for the name Jacovacci); accents are modernized; and some

punctuation is added. 2. The relationship between the two versions of La traviata, then, is different from that between works that circulated widely in earlier versions before Verdi

revised them, such as Macbeth (1847 and 1865), Simon Boccanegra (1857 and 1881), La forza del destino (1862 and 1869), and Don Carlos (1867 and 1884), or between two independent works sharing varying amounts of identical material. such as I Lombardi alia prima crociata (1843) I Jerusalem (1847), and Stiffelio (1850) I Aroldo (1857). It also differs from operas for which Verdi added or substituted pieces not intended for permanent insertion (see David Lawton and David Rosen, "Verdi's Non-Definitive Revisions: The Early Operas" in Ani del IlIo Congresso internazionale di studi verdiani [Parma, 1974), 189-237). Most similar to La traviata are Verdi's last three operas, Aida, Otello, and Falstaff, for all of which he introduced

documents and letters from the period 24 August through 22 October 1851, led to nought, officially because of Verdi's refusal "to write two years running in the same city,"4 but in reality because, as the composer wrote to Antonio Gallo, he had "firmly decided not to sign any contract without first presenting the libretto to the censors [. . .J in order to avoid the immense difficulties suffered over Stiffelio and Rigoletto."5 From Paris on 4 February 1852 Verdi responded to a letter from the senior director at La Fenice, Carlo Marzari: 6 Nothing is more flattering and kind than your letter of last 24 January. I cannot at the moment give you a decisive response, but should I compose for Italy, there is nothing I would like better than to do it for Venice, mindful still of the kindnesses shown me last year by the administration, and of the zeal and utmost attention I found in all the performers of Rigoletto: that was worth more to me than even the work's reception, though that too was worth a great deal. Nonetheless, Signor Director, you will understand that I cannot sign a contract without knowing the company. [. . .) As for myself, the terms should be similar to those of last year, with the exception of some increase in the fee. 7

This letter is the first step in a series of events that, thirteen months later, would lead to the creation of La traviata. Throughout this period the choice of cast, which Verdi emphasized from the outset, would be central to the negotiations. Given its importance, it will be treated below in a separate section. Since Verdi continued to hesitate, the theater needed to ensure the availability of a prestigious composer to engage in his stead, should he ultimately refuse. Pressed by the city government, which helped support the theater, the administration unaninlOusly agreed on 16 April that, with Saverio Mercadante long past his prime, the only appropriate choice after Verdi would be Giovanni Pacini. The preliminary contract of the incoming impresario, Giovan Battista Lasina, prepared on 17 April 1852, therefore stipulated: The composer for the opera to be expressly written [will be) the celebrated Verdi, should he agree to accept the commission, in which case Lasina agrees to pay simply as rental rights for the poetry and music, 6,000 Austrian /ire (approximately). Should maestro Verdi absolutely refuse to accept the commission to write the new opera for Venice [ ...), the same impresario agrees to have this new opera written by the composer cavalier Pacini, provided that he accepts the commission with the fee of 4,000 Austrian lire which the impresario will offer for rental rights to the poetry and music. If not even Pacini should agree to assume this obligation for the rental fee indicated above [. . .), then the composer will be chosen collectively before the end of June by the impresario, the administration, and the Podesta, from among maestri Federico Ricci, [Alberto) Mazzucato, [Emanuele) Muzio, and [Carlo) Pedrotti, those currently proposed by the impresario."

Several days of frenetic negotiations ensued, centering particularly on the choice of cast. Since Lasina was unwilling to go personally to Verdi's home at Busseto, on 21 April the theater 4. Minutes of 22 October 1851, cited in Conati, 270. 5. Undated letter from September 1851; Conati, 269. Gallo was a violinist and

definitive revisions after the first performances. 3. The most extensive and detailed account is offered in Conati, La bottega della musica, 267-332. See also Anna Buia, Un cosi eroico arnore: Genesi e diffusione censurata del libretto de La traviata di F. M. Piave, vol. 10 of Muska e teatro:

conductor, whose family owned Venice's Teatro San Benedetto. adminstration of La Fenice consisted of a committee of three directors, with Marzari as the senior member, joined by Adolfo Benvenuti and Giovan Battista

Quaderni degli Amici della Scala (Milan, 1990), 13-18. Julian Budden's summary in The Operas of Verdi, 3 vols. (New York & London, 1978-81; rev. ed. Oxford, 1992),2:113-28, is useful.

Tomielli. As for many years past, the secretary was Guglielmo Brenna. 7. Conati, 272. 8. Ibid., 279.

6. Marzari's letter is not extant. During the 1851-52 and 1853-54 seasons, the

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INTRODUCTION

administration's secretary, Guglielmo Brenna, was hastily despatched to him. This trip resulted in the stipulation on 25 April of an agreement by which Verdi consented to write the opera. 9 Its contents are evident from remarks the director Tornielli made in a letter of 28 April, responding to the news Brenna gave him about the fulfillment of his mission: Even if the conditions imposed by Verdi in his agreement to write the new opera are quite onerous, yet because this opera is the only brace in the shaky edifice of our season we must accept them, all the more so if they correspond to the obligations assumed by Lasina. The latter has agreed to pay 6,000 Austrian lire (approximately) for rental rights to the poetry and music of Verdi's new opera, and he said orally that he could consent to spend up to 8,000. He agreed furthermore to leave the administration a copy of the score of new operas composed for the theater. Neither the dignity of our theater nor the interests of our association allow us to give up the demand to have a copy of Verdi's score with rights for subsequent revivals; thus, Lasina must agree to 8,000 lire. 10 Having obtained the assent of Lasina and director Benvenuti, on 4 May Marzari sent Verdi the definitive contract. Marzari's accompanying letter clarifies the agreements made on 25 April: In accordance with the agreements worked out between you and the secretary to the directors, Guglielmo Brenna, I hasten to send you the contract for the new opera d'obb/igo to be produced in this theater during the coming 1852/53 season of Carnival and Lent. I made no alteration in it except regarding the time of the premiere, which I fixed for the last Saturday [26] in February rather than the first Saturday [5] of March 1853, in the hope that you will not object to moving it back by only eight days, while on the contrary the management is counting a great deal on the possibility of giving four additional performances of your opera. As for the other clauses, they were modeled on the memorandum of 25 April, signed by you, or transcribed from the contract of 23 April 1850 pertaining to the opera Rigoletto, to which you stated in the above-named memorandum that reference should be made; clause 8 has been added in order to avoid any dispute about the printing of the libretto with the person who would become the proprietor of your new score.!1 Given the importance of this contract, a copy of which is preserved in the archives of La Fenice, its clauses are reproduced here: 1. Maestro Giuseppe Verdi agrees to set to music a new serious opera on an appropriate libretto to be performed in this Grand Theater of La Fenice during the Carnival and Lenten season of 1852/53 (fifty-three). 2. The pertinent libretto shall be the responsibility of the composer, who agrees to deliver it to the administration by this coming July so that it may obtain the approval of the public censors. 3. Maestro Verdi agrees to be in Venice at the beginning of February 1853 (fifty-three), and to have completed his score in good time to begin rehearsals on the eighth and to have the premiere at the latest on the last Saturday of the said February. 4. The singers who are to take part in the new opera shall be chosen by maestro Verdi from the roster of the company, it having already been agreed that it will include the tenor Signor Lodovico Graziani, the bass Felice Varesi, and possibly the second prima donna Signora Gianni De Vives. As for the leading prima donna, Signora Fanny Salvini Donatelli, engaged for said season, maestro Verdi reserves the right to decide after the opera in which she will open on the evening of Saint Stephen's Day [26 December], whether she should perform or not in the opera he agrees to write. Should he not find her suited to the purpose, he shall so state no later than 15 January 1853, and the management must substitute another artist to this maestro's liking from among those performing in Italian theaters in Carnival 1852/53, who remain free of obligations for the following Lent. 5. The artists chosen by maestro Verdi shall be placed at his disposal for the entire duration of the rehearsals, excepting the evenings of performances in which the same artists are performing. 9. The text of this agreement, absent in the archives of La Fenice, is published

6. It is agreed from this moment that the contralto prima donna Signora Marietta Alboni has not and will not be engaged for said season. 7. The score will remain the absolute property of maestro Verdi. The administration, however, will have the right to produce the opera again in subsequent seasons, but only at the Teatro La Fenice. To this end during the Lenten season of 1853 the administration will have a copy made of the original score, which it promises to keep jealously guarded in the archive of the theater and for the exclusive use of this theater. 8. Included with rights for performing the score are those for printing the respective libretto for the use of the theater, which remains limited to 2,200 (two thousand two hundred) copies for the Lenten season of 1853, and 1,500 (one thousand five hundred) copies for each subsequent season. 9. The dress rehearsal of the new opera will be held behind closed doors, but with all sets, costumes, and lighting as at the first performance. ' 10. Maestro Verdi must remain in Venice at least until after the third performance of the new opera and attend all full and partial rehearsals for it, as well as the first performances. 11. In compensation for the obligations assumed by maestro Verdi, the administration of the association of this theater's owners, or whoever stands in its stead, shall pay the said Signor Verdi the equivalent of 8,000 Austrian lire (eight thousand), half on the day when the first keyboard rehearsal takes place, half on the day of the dress rehearsal. 12. The administration, or whoever stands in its stead, will not be held liable for any unforeseen circumstances in theatrical procedure, which are: fire in the theater, war waged, action of the government, public calamity, dissolution of the impresario's contract, extensive repairs to or closing of the theater by a higher authority or by deliberation of the association of proprietors, illness of an artist, as well as any other circumstance, whether unforeseen or occurring to the person of an artist or dependent on it,12 On 9 May Verdi returned a signed copy of the contract (which has not survived), accompanied by a letter in which he declared himself "fortunate to come for the fourth time to Venice as composer." 13 During the following months he also took care to insure profit from ownership of the opera, which the contract had reserved to him. On 12 October, even before the opera's subject had been chosen, Verdi fixed the terms of a contract with his publisher Ricordi for Il trovatore, which was about to be performed in Rome, and for the future Traviata: I reserve to myself for both operas all rights on rentals and sales in countries outside Italy, as with Stiffelio, Rigoletto, and other operas, etc., etc., and you shall pay me one thousand gold napo, leons at the equivalent of twenty/20 francs for the opera for Rome, and another thousand gold napoleons at the equivalent of twenty/20 francs for the opera for Venice. For this latter opera the administration of La Fenice has reserved some rights to which you must submit [Verdi then transcribed clauses 7 and 8 of the contract].l4 In a subsequent letter of 26 October Verdi asked Ricordi for "one or two small contracts for the two operas I will put on next Carnival," as well as a first installment of 500 napoleons, which he wished to find waiting for him "in Piacenza, at the Office of the Mail Coach, general delivery. "15

Choice of Subject and Genesis of the Libretto In the contract of 4 May 1852 Verdi had promised to deliver the libretto of the new opera by July, but left undetermined both its subject and the poet who would produce it. That the librettist would be Francesco Maria Piave was perhaps implcit in an opera intended for La Fenice, where he had just obtained the post of stage director for a three-year period. In fact, on 24 May Verdi wrote to De Sanctis that he was going to compose "for Lent in Venice (probably a libretto by Piave)."'6 The next months were devoted mainly to overseeing completion of the libretto of Il trovatore, for which Verdi was negotiating an agreement with the impresario of the Teatro Apollo in Rome,

in part in Franco Abbiati, Giuseppe Verdi, 4 vols. (Milan, 1959), 2:214. According to Buia (13, n. 5), a copy of the document is in the Villa Verdi, S. Agata. Conati (286) adds that the agreement provided for a fee of 8,000 Austrian lire and the commitment to stage the work on 5 March. These facts are deduced from other documents, cited in part below. 10. Conati, 288-9. 11. Conati, 290. An opera d'obbUgo was a newly composed work which the impresario's contract obliged him to commission each season.

12. Conati, 290-2. 13. Conati, 292. Verdi's three preceding Venetian works were Ernani (1844), Attila (1846), and Rigaletta (1851). 14. Milan, Archivio Ricordi (I-PAi, 81151). 15. Milan, Archivio Ricordi (I-PAi, 81152). 16. Rome, Accademia Nazionale dei Lincei (I·PAi, 1117); published in Carteggi

verdiani, 1:7-8.

INTRODUCTION

Vincenzo Jacovacci. 17 On 20 June Piave arrived at S. Agata, with the principal aim of revising the libretto of Stiffelio for a Bolognese revival (which never materialized). While poet and composer probably spoke of the opera for La Fenice, there is no trace of these discussions. That the problem continued to occupy Verdi is apparent in a letter to Marzari of 26 July, indicating that a few days earlier he had already obtained an extension: I must thank you for having of your own accord granted me twenty days more to present the libretto; but these, I regret to say, are still insufficient. Piave has not yet presented me with any of those original and stimulating subjects, on the choice of which a good part of the outcome depends. We must therefore search and search again. I must say, however, that the choice remains extremely difficult because, apart from my not wanting those banal subjects one finds by the hundreds, there is the difficulty of the censor and, moreover, the mediocrity of the cast. Were there in Venice a first-rate prima donna, I would have a subject ready and of sure effect; but things being what they are, we need to search for something suitable and appropriate to the circumstances, and thus we need more time. Grant me, then, another extension of a little more than a month, that is, until the end of September. You can do so with confidence, because it is absolutely certain that the opera will not be wanting and that on my account the theater will have nothing to suffer. 18 That Verdi wrote "of your own accord" indicates that the first extension was not at his request. Marzari had probably granted it at Piave's suggestion, and it was to Piave that Marzari responded on 2 August, agreeing, if grudgingly, to the postponement, "since it concerns maestro Verdi, whose exactitude is so well known."19 As for the prospect of a subject "ready and of sure effect" that requires "a first-rate prima donna," the description is undoubtedly apt for what later would become La traviata, but the lack of documentation permits only hypotheses. Verdi's correspondence of the following weeks makes no reference to that subject, while demonstrating that the search for a libretto was far from over. To the baritone Felice Varesi he wrote on 5 August: "You will think I am joking, but I assure you that neither I nor Piave has found among thousands of subjects one that suits me."20 On 17 August Verdi urged Piave, who despaired that he "did not know where to turn": Come on! you must not pronounce such words, even in jest. You

must not refuse to do this book. You have to do it; come what may, it must be done. Certainly you got to work a bit late. but that doesn't matter: it must be done! understand. When one says firmly, with a fixed idea, with obstinate will, I shall, one always succeeds. Look! were I not otherwise occupied, [ am sure I would find a beautiful subject, a great subject. Among the jumble of French plays it is difficult to discover one since everyone knows the most beautiful ones. It must be done I repeat for the twentieth time, if you do not find it elsewhere, look in your own head, but ... it must be done. 21 Finally, on 18 September Verdi wrote to the French publisher Leon Escudier, mentioning for the first time the play by Alexandre Dumas fils which he would ultimately choose: Please pardon me if I bother you by asking you to send me by post as quickly as possible under wraps the play La Dame aux camelias. The faster you do it, the more I will be obliged to you. [... ] I am in a great rush and cannot tell you more. [... ] Don't forget: La Dame aux camelias. 22

The Escudiers quickly obliged, and Verdi must have received the play early in October. Piave had already returned to S. Agata in late September, and he was certainly working on a libretto, but not

17. A contract was signed only in November (Abbiati, 2:177). For details see the introduction to the critical edition of Il trovatore, edited by David Lawton, in The

Works of Giuseppe Verdi, Series I, vol. 18a (Chicago-Milan, 1993), xi-xiii; on xiii-xxii Carlo Matteo Massa discusses the genesis of Salvadore Cammarano's libretto and its completion by Leone Emmanuele Bardare.

18. Conati, 297. 19. Ibid. 20. Conati, 298. Indeed, in a letter of 15 August Verdi asked Marie Escudier in Paris to send him a copy of a drama by Tbeophile Gautier and N. Parfait, La Juive de Constantine.

21. Ibid. 22. Collection of MarioValente, U.S.A. (I-PAi, 137/9); unpublished.

La traviata. 23 By 10 October, with no news arriving in Venice, Marzari felt compelled to write Verdi: In your kind~letter of last August, you expressed to me your desire to defer to the end of September presentation of the libretto for the new opera that you agreed to set for the Teatro La Fenice [... ]. And I complied with the pleasure it always brings me to satisfy your every desire. But now, pressed by the government and city authorities to make known the subject you have chosen to set to music, and to submit the libretto to the public censors, I must beg you to speed its delivery as much as possible. Indeed, I absolutely count on your courtesy to deliver it no later than 15 October, sparing the administration, and consequently yourself, any new problems. 24 Only on 20 October did a letter from Piave to Brenna give decisive notice: The libretto was already completely done, and I was on the point of returning, when another plot set Verdi on fire, and I ... and I, silently and calmly, had five days to do the outline, which I am finishing copying over at this moment and which he will send tomorrow to the administration for approval. The public censors can do so because it is the actual book we will give, except for the verses which still need to be tightened up. I believe Verdi will certainly make of it a beautiful opera because I find him very excited. It remains, then, for you others to move things along, because time is short and I, too, can hardly wait to say Amen. [... ] all will be well, and we will have a new masterpiece from this real wizard of modern harmonies. 25

On the same day, Verdi submitted the scenario. 26 The subject chosen is evident from subsequent correspondence. On 29 October Verdi wrote to Leon Escudier, "Give regards and thanks to Marie for La Dame aux camelias, which I received some time ago," while Piave wrote Brenna: "For goodness' sake try to hurry along the permission for Amore e morte, the plot Verdi wants, and of which he is so enamored."27 Thus, while Verdi may have had La Dame aux camelias in mind since 26 July, only on 18 September did he consider seriously the possibility of making an opera from it, with the definitive decision coming around 15 October. When and how Verdi came to know the novel and the play by Alexandre Dumasfils has been the subject of much discussion. The novel, published in two volumes in 1848 by Alexandre Cadot, was an immediate and widespread success. 28 That Verdi, Giuseppina Strepponi, or b~th, knew it seems probable. The play, written in 1849, was not performed until 2 February 1852 at the Theatre du Vaudeville of Paris; it was printed the same year by Giraud et Dagneau. Verdi was in Paris with Strepponi at the time, and it seems likely he attended a performance of the play. The earliest testimony comes from Leon Escudier, reviewing the production of La traviata at the Theatre-Italien, only three years later: [Verdi] once attended a performance of La Dame aux cam/mas; the subject struck him; he felt the strings of his lyre vibrate in seeing the heroine of the play struggle through joy, shame, and repentance. Upon his return to Busseto, he drew up the scenario of La traviata, and in twenty days the libretto and score were ready to put on stage. 29

Despite its inaccuracies regarding the lapse of time between Verdi's return from Paris in March 1852 and the drafting of the libretto and the music, which took place the following October through February, Escudier's testimony must be granted a certain credibility. He was Verdi's publisher and personal friend and, together with his brother Marie, had been involved in the search for the opera's subject. 23. There have been various hypotheses about the subject of this libretto. It seems most likely that it was La Jorza del destino; see Conati, 300 and 331, n. 33.

24. Conati, 300. 25. Ibid., 301. 26. Ibid. The arrival of the scenario at La Fenice was recorded on 25 October, but neither the scenario nor Verdi's accompanying letter has survived. 27. Both letters are cited in Conati, 302. 28. See Hans-Jorg Neuschiifer and Gilbert Sigaux, editors, La Dame aux camelias: Le Roman, Ie drame, 'La traviata' (Paris, 1981),45. This volume also contains (415-76) the French translation of La traviata (Violetta) by Edouard Duprez, used for the 1864 production at the Theatre-Lyrique in Paris and pubUshed by Levy the following year. 29. La France musicale 20 (14 December 1856). 398.

xiii

INTRODUCTION

xiv

Complicating this portion of the history is a previously unknown document, dating from three months later. On 2 February 1853 Cesare Vigna, the noted Venetian psychiatrist and friend of Verdi's, wrote to a Count Linati of Parma: News of that saint Checco [Piave]? What anguish. The poor thing is down there again for the second time since October to fend off the irritability of the maestro, who suffers so in his arm that he cannot even sign his letters, and to try to perform the miracle of transforming foie gras into prosciutto. What mischief was this of the lady's ever to have convinced the Wizard to write it first in French?30 Some references leave no doubt about the context: "Checco" Piave went to Busseto early in February (arriving on the 3rd), where he found Verdi suffering from rheumatism in his right arm; "Wizard" (Mago) was Strepponi's familiar nickname for Verdi; and she herself must have been "the lady." The central point, however, remains obscure: the last sentence appears to imply that Verdi began writing the opera to a text versified in French, which would have to have.come from Paris, via Escudier. Yet Verdi's autograph sketches; discussed below, do not contain a single French word, either in the vocal texts or in preliminary drafts. Vigna's "to write it first in French" cannot therefore be taken literally. He probably misunderstood information supplied by Piave himself, or perhaps second-hand by Guglielmo Brenna. It is certainly true, in any case, that the play of Dumas fils aroused widespread interest. In 1852, the year of its first performance in Paris, there appeared a "free version" in Italian by Luigi Enrico Tettoni, which Verdi and Piave could have consulted. 3l It seems plausible, at least, that Verdi knew the novel and, when he returned from Paris on 7 March 1852, had the play in mind, either because he had seen it or had heard people talk about it, but he had no copy.32 During the next few months he may have considered basing an opera on it, but only in mid-September, dissatisfied with the subject previously chosen, did he urgently request the play from Leon Escudier. 33 From early November work on the libretto proceeded quickly. On the fifth Verdi wrote from S. Agata to his Roman friend Vincenzo Luccardi: "Piave is still here, finishing the libretto for Venice."34 The administration of La Fenice approved the outline (selva) on the eleventh, submitting it to the censors on the twelfth. They returned it on 19 November with the notice: Seen, and the scenario of the opera Amore e Morte is approved, with the proviso, however, that it may neither be printed nor performed without new permission as soon as it is versified by Signor Piave. 35

30. Private collection. Giovanni Morelli graciously informed me about this letter and procured a photocopy. Verdi dedicated the first edition of La traviata (pvRII-Z)

to Vigna. 31. The translation was published in Milan by Borroni e Scotti in the series Florilegio drammatico, vol. 11. That there are traces of it in Piave's text, as sug-

gested by Eduardo Rescigno in his edition of the libretto (Milan, 1993), is not unequivocally confirmed by the examples he cites. 32. That Piave was independently interested in the Dumas plot is revealed in an

unpublished document recently reported by Roger Parker (preserved at Forn, Biblioteca Comunale, Collezione Piancastelli). In a note to Adolfo Benvenuti (one of the directors at La Fenice), without date, place of origin, or recipient's address, Piave concludes:

Think of me when you pass any bookseller, and do not neglect to acquire for me some of those plots that are current and likely to appeal here. Among these I would much welcome La Dama Camelia

by Dumas. From the context we may deduce that: 1) Piave was writing from Venice ("plots that are likely to appeal here"); 2) Benvenuti was in a large city where it was easy to find new books and plays. It is unclear whether Piave was writing after 2 February 1852, having become curious about the clamor aroused by Dumas's play, or was referring

to the novel (in which case the letter might be earlier). The request could also refer to the Italian translation (whose exact date of issue is unknown). In any event, it must precede the summer of 1852, when Verdi may have begun to talk seriously with Piave about La traviata. 33. It is unnecessary to surmise with Buia (15, n. 19), that "another plot set Verdi on fire" only after he read the text sent to him from Paris. To the contrary, his request to Escudier of 18 September reflects an existing interest, while Piave's phrase expresses the point of view of the poet, who was not necessarily a party to everything the composer had in mind. 34. New York, Pierpont Morgan Library (I-PAi, 152/6), published in Abbiati, 2:176. 35. Marzari reports this to Verdi in a letter of 21 November; see Conati, 304.

Piave returned to Venice in the first week of December. 36 On the eighth he delivered the libretto to the theater administration, "by order of my friend cavalier Giuseppe Verdi [... J, and I ask that you take heed of the Notice written by me to you on the title page."37 In the printed libretto, however, there is no trace of a printed "Notice," nor was Piave's work yet at an end. Meanwhile, news of Verdi's choice began to spread, probably via the notoriously gossiping secretary Brenna, to whom the baritone Felice Varesi, the future Germont, wrote on 10 November: From what you tell me of the plot of Amore e morte I understand, and it cannot be otherwise, whence the story is derived. It is a novel by Dumas fils entitled La Dame aw: camelias, in which the protagonist is a kept woman or better, "a whore lionne" of our own century, who died in Paris not long ag~ - Two weeks later Varesi informed Brenna that he had read the Italian translation of the Dumas play, which he found to be lacking in "variety of situations, all of which appear to be of a single color." Besides, it was poorly suited to the planned interpreter of the role, Fanny Salvini Donatelli. 39 What would become the definitive title appears for the first time on 1 January 1853, in a famous letter from Verdi, then in Rome to mount the premiere of Il trovatore, to De Sanctis: For Venice I am doing La Dame aw: camelias, which will, perhaps, have the title Traviata. A subject of our own time. Perhaps another would not have done it because of the costumes, the period, and a thousand other silly scruples .. I am doing it with the greatest of pleasure. 40 At this point, Verdi evidently still hoped that La traviata would be performed in modern dress, even though Piave's plan had from the outset been to transport the action back to the seventeenth century. In fact, in his letter of 10 November Varesi notes: "I don't know, though, if a story of our time transported more than a century into the past can produce the same effect. "41 The question of the setting provoked a further, lengthy disagreement between Verdi and La Fenice, but in the end the composer had to acquiesce. On 6 January 1853 the impresario Lasina, who visited Verdi in Rome, wrote to the adminstration: Maestro Verdi wishes, asks, and begs that the costumes of his opera La traviata remain, as they are, of the present time, and that the era not be removed, as the poet Piave has done, to the time of Richelieu. The said maestro has formally declared to me that he believes a part of his opera will be sacrificed if his request is not honored, because he is counting on and hopiug to obtain an effect in the first two acts, whereas otherwise he would have to write two pieces which, although different, would recall Rigoletto. He further declares that he is ready to assume responsibility for it before the public, printing the aforementioned motives in the newspapers! As for me, I have acquiesced, since it matters too much to me that the opera go well. I pray you, therefore, Sirs, to make a prompt decision about this request, since there is so little time. 42 This request met with well-mannered but firm opposition, the true causes for which are revealed in the administration's response, preserved in Brenna's draft of 12 January: [... ] for the administration's part, nothing would hinder maestro Verdi's opera La traviata from being performed with modern costumes rather than with costumes of the time of Richelieu; except 36. On 30 November Piave signed a receipt (preserved at S. Agata, Villa Verdi), acknowledging full payment for La traviata from Verdi, to whom he cedes all literary rights to the libretto. 37. Conati, 305. 38. Ibid., 303. In the ninteteenth century the term "Honne" indicated a courtesan much sought after by the dandies in Parisian high society, called "lions." 39. Ibid., 304. For problems with the cast, see below. 40. Rome, Accademia Nazionale dei Lincei (I-PAi, 1114); published in Carteggi verdiani,I:16-17. 41. Conati, 303. 42. Ibid., 306-7. The groundless claim that the initial failure of La traviata was due to the boldness of using modem costumes is scarcely worth recalling, except to

point out how old it is. It already appears in Arthur Pougin's biography, first published, with Verdi's consent, in installments in Le Mtnestrel in 1878-79, then

issued in Italian in book form with additions by "Folchetto" (Iacopo Caponi) as Giuseppe Verdi: Vita aneddotica (Milan, 1881; reprint edited by Marcello Conati, Florence, 1989), 75. Gino Monaldi, who knew Verdi personally but was a notoriously unreliable source, repeated it in his Verdi: La vita e Ie opere (Turin, 1899), 137.

INTRODUCTION

that it is very important not to go against the ingrained opinions of the public, who are reluctant to see on the stage of La Fenice costumes without frills and lacking that splendor which is certainly wrongfully equated with the richness of the spectacle. And let Stiffelio be proof, for having no doubt liked the music, people shouted to high heaven because of the costumes. On the other hand, the maestro will find it no small hurdle making the extras advantageously wear modern dress. The shoemaker, the printer, the fisherman, and the empty-headed women from whose ranks the choruses are formed, disappear in the costumes of past centuries, but dressed in today's tail coats they always remain caricatures [replacing "scoundrels"], embarrassed to be pretending they belong to good society. Nevertheless, the administration wishes for its part to comply with the maestro's desires in every way, but it is also necessary to have the consent of the Podestil and of the Imperial Police Administration, who approved the libretto as presented, that is, with the action set in the time of Richelieu. In order to obtain it, the maestro must send a formal request, signed by him, for the modification he desires, indicating his reasons and declaring that he will publicly assume responsibility for the innovation through articles in newspapers, and a similar declaration to be printed in the libretto. 43 Thus, possible opposition of the censors was a problem given only marginal consideration. The real hurdle was the public's expectations, especially for the splendor of period costumes. To risk disappointing them would have been seriously to compromise the success of the opera itself.44 Whether because Verdi was not insensitive to considerations of this type or because, with all his many obligations, he could not face these bureaucratic procedures, he ceded the point. On 5 February, Piave was able to write to Marzari: As for the costumes, then, he agrees with great reluctance that the period be moved back, but he will not permit wigs, for which reason Signor De Antoni must be notified to use costumes immediately preceding the era of wigs. 45 Piave was writing from Busseto, where he had arrived 3 February, sent in haste by the administration to urge along Verdi (who was behind in the planned schedule for delivery of the opera) and to make further revisions in the libretto. In fact, on 30 January, just back from Rome, Verdi had written Marzari: Piave has not yet finished polishing La traviata; and even in completed sections there are slow-moving passages that will put the public to sleep, especially at the end, which must be rapid to have an effect. I therefore ask the Noble Administration to free Piave for several days so he can join me and adjust these trifles. There's not a moment to lose." Having returned to Venice, on 13 February Piave delivered the new draft of the libretto, which was presented the following day to the Police Administration for final approval, with this notice: "the same libretto is resubmitted with those alterations made after the approval, effected by the poet on behalf of the same maestro, transcribed in the margins, that is, on the blank pages facing the previously certified original."47 But about three days later, Verdi requested further revisions: In the cabaletta of the tenor aria the third and seventh verses must also be sdruccioli. In the scene in which Giuseppe comes to say that Violetta has departed, Annina cannot have returned, and thus Violetta and Annina cannot leave together. I have fixed it up in order to write the music, but you will find other, better verses. Today I received the cabaletta of the duet ofthe tenor. It doesn't say a thing.48 43. Venice, La Fenice archives, cited in Buia. 16-17.

44. Analogous concerns about historical period arose in Paris. The first Parisian

performances of La traviata, at the Theatre-Italien in 1856, were set in Louis XIII costumes, while the version performed at the Theatre-Lyrique in 1864 (Violetta) was moved forward to the era of Louis XV. 45. Conati, 316-17. 46. Ibid., 312. 47. Ibid., 322-3.

48. The present location of the letter, formerly at New York Public Library, Music Division, Toscanini collection, is unknown (I-PAi, 44/33); it was previously published in Giuseppe Morazzoni, Verdi: Lettere inedite (Milan, 1929), 36 (where the words "duet of the" are omitted). The Cremona postmark is 16 February; another postmark shows that the letter arrived in Venice on the 18th. In the

cabaletta of the Seena ed Aria Alfredo (N. 4) in the autograph of La traviata, there is a correction at the place Verdi mentions in this letter (see the critical notes to N. 4, Note 101-105).

This is the last information we have regarding work on the definitive text of the libretto. A few days later, it must have been delivered to the printer, but between the printed version and the text Verdi set to music, there remain differences, some notable. 49 There is no way to know if the poet was obliged to make further changes in the days following Verdi's arrival in Venice on 21 February to begin rehearsals. The Composition of the Opera Surviving correspondence on La traviata provides considerably less information about the composition of the music than about the genesis of the libretto. It does allow us to establish a few firm points in the chronology, which we can divide into four periods: 1) from the choice of the subject until Verdi's departure for Rome for If trovatore (15 October-20 December 1852); 2) from Verdi's arrival in Rome until his departure for Busseto (25 December 1852-22 January 1853); 3) from his arrival in Busseto until his departure for Venice (27/28 January-20/21 February 1853); 4) from his arrival in Venice until the premiere of La traviata (21 February-6 March 1853). Four distinct phases in the genesis of the opera correspond (although not perfectly) to these periods: 1) planning the scenario and writing the libretto; 2) composing (sketching) the music; 3) drafting the "skeleton score"; and 4) orchestrating and revising. The first period was devoted largely to the scenario and first draft of the libretto. Verdi worked together with Piave, who arrived at S. Agata toward the end of September 1852 and did not return to Venice until early December. Although during this period Verdi probably began jotting down musical ideas for La traviata, uppermost in his thoughts was If trovatore, which he was completing. On 14 December he wrote to Luccardi in Rome: "If trovatore is completely finished: not a note is missing. "50 By this he meant that he had finished the entire score, and would not, as was his usual practice, orchestrate the opera during keyboard rehearsals. Instead, Verdi intended to use this period to proceed with the composition of La traviata. Indeed, in the same letter to Luccardi he wrote: I will be in Rome on the 25th [... J go to Jacovacd, who will give you a piano, and have it put in my work room so that, as soon as I arrive, I can write the opera for Venice without losing a moment. It is unlikely that he did any composing during the few days between this letter and 20 December when, en route to Rome, Verdi sent a note to Ricordi from Piacenza. The trip proceeded along the Genoa-Livorno-Civitavecchia route, and in the course of a forced layover in Genoa, Verdi may have worked on the first act.51 Once in Rome, however, he did not make the progress he had hoped. On 3 January 1853, Giuseppina Strepponi, who had remained behind in Livorno, wrote him: And you haven't written anything yet? You see? You haven't got your poor Nuisance in a corner of the room, curled up in an armchair, to tell you: "This is beautiful, Wizard - That's not - Stop Repeat: that's original." Now, without this poor Nuisance, God punishes you, making you wait and rack your brains before opening all the pigeon holes and allowing your magnificent musical ideas to emerge. 52

This phase of the work, it must be emphasized, involved drafting what we call the sketch, which for Verdi constituted the true "composition" of the opera. The following stage, preparation of the skeleton score, was essentially making a clean copy within a full score of the material already written, although during that stage numerous variants and corrections could be worked out. 49. The printed libretto and the text underlaid in the autograph score coincide, however, at the points where Verdi had requested changes. Piave must therefore have completed them in time to provide the definitive verses to the printer. 50. Rome, Accademia Nazionale dei Lincei (I-PAi, 22134); published in Abbiati, 2:183-4. For further details see Lawton in Verdi, Il trovatore, xxiii. 51. Cited by Frank Walker in The Man Verdi (1962; reprint, with a new introduction by Philip Gossett, Chicago, 1982),212. n. 1; this information goes back to Benjamin Lumley, Reminiscences of the Opera (London, 1864), who claimed to have it from Verdi. Lumley, then impresario of Covent Garden, was in regular correspondence with Verdi and hence is a reliable source. 52. Published in Carteggi verdian;, 4:265; translation after Walker, 209.

xv

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INTRODUCTION

Notwithstanding his difficulties, Verdi must already have had quite clearly in mind the musical "color" he wished to give the two party scenes, comprising the Introduzione and Finale Secondo. They were to offer an immediately recognizable portrait of elegant contemporary society, achieved musically through the insistent use of a waltz rhythm. 53 This is undoubtedly what Verdi meant when, as Lasina reported, he spoke of "two pieces" whose effect would be "sacrificed" should the time of the action be moved back. Though Verdi gave in about the costumes, he did not renounce his vision of the musical color, which clearly belongs to the nineteenth century. During Verdi's stay in Rome, as we may deduce from Giuseppina's letters, his work on La traviata proceeded slowly. With the premiere of II trovatore set for 19 January, the days immediately preceding were hardly conducive to composition. Then, during the night of the 22nd, he left Rome for Civitavecchia and Livorno, where Strepponi awaited him; on the 27th they arrived at Bologna. Perhaps that very evening, or at the latest on the 28th, they were back at S. Agata. 54 The strain of the trip and the intense work of the preceding days caused a recurrence of the rheumatism in his arm that kept Verdi from writing, to the point that on 30 January he suggested to Marzari that he might not succeed in completing the opera:55 When Piave arrived at S. Agata on 3 February, he confirmed: "I find my friend Verdi indisposed due to the usual rheumatic affliction in his arm which, during my stay this past autumn, kept him in bed for almost a month"; but, he added, "perhaps that will not hinder him from finishing the opera, and he assures me that he will do everything in his power not to renege on his obligation. "56 The next day Piave offered more comforting news: I am pleased because, if his health is on the mend, as I hope, the opera will be completed, since it is already well along. Indeed, I have heard the first act and find it marvelous in its effect and its novelty.57 Two days later the librettist wrote that, although ill, Verdi was constantly occupied with the opera. In this same letter of 6 February Piave mentions some of Verdi's concerns about secondary parts, allowing us in one case to infer the status of a piece. The role of Flora, he remarks, requires "a talented seconda donna soprano with a big voice, because in the stretta of the Introduzione she must carry the principal part [N. 2, mm. 733-783], and this piece must not fail."58 By this time, then, Verdi had probably entered all ,the vocal parts of the Introduzione into his score. Indeed, on 8 February Piave announced: Verdi is better; he continues the work, which is well advanced, with increasing alacrity. I hope that eight days from now we will be able to start rehearsing La traviata. 59 That very day, when Verdi contractually should have arrived in Venice, the theater administration sent Brenna to S. Agata to ascertain the composer's real condition and urge his departure. Otherwise, Brenna was instructed, "have him deliver, if he will, some of the music already written, so as to pass it along to the singers and copyists, in short, to save time, which is scarse, and to ensure that Verdi will come."60 That is, in fact, what happened. Piave and Brenna were back in Venice by 13 February, and the next day Marzari could announce, while delivering the definitive version of the libretto to the Police Administration: "the rehearsals of the new opera contained herein began this morning, and it is therefore important to arrange the printing of the libretto without delay, in the hope that production of the opera will not be acci-

53. See, among others, Roger Parker, "La traviata" in The New Grove Dictionary of Opera, 4 vols. (London-New York, 1992),4:802. 54. Conati, 312. Hence it is not true, as Abbiati maintained (2:213), that Verdi passed through Genoa and Piaceoza on his return trip. Abbiati probably made this inference on the basis of Giuseppina's letter of 17 January 1853 (see Carteggi verdiani, 4:266-8), and concluded that the forced layover in Genoa, during which Verdi sketched the first act, occurred at that time. 55. Conati, 312-13. 56. Letter to Marzari; ibid., 314-15. 57. Letter to Marzari of 4 February 1853; ibid., 316. 58. Ibid. 59. Ibid., 319. 60. Letter from the three directors to Brenna of 8 February 1853; ibid., 320.

dentally delayed beyond the time strictly needed for keyboard and orchestral rehearsals. "61 The two intermediaries almost certainly carried away with them from S. Agata the skeleton scores of all of Act I and part of Act II-perhaps the duet between Violetta and Germont (N. 5) and the Finale Secondo (N. 7).62 In his only surviving letter from the following days, Verdi wrote Piave on 16 February: "You will receive two other pieces, the tenor aria [N. 4] and the bass aria [N. 6]. Thus, the second act is completed." In this same letter the composer mentioned having received the text of the cabaletta of "the duet of the tenor" which, he remarked, "doesn't say a thing." He was evidently referring to the cabaletta "Gran Dio! ... morir SI giovine," which closes the duet of Violetta and Alfredo (N. 10), the only one in which the tenor appears, whose text had apparently not attained definitive form during Piave's last sojourn at S. Agata. We cannot know if the version Verdi mentions on 16 February corresponded to the definitive text or underwent further revisions. In setting down the skeleton score, Verdi thus followed more or less the order of pieces in the opera. It is possible, however, that on 13 February he sent some of Act III to Venice, perhaps the Scena Violetta (N. 8), which the singer of the title role would have wanted to study. That Verdi, departing from his usual practice, did not explicitly number the four pieces comprising Act III, and that the copyists at La Fenice initially assigned wrong numbers to all pieces after N. 6, may reflect a confusion arising from their order of completion (see the Critical Commentary, Part One, Sources). In any case, Verdi spent another four days at S. Agata finishing the opera, but in the same letter of 16 February he announced to Piave: I will be in Venice Monday evening [21 February]: have the usual apartment at the Europa prepared for me with a good, well-tuned piano; moreover, I would like you to find either at a cabinet maker's or on loan a music-stand at which I might write standing up. I urge you to have everything ready, because the night I arrive I intend immediately to get to work on the orchestration. 63 Concerning this fourth and last period, we have no direct information. It must have been .devoted almost entirely to orchestration, which Verdi worked out while keyboard rehearsals with the singers were in progress. If he followed his established practice, it may also have included composition of the Preludio. The Evidence of Verdi's Sketches Thanks to the body of autograph sketches for La traviata that has recently become available, we can trace the opera's compositional history in far greater detail than was previously possible. The most interesting indication to emerge from the sketches is that Verdi did not make a continuous draft of the opera, from the first to the last scene, as he had for Rigoletto and, in large part, for Stiffelio. 64 By contrast, following an older practice, he composed the opera piece by piece, even section by section, not following the order of the libretto. No doubt the extreme pressure under which Verdi was forced to work imposed this method. The result, many critics have felt, is that La traviata (like II trovatore, also composed during this period) gives the impression of being an opera of "closed numbers" more than does Rigoletto. Nonetheless, Verdi preserved the opera's underlying unity by keeping in mind, as he composed, the dramatic plan he and Piave had established in those intense days of communal effort between 15 and 20 October 1852. Surviving sketches from La traviata, all of which reflect the 1853 version, may be divided into four categories. 65

61. Letter from Marzari to the "I. R. Direzione di Polizia" of 15 February 1853; ibid., 323. 62. The newspaper II pirata, no. 68 (20 February 1853), 272, published this notice: "Verdi had sent two acts of La traviata, which is already in rehearsal. He will have arrived by now." 63. Letter cited in n. 48. 64. Regarding Rigolelto, see Martin Chusid's introduction to the critical edition in The Works of Giuseppe Verdi, Series I, vol. 17 (Chicago-Milan, 1983). On Stiffelio see the articles by Philip Gossett and Kathleen Kuzmick Hansell in Verdi's Middle Period: Source Studies, Analysis, and Performance Practice (Chicago, in press); Gossett's article also appeared in Cambridge Opera JournalS (1993), 199-

222. 65. These distinctions and the terminology adopted here reflect those in studies of Beethoven's compositional process; see Barry Cooper. Beethoven and the Creative Process (Oxford, rev. ed., 1992), chapter 8, "Types and relationships of sketches" (104-19).

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INTRODUCTION

1. Synoptic sketches, containing the complete plan of a large dramatic unit (in this case, an entire act), set down in verbal and musical annotations. 2. Preliminary melodic sketches, of varying lengths (from an eight-measure phrase to a complete period), almost always without words. Verdi usually notated them before a versified text was available. In some cases he may not have known how he would utilize them in the opera; some were never used. Almost all melodic sketches are in "neutral" tonalities (C major or A minor, occasionally F major): Verdi jotted down ideas as they came to him, working out tonalities later, in light of the opera's overall development. 3. Complete drafts of individual lyriCal sections (cantabiles and cabalettas) or of transitions (recitatives, tempi di mezzo), with text underlaid and usually in the definitive key. 4. Continuity drafts, similar to the preceding, but with a succession of different sections. Complete and continuity drafts represent the final phase of composition, ready to be copied into the skeleton score. These different types of sketches are strewn with seeming abandon among the 36 separate folios (many blank) containing materials for La traviata, a disorder intensified by the fact that the original sequence of folios was later altered. 66 It is impossible to establish a chronology for the composition of individual pieces, beyond what is already known from external evidence. One thing is clear: in many cases Verdi first composed the lyrical sections of a piece, later working out introductory sections and transitions. A single page contains in succession, for example, the tempo di mezzo of the Duetto (N. 5) and the Scena and tempo di mezzo of the Aria Violetta (N. 3), without any lyrical portions. 6? The following overview of the sketches, organized according to the order of the opera, permits us some hypotheses about the chronology of the compositional phases. For additional details, see the Critical Commentary, Part One, Sources. 68

beginning was identical, but the movement develops into a rhapsody on the motive "Di quell'amor," which at one point is presented in its complete form. Later, for the definitive Preludio, Verdi adopted the motive "Amami, Alfredo"; there is no trace in the sketches of this version, which Verdi may have composed directly in full score. N. 2. Introduzione: The general plan of the Introduzione is found in the synoptic sketch, but it lacks any indication of a waltz or other dance. On a separate folio Verdi sketched a 54-measure waltz in A major, different from the definitive one, with the indication "instrumental. " A continuity draft of 455 measures for the Introduzione is equivalent to the definitive version save for details. It lacks the Brindisi, but a verbal note refers to the music in the synoptic sketch. Before this annotation, Verdi had sketched one of the secondary melodies for the waltz, which he then crossed out. This continuity draft must have been completed by 4 February, when Piave wrote to Marzari that he had heard the first act. N. 3. Aria Violetta: After the annotations in the synoptic sketch, Verdi worked further on the cabaletta "Sempre libera degg'io," for which there is a complete sketch in C major, I, also without words, hence from an early compositional phase. This draft largely coincides with the definitive version, but the coloratura passages are different and present internal variants. Subsequently, Verdi composed a third version of the Andantino, complete with words (only the first strophe), practically equivalent to the definitive one, except that the tonality is again E minor, with the refrain "A quell'amor che e palpito" in G major. Finally, he sketched the Scena ("E strano!") and the tempo di mezzo ("Follie! .. "), in a version similar to the definitive one. But there is some uncertainty about the tonal plan: the end of the Scena prepares an Andantino in D minor, rather than F minor, while the tempo di mezzo begins in F major.

ACT I

There is no known synoptic sketch for this act. N. 4. Scena ed Aria Alfredo: The earliest section composed was the cabaletta "Oh mio rimorso, oh infamia," for which Verdi made two sketches on contiguous pages, both without words; the first is 16 measures long, the second 37, with many corrections. Among rejected and unidentified sketches, one may be an earlier idea for the cabaletta. Considerably later Verdi wrote a texted continuity draft for the Scena, Andante in E major, and tempo di mezzo, almost in definitive form. The skeleton score copied from' these sketches must have been completed by 16 February 1853. N. 5. Scena e Duetto: Among preliminary melodic sketches two, in C major and A minor, were later used for "Pura siccome un angelo" and "Un dl, quando Ie veneri." A 16-measure sketch in A minor, labeled "Gran Duetto," probably represents an early idea for the cabaletta "Morro! .. La mia memoria," but both the melody and underlaid fragments of text (perhaps invented. by Verdi) are different,1D For the central part of the duet, from "Pura siccome un angelo" to the end of the Andantino, "Dite alia giovine," there is a continuity draft, coinciding for the most part with the definitive version of 1853 (the passage was modified in 1854). Thereafter, on a separate folio, Verdi made a sketch of the Scena, beginning with Germont's entrance ("Madamigella Valery?"). There is no sketch for the music preceding the Scena, and details in the structure of the autograph score imply that Verdi added it at the last minute (see the Critical Commentary for N. 5). Yet another folio contains a complete sketch of the tempo di mezzo ("Imponete"). Nowhere among the sketches is there any trace of the definitive version of the cabaletta. N. 6. Scena Violetta ed Aria GenDont: Together with N. 4, this was one of the last pieces completed, but Verdi worked on it extensively and in several phases. A preliminary melodic sketch, without words, labeled "Adagio dell' aria del padre," is in D-flat major, like "Di Provenza," but in 3 meter and with a completely different melody. No other sketch exists for the Andante. For the cabaletta "No, non udrai rimproveri," on the other hand, there are six distinct texted sketches: two have melodies differing from the

A synoptic sketch presents a dramatic plan of the entire act, with verbal annotations and three musical sketches. 69 This sketch certainly dates back to the earliest phase in the conception of the opera, that is, to the middle of October 1852 or even earlier (if Verdi was considering La Dame aux camelias at the end of the summer). It is without poetic text, and the principal characters are designated "Margherita" (as in Dumas fils) and "the tenor." Verbal annotations for the Introduzione already indicate that the opening will consist of "orchestral motives," that in the duettino for soprano and tenor "there will be a phrase to repeat in the aria" (the motive "Di quell'amor che e palpito"), and that the tenor will intervene between the two strophes of the soprano's cabaletta, repeating this phrase (an intervention that will never figure in the libretto). The textless musical sketches comprise: 1) "Brindisi del tenore" in C major, 87 measures, close to the definitive form; 2) the Andantino (here, "Andante") of N. 3, in E minor, 41 measures, similar to the motive of the definitive version, but developed differently; 3) a preliminary sketch for the cabaletta of N. 3, in A-flat major, 9 measures, similar to the definitive version, but in 3. Verdi had already sketched out the melodies of the Brindisi and the Andantino earlier, at a period as yet undetermined, on a sheet containing sketches for Rigoletto. N. 1. Preludio: There is an extensive sketch for a "Preludio" different from the definitive one although in the same tonality. The 66. Some original bifoHos and fascicles were later dismembered, and the resulting single folios are no longer in order. While it is often possible to establish their original positions, this reconstruction concerns only the organization of individual units, not their succession, which never appears to have had a particular order.

Furthermore, some folios were removed earlier this century (see the description of sketches for N. 10 below). 67. Verdi may have used the same procedure for Il trovatore. One folio in the Traviata materials contains the tempo di mezzo of the duet for Leonora and the Count (II trovatore, N. 13, mm. 112-149). from "Conte! Nt cessi!"·to "(M·avrai. ma fredda, esanime spoglia!)"; for La traviata Verdi used a folio left over from the preceding opera, the greater part of which was empty. 68. A forthcoming edition of the sketches for La traviata in facsimile and transcription, in preparation by the present editor for publication by the Istituto Nazionale di Studi Verdiani, in collaboration with Casa Ricordi. will provide a detailed description and commentary. 69. 1\vo pages are reproduced in Carlo Gatti, Verdi neUe immagini (Milan, 1941), 64-5. For a partial transcription and commentary see Budden, 2:126-8.

ACT II

70. This sketch follows the synoptic sketch for Act I, although it does not belong to it. See Gatti. 65.

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INTRODUCTION

. definitive one, while the other four approach the final melody in successive degrees. Among discarded textless sketches at least two conform to the metric structure of the cabaletta, and may represent further preliminary efforts. Much later, Verdi prepared a continuity draft of the Scena preceding the aria proper, from "Dammi tu forza, 0 cielo! .. " to "Ritorna di tuo padre orgoglio e vanto," and, on a different folio, the tempo di mezzo, from "Ne rispondi d'un padre all'affetto" until the violin phrase preceding the cabaletta. N. 7. Finale Secondo: There are no surviving preliminary sketches, except a brief one for the two principal themes of the card party scene, in A minor (the first theme has a form somewhat different from the definitive one, but is clearly recognizable). A short sketch without words in A minor, designated "canzone," could be an early idea for the chorus of matadors. Verdi probably never made a complete continuity draft for the entire Finale Secondo, as he had for the Introduzione, but composed individual sections separately. Sketches survive for four of them, dispersed in various places among the materials: 1. A complete sketch of the introductory section, up to "Giungono gli amici." 2. A sketch for the dialogue that interrupts the chorus of gypsies ("Vediamo? ... "), on the same page as the preceding. The principal melody of the section ("Noi siamo zingarelle") is lacking, just as there is no trace of the subsequent chorus of matadors. Almost certainly these passages were earlier sketched as autonomous lyrical pieces, on folios that have not survived. 3. A nearly complete continuity draft of the card party scene, in F minor, 255 measures long. This movement, the most complex of the opera structurally, contains many variants and corrections. The first theme still has the form of the preliminary sketch. 4. A nearly complete continuity draft of the Largo, 44 measures long, corresponding to the 1853 version. From their appearance, the latter two drafts must have been composed early, but when Verdi had the versified text in an advanced state; the first two sketches originated later. A rejected bifolio of the skeleton score also survives, containing 18 measures, from the words "da tanta macchia bramo" (only Alfredo's part is WTiten), until the tutti entrance "Oh infamia orribile" (8 measures of the double bass part). Since the music is identical to the definitive pages in the autograph score, it is unclear why Verdi discarded this bifollo. ACT III

There is no known synoptic sketch for this act. N. 8. Scena Violetta: Verdi wrote a 65-measure melodic sketch without words, the first part of which, in A minor, corresponds to the melody of "Addio del passato," while the second part, in A major, differs completely. Verdi may initially have had a different use in mind for this sketch: at the beginning he WTote "Canzone," then crossed it out, and the tempo is "All[egr]o." The rest of the movement, from the orchestral prelude to the oboe phrase that introduces "Addio del passato," appears in a continuity draft. It is practically identical to the final version except for details; only the oboe phrase has a different form. From this draft Verdi copied the music into his skeleton score; for "Addio del passato" he probably used the melodic sketch. The latter operation, however, was tortuous, and the melody underwent many modifications before assuming its definitive form. 71 A fragment of skeleton score survives for the first seven measures of the piece, written on the first page of a discarded bifolio, in which Verdi gave the opening phrase to first violins, divided into three parts. He used the rest of the bifolio for sketches relating to N. 11, confirming that he began to transcribe pieces in skeleton score as he completed them, not waiting until he had finished the entire opera. N. 9. Baccanale: A 25-measure sketch exists for the Baccanale, notated immediately following the continuity draft for N. 8. N. 10. Duetto: There are two preliminary melodic sketches, one for Alfredo's entrance, from "Colpevol sono" (25 measures in A ma-

71. The different phases of the skeleton score are reconstructed in Appendix 1.

jor), and another for the melody of the cabaletta (8 measures in G major), both without words. A complete sketch must have existed for the Andante mosso ("Parigi, 0 cara"), but only the 15 concluding measures survive. On the following page there is a sketch for the tempo di mezzo ("Ah, non pin") in the 1853 version, preparing a cabaletta in D-ftat major. Verdi noted in his letter of 16 February 1853 that this cabaletta was still not in its definitive form. While no complete drafts for the cabaletta are found in S. Agata, one folio removed from the sketches by Maria Carrara-Verdi in 1919,72 gives the main theme of the cabaletta in D major, with text, followed by transitional material (in D-ftat major, the key ultimately employed by Verdi in 1853) leading to the reprise of the theme in D-ftat. Verdi must have sketched last the section that runs from the beginning through Alfredo's entrance. In the libretto this section is in versi sciolti, and Verdi probably intended to compose it as recitative; then, for reasons of musical continuity, he treated it as an anticipation of the tempo d'attacco proper (which begins with "Colpevol sono," and for which there is no sketch except the preliminary one described above). The sketch for the opening measures corresponds to the definitive version, with a transition leading from the D major of N. 9 to the E major of the tempo d'attacco, indicating that Verdi used this passage to link two previously composed sections. N. 11. Finale Ultimo: A textless sketch in D-ftat minor/major for five "Voci solo" may be a discarded idea for the concertato finale: the initial portion in particular would fit the words "FincM avra il ciglio lagrime." This fragment is interesting for its polyphonic intricacy and for a pair of sophisticated modulations, but Verdi may have considered it too difficult for the singers. Another sketch, considerably later, contains the spoken passage preceding Violetta's death ("E strano!! .. "); in it Verdi sought to determine the exact disposition of the words during the melody played by the orchestra. Material for the Finale Ultimo is contained in two continuity drafts located in two different fascicles. Verdi must have composed first the principal section, from "Prendi, quest'e l'immagine" to the end. The music corresponds to the final version, but transferring it to the score Verdi made important changes to Violetta'sphrase "Se una pudica vergine" (see the Critical Commentary to N. 11). Verdi must have subsequently composed the preceding section, from the beginning to the words "Ascolta, amato Alfredo."

*

Further traces of the genesis of the music of La traviata are preserved in the autograph score. Even after orchestrating the opera, during rehearsals and beyond, Verdi continued to make modifications concerning interpretative details and, in at least one case, introduced an important variant. These modifications are discussed in general terms in section 2 of this introduction, Sources, and in detail in the Critical Commentary. The Problem of the Cast From the moment Verdi expressed his willingness to write a new opera for La Fenice, on 4 February 1852, he emphasized that he could not "sign a contract without knowing the company." In this same letter to Marzari he added: Among current prima donnas, Albertini stands out: I have never heard her, but she boasts such successes as to guarantee the outcome. I think that she would not be displeased if I wrote for her, but you must sign her up right away.73

The preceding year the soprano Augusta Albertini had indeed achieved great success in Trieste in Luisa Miller, Nabucco, and Rigo/etto, but she was unavailable for the 1852-53 season. Marzari therefore proposed Sofia Cruvelli, Giuseppina Medori, or Marietta Gazzaniga. Verdi responded on 20 February, expressing his doubts about the latter. With Cruvelli, on the other hand, he would be delighted: if he had her available, he wrote, "I could almost dare to guarantee the success of my score." Knowing that she was already engaged for the coming three years, in Paris and London, however, Verdi urged La Fenice immediately to hire Medori, who 72. Collection of Mario Valente, U.S.A. (I-PAi, 138/6). 73. Conati, 272.

INTRODUCTION

had had great success at St. Petersburg, or, alternatively, Marianna Barbieri-Nini, the creator of the role of Lady Macbeth. 7' At the time, Lasina was unaware that Cruvelli was occupied, for he presented her name to the administration on 21 February as a possible prima donna, together with that of the celebrated contralto Marietta Alboni. The male parts posed fewer problems. On 27 March the contract for the baritone Felice Varesi was drawn up, securing one apparently important piece for Verdi's vocal strategy.75 For the tenor, Verdi approved the proposal, made to him on 10 April, of Carlo Negrini. 76 But to his name the administration of La Fenice added that of Ludovico Graziani, while excluding Francesco Landi, "because his renown does not correspond to the demands of the Gran Teatro La Fenice, and because his voice is rather baritonal. "77 Impresario Lasina, who made the definitive choice, opted in the end for Graziani. 78 Thus by mid-April 1852 the principal male roles were settled, but the question of the prima donna was unresolved and would remain so until not long before the opera's premiere. On 10 April the administration of La Fenice had suggested the names of three sopranos to Verdi: Carolina Alaimo, Carlotta Gruitz, and Fanny Salvini Donatelli. 79 He replied on the 14th that he had "very little confidence" in the three proposed. 80 Yet the very next day, before receiving his letter, the theater's directors came to a decision and unanimously agreed upon Carolina Alaimo. 81 The cast, then, appeared to have been chosen, and Alaimo was to declare her acceptance no later than the end of June. Just a few days after the decision, however, the unexpected news arrived that Alaimo had been afflicted with a severe throat ailment that would keep her from singing for a period of undetermined length. To confront this emergency, a meeting of the theater administration was called on 19 April. Of the three singers previously under consideration, Carlotta Gruitz was rejected out of hand, and the question was now whether to take immediate action to sign up the third, Fanny Salvini Donatelli.82 The Podesta of Venice, whose voice was important in the deliberations, declared that he had supported the choice of Alaimo because he had received "very bad information about Salvini Donatelli" and could not now approve the latter. 83 Director Tornielli, in agreeing, brought up the more critical question of Verdi's consent, since if the composer did not accept their choice, losing a celebrity of his caliber would be much more prejudicial to the theater's interests. The senior director Marzari, however, pointed out that Salvini Donatelli was already part of the company approved in impresario Lasina's contract, that Lasina could not be obliged to find a replacement, that she was the least bad alternative available, and that the theater should make haste to put her under contract before she was engaged else-

74. Ibid .• 273. 75. For Varesi (1813-89), whose debut in 1834 launched a brilliant career, Verdi created two of his most important baritone roles, Macbeth in 1847 and Rigoletto in 1851. With the 1852-53 season, particularly with La traviata, Varesi's voice began

where." It was decided to despatch secretary Brenna to S. Agata to try and convince Verdi to accept Salvini. Writing from Busseto, Brenna reported on 24 April that Verdi seemed to have acquiesced on Salvini Donatelli. He was opposed to the engagement of the contralto Marietta Alboni, however, and might possibly need instead a second soprano: He does not want to hear under any circumstances about writing for Alboni. He says that he composes operas that can circulate, and a work made for Alboni would not be hired out more than two or three times a year. 85 Nor would he consent to write for a contralto in a man's role. He loathes gender transformations. Nor would there be even the possibility of later revising an Alboni part for tenor or baritone, because he would in any case only write a female role for a contralto. The opera he seems inclined to agree to compose will probably require two women. In any event, if II corsaro is chosen as one of the season's operas, two women will be needed, that is, a prima [donna] and a comprimaria. For the latter Verdi would like to have a certain Gianni Vives engaged,86 who made her debut last carnival at the Teatro Carcano in Milan precisely in the comprimaria part in II corsaro, in which she aroused true fanaticism.·?

All of Verdi's requests were met in his contract of 4 May, cited above. Not only did he have the right to wait until the season was already underway to make a final decision on Fanny Salvini Donatelli, at the latest by 15 January 1853, and to have the impresario substititute a soprano more to his liking if she did not suit, but a specific clause was added guaranteeing that Marietta Alboni would not be engaged for that season, even to sing in operas other than his. Director Tornielli was probably not far from the truth when he suspected that Verdi would "be jealous of the great success Alboni might have singing before his new opera."·8 In addition, Maria De Gianni Vives was named as a possible seconda donna. During the summer months the problem of the prima donna was set aside, even though in July Verdi oomplained to Marzari that the "mediocrity of the cast" was the reason he was having difficulty finding a good subject for his opera, particularly the lack of "a first-rate prima donna."89 On 20 December, en route to Rome, Verdi implored his publisher Tito Ricordi to give him a detailed report on the opening night of the first carnival production at La Fenice: "I am quite anxious to know honestly what Salvini is like."oo ---The company's principal baritone, Varesi, also expressed reservations about Salvini Donatelli. An opera based on La Dame aux camelias, he wrote Brenna, [ ... ] is going to be poorly suited to the person of Salvini, who must interpret a being of ideal beauty in the flower of youth, who is wasted away and worn out by a consumption that makes her more susceptible in her emotions, and this is the touchspring that inspires compassion for this unhappy prostitute.- '

Concerns not dissimilar from those of Varesi would later result in the commonplace that the poor reception of La traviata was attributable mainly to the corpulence of the soprano.·2

to decline, but he continued to perlorm for another decade.

76. Letter of 14 April 1852; Conati, 276. To Negrini, a pseudonym for Carlo Villa (1826-65), Verdi would entrust the role of Gabriele Adorno in the original Simon Boccanegra of 1857. 77. Memorandum of 15 April 1852; Conati, 277. In fact this tenor contributed in a decisive manner to the redemption of La traviata in 1854. 78. Ludovico Graziani (1820-85), second offour singer brothers, made his debut in 1845. After the failure of La traviata he redeemed himself by singing Verdian roles in major Italian theaters (at La Scala in Giovanna di Guzman [I vespri siciliani] and Rigoletto in 1855, and Un ballo in maschera in 1862). 79. Conati, 274. SO. Ibid., 276. 81. Ibid., 277. 82. Fanny Salvini Donatelli, whose real name was Francesca Lucchi (1815-91), made her debut in 1839 at the Apollo Theater in Venice as Rosina in II barbiere di Siviglia, and had already sung under Verdi's direction in the Viennese production of Nabucco in 1842-43. In her youth she also acted in the spoken theater and was first married to the actor Giuseppe Salvini (died 1844), founder of a theatrical dynasty. She later married Gaetano Donatelli. She retired from the stage in 1865, after a distinguished career that took her even to Paris and London. Among the critics who praised her were Hector Berlioz. According to Francesco Regli. Dizionario biografico dei pi" celebri artisti melodrammatici [. . .J che fiorirono in Italia dal 1800 al1860 (Turin, 1860),480, her repertory included the Donizetti roles of Lucia di Lammermoor, Linda di Chamounix, and Lucrezia Borgia; Bellini's Beatrice di Tenda. and Elvira in I Puritani; and five other Verdian roles: Giselda in I Lombardi, Elvira in Emani. Lucrezia Foscari, Giovanna d'Arco, and Lady Macbeth. 83. Conati, 280.

84. Conati, 282-4. 85. Marietta (Maria Anna Marzia) Alboni (1826-94) was at mid-century an unusual example of the kind of contralto with an extensive range prevalent earlier in the century. Her repertory consisted mostly of Rossinian female roles and trouser roles by Rossini, Meyerbeer, and Donizetti, a repertory she expanded with soprano roles modified for her voice. Although she was highly esteemed, no prima donna role was ever created for her voice. Verdi was thus right to fear that a part written for A1boni would be shunned by other singers. In the 1850s, however, she gained renown in the new Verdian mezzo-soprano roles, Maddalena, Azucena, and Ulrica, as well as in the part that brought this type of voice into vogue, Fides in Meyerbeer's Le Prophete. 86. Maria De Gianni Vives (or Vivez). Although she was engaged for the coming season at La Fenice as "altra prima donna assoluta" and had fair success as Medora in Verdi's II corsaro, she was never hired there again. 87. Conati, 285-6. 88. Letter to Brenna of 28 April 1852; ibid., 289. 89. Letter to Marzari of 26 July 1852; ibid., 297. 90. Milan, Archivio Ricordi (I-PAl, 81/56); published in Conati, 306. Verdi's great interest in keeping up with the offerings at the Venetian theaters is confirmed by his desire to have all the latest issues of the newspaper II pirata, for their theatrical chronicles. See his letter of 21 December to Francesco Regli; original at Novara, Biblioteca Civica (I-PAl, 10/35). 91. Letter of 24 November 1852; Conati, 304. 92. The earliest statement of this opinion seems to be PouginIFolchetto, 74-5. As we shall see, it is unfounded.

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Nevertheless, the opening of the 1852-53 Carnival season at La Fenice promised well. The first opera, a revival of Giovanni Pacini's Buondelmonte,93 enjoyed considerable success; following the premiere on 26 December it was given twelve more times through 12 January. The three principal singers, Salvini Donatelli, Graziani, and Varesi, received much applause, and the newspaper II pirata commented on the "clamorous" reception accorded the soprano."' After this auspicious beginning, two other operas were scheduled to precede La traviata. Since the next work (La prigioniera of the fledgling composer Carlo Ercole Bosoni to a libretto by Piave) failed utterly, the management hastily substituted a repertory opera to fill the weeks until the next regular production, Verdi's Corsaro, scheduled to open on 12 February. They chose Verdi's Ernani, because it was easy to stage and all three principal singers knew it, although Salvini Donatelli did not consider the role of Elvira well suited to her vocal capabilities."5 Yet Ernani too, opening on 25 January, was poorly received and played only five nights. Buondelmonte was therefore brought back for ten more performances. As the journal Teatri arti e letterature reported on 3 February, it was turning into a lackluster season: At La Fenice La prigioniera of maestro Bosoni had a life of only three nights, and Ernani hangs on weakly; we await La traviata, the new opera of maestro Verdi, which we hope may be a lucky star for this theater; but it will not be staged until the first days of Lent, or even later, since the composer has not yet arrived, though he is expected any day."

At this point, as we know, Verdi had completed only the first act of La traviata, and in his letter to Marzari of 30 January declared his pessimism about finishing the rest. The theater, however, had already asked Piave to furnish "precise details of necessary requirements for the scene designer, costumer, and prop maker regarding the new opera La traviata which maestro Verdi is setting to music."97 Verdi's letter mentioned not only his illness but once again lamented the prima donna: The news I receive from Venice "especially after Ernani," is so distressing, that I am forced to declare to you that I certainly will not give the part of La traviata to Signora Salvini! I think it is in both my interest and that of the theater to engage a prima donna at once.

[.•. J The only women who seem suitable to me are: first, Signora Penco, who is singing in Rome;98 second, Signora Boccadabati who is singing in Rigo/ello at Bologna; and finally Signora Piccolomini, who is now singing at Pisa. I think Penco (the only one among these whom I know) would be the beSt. She has a good appearance, spirit, and functions well on stage; optimal qualities for La traviata. Lasina is in Rome and can sign her up in a moment. It would be best to put in the requirement that she not sing before La traviata. 99

The theater administration's reaction was to inform impresario Lasina that since Salvini Donatelli had been well received by the Venetian public, and since the last day specified in Verdi's contract for officially declaring his dissatisfaction (15 January) had passed, the composer's objections were entirely without basis. Yet because they considered it might be in Lasina's interest to comply with Verdi's request, they would accept a contract with Rosina Penco, if it could be arranged. loo Lasina was soon to find that Penco was already engaged elsewhere, and since he considered Virginia Boccadabati inappropriate, he would try to secure Marietta Piccolo-

93. On a libretto by Salvadore Cammarano, first performed at the Tealro alia Pergola in Florence on 18 June 1845. 94. II pirata, no. 54 (2 January 1853), 215. Piave, in a letter to Giovanni Ricordi of 23 December, assured him that "Verdi will be satisfied with Salvini Donatelli." The letter is described in a catalogue of autographs for sale by Leonardo Lapiccirella (Florence, 1957), item 254. 95. Minutes of 16 January 1853; Conati, 307-9. 96. Teatri arti e letterature, supplement to no. 1468, 195. 97. Note of 26 January 1853; Conati, 311. Regarding Giuseppe Bertoia's scene designs for La traviata, see Maria Teresa Muraro, "Le scenografie delle cinque 'prime assolute' di Verdi alIa Fenice di Venezia" in )Atti del /0 congresso internazionale di studi verdiani (Parma, 1969), 328-34; a sketch for the "sala da gioco" is reproduced as fig. 13. Two other possible preliminary studies for the "salotto in casa di Violetta" are reproduced in Conati, plates 50 and 51. 98. Rosina Penco was the first Leonora when II trovatore had its premiere at the TealrO Apollo on 19 January. 99. Conati, 312. 100. Memorandum of 1 February 1853; ibid., 313.

mini. 'OI But Lasina was unaware that the situation had changed yet again as a result of Piave's visit to S. Agata. On 4 February the librettist gave details of his meeting with Verdi, in which, after much patience and careful manipulation on Piave's part, the composer yielded on the matter of the prima donna: The Administration, he [VerdiJ said, is legally right, I admit it, but artistically wrong, because not ouly Salvini, but the entire cast is unworthy of the Gran Teatro La Fenice. I do not know if my illness will permit me to finish the opera, and with this uncertainty it is useless for the impresario to engage other artists. Let it be Salvini and company, but I declare that in the event the opera is given, I hold out no hope for its success, that on the contrary it will be a complete fiasco, and thus they will have sacrificed the interests of the impresario (who in the end will be able to say mea culpa), my reputation, and a large sum for the owner of the opera. Amen. I am going to write immediately to Lasina so that he puts off any further step. [ ... J P.S.: All this I wrote in Verdi's name, but now I must add on my own account that he is truly in an infernal humor, perhaps because of his illness, but more likely the lack of confidence he has in the cast. I myself have read the letters sent to him in Rome which analyze and pulverize not only Salvini, but Varesi's lack of refinement, and the stony, monotonous singing of Graziani [ ... J. He added, moreover, that it was perhaps imprudent to give II corsaro, because that opera too will share the fortune of the others. You can easily imagine how I had to work on him again and again [. . .J. Today he seems to me another man, so that the good and stalwart Salvini will thus be saved.'02

The following day Piave sent Verdi's instructions for the assignment of the secondary parts in La traviata: 103 For the part of Annina, I think Berini will do.'04 For that of Bora, a talented seconda donna soprano with a big voice, because in the strelta of the Introduzione she must carry the principal part, and this piece must not fail. She must also act and sing in the Finale Secondo. Verdi talked with Lasina about this matter. !Os For the Barone Douphol, a second baritone is needed.'06 For the Marchese a second bass.'07 For the Dottore another good second bass (Bellini).'OB For Gastone a good second tenor (Zuliani).109 For Giuseppe { three second bass parts, which For the Servant Verdi demands not be taken from For the Commissionario the chorus, which he says is already too paltry for this theater's importance. HO

If Verdi had conceded regarding Salvini Donatelli, he certainly had not changed his opinion of her. On 16 February he WTote to Piave that he had received an anonymous letter from Venice "telling me that if I do not have the [primal donna and the bass changed I will have a complete fiasco. I know, I know. I will let you see it. "111 This was the last time until after the premiere that he expressed himself in writing about the singers. He concentrated instead on completing the opera. When he had not appeared in 101. See Lasina's letter to the administration, dated by Conati between 5 and 8 February 1853; ibid., 318. 102. Ibid., 315-16. 103. Ibid., 316. 104. Carlotta Berini, who was under contract as "altra prima donna assolut~ e supplemento~~; see Michele Girardi and Franco Rossi, II Teatro La Fenice: Cronologia deg/i spettaco/i 1792-1936 (Venice, 1989), 201. 105. In the original printed libretto of La traviata, as well as on the theater poster announcing the premiere, the part is credited to "Speranza Giuseppini," while pvRIl-1 lists "Giuseppina Speranza." Neither name appears in the rolls of those under contract for the season. but a "Giuseppina Sperati" is listed as "altra prima donna assoluta e supplemento." Sperati substituted for Salvini Donatelli in some performances of Buondelmonte and II corsaro (ibid., 201-3). 106. The part was taken by Francesco Dragone, understudy for the first bassbaritone. 107. From the libretto and theater poster it appears that the role was taken by Arnaldo Silvestri, a performer not in the official company, who sang only in La traviata. 108. Andrea Bellini, "altro basso profondo" of the company, sang at La Fenice in various seasons from 1847 to 1869 (Girardi and Rossi, 403-4). 109. Angelo Zuliani, "secondo tenore" of the company, performed at La Fenice during four Carnival seasons between 1847 and 1854 (ibid., 440). 110. According to the libretto and theater poster these three minor roles were taken by Giuseppe Borsato, Giuseppe Tona, and Antonio Manzini. In Verdi's score, however, the role of Giuseppe is for tenor. 111. Letter cited in n. 48.

INTRODUCTION

Venice on 8 February, as specified in his contract, the provincial government suspended payment of its subvention to the theater. 112 Verdi's reassurances that the opera would indeed be staged, and the beginning of keyboard rehearsals on 13 February, using the music Brenna had carried from S. Agata to Venice, led to this suspension being reversed. The previous day, 12 February, II corsaro had its first performance at La Fenice, where it was well received. The singers were lauded by the critics, although Graziani was reported as not being in perfect form. The opera was repeated nine more times before the premiere of La traviata, and then once more, on 8 March, in place of the scheduled third performance of La traviata, which had to be canceled because of Graziani's illness. As we have seen, Verdi arrived in Venice on 21 February to participate in rehearsals for La traviata and to complete the orchestration. Of course, the date originally set for the premiere of La traviata, 26 February, as stated in Verdi's contract, had had to be postponed due to the late completion of the score. The delay only increased the expectations of the public which, fed by the press, became frenetic. At the same time, theatrical newspapers published a notice that added to the public's awareness of Verdi's new opera. A traveling theatrical troupe was going to give what was probably the first production in Italy of the Dumas playas La signora delle camelie: "The Vestri and Robotti company, [originally] booked for the Teatro Re in Milan for this Lenten season, has instead been engaged by the Teatro Apollo in Venice, and has already gone there."'13 The drama would have a long run, which coincided in part with that of La traviata, and it was a great success with the public, many of whom no doubt came from the ranks of operagoers at La Fenice. Meanwhile, by 3 March newspapers could report "high hopes at Venice for the new opera La traviata of maestro Verdi, for which rehearsals are already well advanced. "114 A report of 4 March reads: "at La Fenice the ballet by Monticini, La lucerna meravigliosa, is increasingly well received, and we anxiously await the staging of Verdi's new opera, La traviata. "115 Finally on Sunday, 6 March, "precisely at 8 o'clock," as theater posters announced,H6 began the first performance of La traviata. The First Performance and the Reactions of the Critics The earliest report on the premiere of 6 March 1853 was Verdi's message of the next day to his student and collaborator Emanuele Muzio, which theatrical periodicals quickly diffused and embroidered. It first appeared in the Gazzetta dei teatri, then in Ricordi's Gazzetta musicale di Milano, as follows: We have much news and various letters concerning the reception of La traviata, Verdi's new opera, which all concur that in general the vocal performances in this new work were less than fortunate. Among others we have also before us a letter from maestro Verdi himself, which says: "Yesterday evening La traviata [was aJ fiasco. Whose is the blame ... Mine or the singers? ... I don't know at all. Time will decide. Let's talk of something else."l17 Verdi confirmed this verdict in dispatches to various friends. Among the more revealing is the note he sent on 7 March to the conductor Angelo Mariani: La traviata was a great fiasco, and worse, they laughed. Well, what can I say? I am not upset about it. Am I wrong or are they? For my part I believe that the last word on La traviata will not be that of yesterday evening. They will see it again . . . and we shall see! Meanwhile, dear Mariani, register the fiasco. us On 8 March he described the second performance to Leon Escudier: Conati, 320. Teatri arti e letterature, DO. 1471 (24 February 1853), 224. II pirata, no. 71 (3 March 1853), 284. Teatri arti e letterature, DO. 1473 (10 March 1853), 17. The poster is reproduced in Conati, pI. 43. The date of the prentiere, omitted by mistake in Girardi and Rossi, 201, is confirmed in all surviving documentation. 117. Gazzetta musicale di Milano, no. 11 (13 March 1853), 47. The note is given in an abridged form in I copiaiettere di Giuseppe Verdi, edited by Gaetano Cesari and Alessandro Luzio (Milan, 1913; reprint: Bologna, 1968), 533; this source indicates that the message was sent to Muzio on 7 March. 118. Published in Gino Monaldi, II maestro della rivoluzione italiana (Milan, 1913),90. 112. 113. 114. 115. 116.

Yesterday evening La traviata was a fiasco. A decided fiasco: I don't want to investigate the reasons: I simply narrate the facts. Tomorrow will be the third performance, and I will leave immediately for home,!l' He informed Vincenw Luccardi of the results on 9 March: I did not write you after the first performance of La traviata, I am writing after the second. The result has been a FIASCO! A decided fiasco! I don't know who is to blame: it is better not to speak of it. I won't tell you anything about the music, and you will permit me to say nothing of the performers. Give this news to Jacovacci, and that will serve him as a response to his last [letterJ, in which he asked me about some of these performers. [... J I am leaving tomorrow for Busseto,120

Historical inquiry based on documentation to be' presented below, however, establishes beyond doubt that the reception of La traviata, while certainly not triumphal, was neither so catastrophic as Verdi wished to make it out. Before presenting the reviews, theater accounts, and other evidence, it might be useful briefly to consider what psychological factors may have motivated Verdi's negative representation. In yielding to the conditions of the contract he had signed, Verdi declared on 4 February 1853 that in the matter of the three principal singers the administration of La Fenice was "legally right [, .. ] but artistically wrong" and prophesied a "complete fiasco" should the theater insist on producing the opera with this cast. After the first performances he offered disastrous reports concerning the production and its reception, with a loquacity never matched after premieres of other works. Did he wish to demonstrate the accuracy of his prophecy to prove himself "artistically right"? It is otherwise difficult to explain why he sought to spread this view in messages he knew would be widely echoed in the press and throughout the operatic world. Two principal kinds of documentation survive pertaining to the first performances of La traviata: summaries of theatrical receipts, which furnish objective information about the size of the audience each evening; and reports of critics published in the periodical press. In evaluating information from the account books it is important: 1) to compare data for La traviata with that for an average evening's earnings during the entire season; and 2) to keep in mind that performances on weekdays were always less well attended than those on Saturdays and Sundays. Financial statements do not give us details about the public's reaction, which instead may be deduced from reviews published immediately after the premiere and early performances. Yet we need to be aware that a critic's presentation of the facts and judgments was not entirely dispassionate, but colored by personal friendships and enmities, as well as by links with publishing houses, Nevertheless, comparison of the various reviews allows us to form a reasonably accurate notion of what transpired. There were altogether nine performances of La traviata, a low number but one reflecting the end of the season on 19 March. The following day was Palm Sunday, the start of Holy Week, with which the operatic season of Carnival and Lent always came to a close. l2l The median income for Verdi's opera was 1,450 Austrian lire per performance, well above the 600-700 lire taken in on the average evening during that season. '22 Financially, therefore, it was certainly not the "fiasco" that Verdi deemed it. The income from the premiere was of course high, after the great expectations that had been aroused in the audience, exceeded only by the takings for Buondelmonte on the opening night of the season, 26 December. 123 The summary of receipts for the premiere of La traviata is shown here by way of example;l24 for later performances only the total income will be cited.

119. Rome, Museo Centrale del Risorgimento (I·PAi, 2118). 120. Published in Monaldi, Verdi, 138. 121. According to Verdi's contract of 4 May 1852, the first performance was supposed to have taken place on Saturday. 26 February, in order to permit four additional performances. 122. These calculations are found in Conati, 326, who notes that the figures are a "sign that if Verdi's new opera perhaps did not lift the fortunes of the season, it did not further depress them after the exceptionally poor results from the very first days of the year, and it certainly improved the nightly receipts." 123. Ibid. 124. Venice, La Fenice archives, busta 30, Spellacoli 1852-53.

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Performance No. 41 - 6 March 1853 [Sunday] 581 entrance tickets @ 3 Austrian lire 1743 60 of the same for the military @ 1.5 lire 90 215 Bench seats 3 lire 645 Boxes 864.90 Take at the door 147

3489.90 lire The first published report about the opera appeared the next morning in the Gazzetta musicale di Milano, which, to cover the event for its readers, actually delayed its issue until Monday: Hot off the press. Venice. This morning, Monday the 7th, we have news by telegraph of Verdi's new opera, La traviata, performed at the Gran Teatro La Fenice yesterday evening, Sunday. "Verdi had eight curtain calls; the first act good, the second and third somewhat cold, the blame, as foreseen, the poor performance." We hope that on later evenings the artists can make enjoyable this music, full of beauty and song. l25 The same day the first part of an article by Tommaso Locatelli appeared in the Gazzetta ufficiale di Venezia, which constitutes not only the first real review of the evening, but also the first critical evaluation of La traviata. As such, it was reproduced in many other newspapers. The critic begins by praising Piave for the ability with which he adapted the drama of Dumas fils to a libretto. After describing the structure of the first act, Locatelli points out that all the pieces were [ ... ] of equal beauty, the old beauty, which was common and enjoyed in the days of that good soul Rossini, resulting not from subtleties of learned argumentation but from originality of thought, from delicacy and vivacity of singing, which touches you to your very fibers and makes you sit on the edge of your seat. It contains, among many things, a motive of the Brindisi and a phrase from the duet [in the Introduzione], repeated by the tenor off-stage during the last movement of the [soprano's] cavatina, of such taste and zest, so unusual in rhythm, that they cannot be fully described. Locatelli then proceeds to relate the public's reactions: Salvini-Donatelli sang those florid passages, of which the maestro wrote her many, with an indescribable skill and perfection; she enraptured the audience, which literally overwhelmed her with applause. This act gave the maestro his greatest triumph; they began calling him even before the curtain was raised, for a most delicate harmony of the strings in the Preludio to the score; then for the Brindisi, then for the duet [in the Introduzione], then I don't know how many other times, by himself and with the prima donna, at the end of the act. In the second act, alas! the face of fortune changed. Because, as in the oratorical arts, where it was said that three things are required: action, action, action; likewise, three things are demanded for music: voice, voice, voice. And in truth it is useless for a composer to invent something unless he has singers who can understand and perform what he has created. To Verdi fell the misfortune of not finding the above-named three things yesterday night, except from one side; thus all the pieces not sung by Salvini-Donatelli went, so to speak, over the edge. Not one of the other singers was in full health and secure in vocal skills, however much one might want to praise their respective bravura. Therefore, though conceding that the music was magnificently played by the orchestra, so much so that in the lovely prelude to the third act they earned universal bravos, for the strings performed with such a blending and unity of sound that they appeared to move as if with one bow, we will wait to judge the remainder of the opera, so as not to make a false move, until it is better sung. l26 Locatelli's review concurs substantially with those published by other newspapers in the following days. The most contentious appeared in L'Italia musicale, the periodical published by Ricordi's competitor Francesco Lucca, who had a vested interest in representing an opera not under contract to him as unsuccessful: I will not tell you my opinion, but will be of a religious exactitude in relating the reception. The first act, of facile and brilliant music, was liked and was worth six curtain calls for the esteemed maestro [... ]. The second act was less fortunate; there was some applause after the tenor's aria [N. 4], some again after the duet between 125. Gazzetta musicale di Milano, no. 10 (6 March 1853), 46. The periodical normally came out on Sunday morning, the day of the premiere. 126. Gazzetta ufficiale di Venezia, no. 54 (7 March 1853), cited after the Gazzetta musicale di Milano, no. 11 (13 March 1853), 47-8.

soprano and baritone [N. 5], some hisses accompanied the latter's aria [N. 6], and there was the most uncomfortable silence during the entire grand finale [N. 7]. In the third act there was applause only for the soprano's romanza [N. 8]. In a word, the opera was received as if it were a mediocrity. Despite this, I find in this work of Verdi's much philosophy, the usual good taste, but in general there is little striving for effect, or it occurs only in the briefest flashes.127 After publishing a short notice in the issue of 10 March, Francesco Regli's periodical Il pirata offered a second article, reflecting on the necessity for closer acquaintance with this work, as with all of Verdi's: All the letters we have received concerning La traviata, the new opera that maestro Verdi is now presenting at La Fenice in Venice, conclude that the subject is quite cold, Piave's libretto a real misery, and the music here and there beautiful. It is widely believed that in subsequent performances it will increase in general favor, according to the old rule that Verdi's operas need to be heard several times, like Rigoletto and Luisa Miller. We can almost predict that this is what will happen, all the more so because Varesi and Graziani, who were ill at the first performance, will certainly have recovered their voices by now,128 The critic of L'arte, expressing a similarly hopeful outlook, went into more detail: The first performance yesterday evening of Verdi's La traviata was most unfortunate. This most delicate music was not understood, perhaps because the public expected a work in the brilliant manner of Viscardello [Rigolelto], which would not have been suited to the subject of the drama, which, in truth, presents little variety of color for a musical production. This time, however, the Venetian public was very harsh and did not discern many of the beauties with which Verdi enlivened his new score, and this is due to not recognizing how the Maestro was able to express musically the situations in the chosen drama, even if, unfortunately, it is not basically suited for an opera. I think, however, that later it will be better liked and the beautiful pieces, of which I think there is no scarcity in La traviata, will be more appreciated. Salvini alone received unanimous applause in the brilliant cabaletta of the cavatina [N. 3] and in a Romanza in the third act (N. 8]. Unfortunately Graziani was in poor voice and could barely finish the performance, indeed his voice was already lowered at the beginning of the second act. The big duet between Varesi and Salvini [N. 5], from which Verdi expected certain success and declared should be the centerpiece of the opera, only elicited a little applause, disputed by some. All the rest was a murmur. 129 For the second performance there was a great drop in attendance, and the box office receipts were only 971.30 lire, less than a third of the premiere. The review that appeared thereafter in L'Italia musicale, almost certainly written by Lucca, who attended a performance in Venice, showed a good deal of malice. The publisher was not well disposed toward Verdi, who had sought in every way to block performances of the only one of his operas owned by Lucca, Il corsaro. The review dispensed with more measured statements, and proceeding through the opera piece by piece, found fault with every one. The introductory sentence to this section gives a sufficient idea of the tone: "This score lacks entirely those beauties that alone would be powerful enough to rescue it from mediocrity and, without question, it is dominated within by a kind of carelessness and triviality of style, as if the maestro had treated it as a diversion."130 The third performance was supposed to have taken place on Tuesday, 8 March, but it was canceled, as we know, due to Graziani's illness. The substitution of II corsaro, as the baritone Varesi reported to Lucca, produced a striking contrast with the fortunes of La traviata: "I made such an effect and received such applause that the public declared 1 was not recognizable from one opera to the other." Then the singer proposed his own explanation for the failure of the new opera, one conditioned by the old conception that placed the singer at the center of the operatic spectacle: I do not intend to set myself up as judge of the musical merit of La traviata, but I certainly maintain that Verdi did not know how to 127. 128. 129. 130.

L'[talia musicale, no. 20 (9 March 1853), 80. II pirata, no. 74 (13 March 1853), 294. Cited from Gazzetta musicale di Napoli, no. 12 (19 March 1853), 92. L'[talia musicale, no. 21 (12 March 1853), 84.

INTRODUCTION make use of the abilities of the artists at his disposal. For Salvini, of all her part only the cavatina really suits her well. For Graziani little or nothing. For me an adagio of an aria, and that annoyed the Venetian public, who expected that I would be treated well, since Verdi had already created for me the colossal roles of Macbeth and Rigoletto with such success, so much so that before the premiere everyone knew that the Maestro was very satisfied with me.l31 The third performance of La traviata, the last Verdi attended, though at mid-week (on Wednesday, 9 March), had a somewhat larger audience than the previous one, bringing in 1137.50 Austrian lire. Varesi summed up its desultory results: Here is the story of yesterday evening, the third performance. A performance to benefit the poor: a very scanty audience. Some applause for the Brindisi and a lot for Donatelli's cavatina, with two curtain calls. The big duet for Salvini and me: some applause for the adagio and the cabaletta. Applause for the Finale Secondo and two curtain calls for the Maestro, and the performers. Third act, no applause but a curtain call to salute the Maestro, whom everyone knew to be leaving the next morning. 132 The day of this performance the composer wrote a note of thanks to the first-chair violin and director of the theater orchestra, Gaetano Mares: Not being able to do so myself, I beg you to say the kindest, most gracious things in my name to the orchestral players for the love and precision with which they are performing this poor Traviata. For you it is useless to add words. Everyone knows your ability, as player and as director. Accept then, my sincere thanks.133 Not until after Verdi had left Venice was there a substantial increase in the size of the audience, not only during two weekend performances, which brought in 2095.05 lire (Saturday, 12 March) and 1563.50 lire (Sunday, 13 March), but the following Thursday as well, which earned 1156.65 lire. Anticipating this development, the critic Locatelli had written after the third performance that, despite the disappointing singing from all but Salvini Donatelli, "yet the opera not only holds on, but climbs; nor would I swear that we won't have a repetition of the situation with Semiramide, on which the first judgment was really a biased judgment." Then, confirming his positive outlook on the opera, Locatelli provides precious information about some changes introduced in the Aria Germont (N. 6), during the course of the performances: Full of such delicate beauty is the baritone Varesi's aria [... J. What a shame that a phrase from the cabal etta, repeated excessively though in itself very elegant, and not well handled the first evening, offended the audience a little and thus ruined the impression of the whole piece!13' With the repeats eliminated, and now better understood, not only does it sustain itself, but the crowds leaving the theater are beginning to sing it: an unintentional honor, granted only to music that is well liked and makes a hit.135 The Gazzetta musicale di Milano could also note that in the third performance "Graziani and Varesi made precisely those b6autiful aspects shine which on the first two evenings passed unobserved" and that "Varesi's aria was finally understood and applauded, especially in the magical first movement." The same critic predicted that "this opera will make the rounds of all the theaters, like the maestro's others, provided that the artists know how to sing it properly. "136 By the completion of the sixth performance Il pirata was able to give a generous assessment: Maestro Verdi's La traviata at La Fenice continued to increase in universal favor, and at the sixth performance one could say its success was complete. In the first act the piece that stirred the public was Donatelli-Salvini's cavatina, which earned her three curtain calls. In the second act, the duet between her and Varesi was cause for acclamations. In the third, Salvini's romanza and her duet with

the tenor Graziani, now back in good health, were enjoyed. The music is in general worthy of its author for its good taste and its melodies, and in a theater less vast it will without doubt cut a shining figure. The libretto, however, will always be defective.137 During the final three performances of La traviata in 1853, there was a steep drop in attendance during the weekdays, followed by a sharp rise on the last Saturday, without reaching the levels of the preceding weekend. The theater took in just 471.60 Austrian lire at the seventh performance (Wednesday, 16 March), 787.50 at the eighth (Thursday, 17 March), and 1491.50 at the ninth and final performance (Saturday, 19 March). The reviews after the close of the season all indicated that Verdi's opera had gradually gained favor with the public, attributed in part to the performances of Fanny Salvini Donatelli. A final set of articles, published in three issues of L'Italia musicale, was not a review so much as an imaginary conversation among customers at the Caffe Florian of Venice, some of whom had just emerged from La Fenice, representing different points of view on Verdi's accomplishment. 138 The most prescient remarks occur in the third article, uttered by a literary man (described as being much in demand at female salons), who affirms that La traviata is "the best or at least the most progressive of the modem operas [. . .] because to those of us attending this opera it seemed like being at the Dumas play itself, so much so that it did not even seem to be music." He continues that "from now on for Verdi's operas we will go to the opera house in the same state of mind as when we go to the spoken theater." Finally, he predicts the future of this new kind of opera: Verdi is the inventor of a very new genre of music; he has increased his artistic means and wants music to be capable of expressing not only thoughts and feelings in general, but also all their subtleties. Verdi is a creator of genius, and this is why he attracts such anger and has so many opponents. But there will come a time when he will be honored, by men who are less perverted and blind, as much greater than Rossini. Thus, the articles delineate various positions in a debate that involves not only La traviata, but the specific character of Verdi's mature production. To sum up, while acknowledging that the outcome of the premiere was disappointing, one can hardly consider the entire run of performances a failure. The saving grace was precisely the singer in whom Verdi had had no confidence, Salvini Donatelli. Perhaps as a token of reparation, he dedicated to her a citation from the third-act duet. 139 Those mainly reponsible for the opera's mediocre reception were the tenor Graziani, afflicted by health problems, and above all Varesi who, as he made clear in his letter to Lucca cited above, was dissatisfied with the part assigned to him, and probably did not devote himself to it wholeheartedly. As for Verdi, his judgment about the worth of the opera was as steadfast as his awareness that it had not really been understood, as is clear from the bitter irony in his letter to Vincenzo Luccardi: You have read sublime things about La traviata? But what's the use ? You would like to take back the name you yourself imposed; but the Venetians have judged this opera A PIECE OF TRASH. Well, who is wrong? Would you want to call that whole respectable populace of the Gran Teatro La Fenice a bunch of ignoramuses?140 Venice, Teatro San Benedetto, Spring 1854 For the 1853 premiere of La traviata Verdi delivered his autograph score to the Teatro La Fenice; after the performances it was deposited in the archives of his publisher Ricordi, in Milan. Verdi had already introduced some modifications during the rehearsals and perhaps during the first performances, but it is unclear whether he had large-scale revisions in mind at the time. Once the initial run 137. II pirata, no. 76 (20 March 1853), 303. 138. L'Italia musicale, no. 24 (23 March 1853),

Published in Franco Schlitzer, Mondo teatrale del/'Ottocento (Naples, 1954), 157-8. 132. Ibid. 133. Published in L'Italia musicale, no. 22 (16 March 1853), 90; cited from Conati,328.

95-6; no. 25 (26 March 1853), 99-100; no. 27 (2 April 1853), 107. The articles were designed as a response to

134. The phrase is "Un padre ed una suora t'affretta a consolar," which Verdi

modified radically in 1854; see Appendix 2, N. 6a, mm. 247a-250a for the original

Fanny Salvini Donatelli, is preserved in the archives of La Fenice. It is reproduced in William Weaver, Verdi: A Documentary Study (London, 1977), fig. 127.

version. 135. Gazzetta ufficiale di Venezia, no. 59 (12 March 1853); cited from Ganetta musicale di Milano, no. 12 (20 March 1853), 53. 136. Gazzetta musicale di Milano, no. 11 (13 March 1853),48.

140. Letter of 7 June 1853, present whereabouts unknown. Offered at auction by Stargard of Marburg, Germany, on 20-21 February 1973 and 11-12 June 1974, it was published without date by Alberto Cametti in If Fan/uIla della domenica, no. 6 (9 February 1896).

131.

Locatelli's laudatory remarks in the Gazzetta ufficiale di Venezia, which were considered exaggerated and adulatory.

139. Verdi's autograph, dated "Venice, 9 March 1853," found in the album of

xxiii

xxiv

INTRODUCTION was over, however, he clearly determined not to permit a revival until a mo* suitable cast was found. A significant indication of the composer's intentions was the suspension of work on Ricordi's edition for piano and voices. In the Gazzetta musicale di Milano of 28 March 1853, Ricordi announced the availability of extracts from that edition, an announcement that appeared four more times. The last was printed on 24 July, when only eleven of the planned nineteen pieces into which the pianovocal score was to be divided had been issued; thereafter the announcement disappeared. 141 It is evident that the composer and publisher had reached an agIeement whereby, in the event of a revival, the score would be modified to suit the needs of new interpreters. 142 Neither Ricordi nor any other publisher ever issued the 1853 version in its entirety. The complete piano-vocal score, in its definitive, 1854 version, was offered for sale by Ricordi only on 11 March 1855. There were no documented attempts to arrange a revival during the spring and summer of 1853. The first known proposal carne from the. coriductor Angelo Mariani, who in September wrote to Ricordi and then to Verdi about staging a production in Genoa, at the Teatro Carlo Felice, pointing out that among the singers already engaged by the theater were Salvini Donatelli and Graziani. 143 Such a project would never have met with Verdi's approval, since he blamed the Venetian failure precisely on those singers. Although Verdi's response has not survived, we know it to have been negative from a letter sent to him in Paris, where he had arrived on 17 October, by Ricordi's secretary, Girolamo Cerri.l44 Mariani did not give up easily, but Verdi was steadfast. Between November 1853 and February 1854 there were at least four other proposals for staging La traviata, of which the most promising seemed for a time to be one initially suggested to Ricordi by Antonio Vasselli, the brother-in-law of Donizetti, for a production in Rome. On 15 November Ricordi wrote Verdi: Concerning La traviata, that fine lawyer Vasselli [ ... ] writes me now from Rome saying that it weighs too much on him to see such a beautiful opera remain forgotten, and that, having Baucarde, Coletti, and a Delarosis l45 in Rome for Carnival, he spoke about it to Jacovacci, who has so many holds over the censor as to be able, with only slight variations in the words and none in the music, to obtain permission to give this score, but that the Jew of an impresario only wants to pay a small rental fee [...]. I am answering him meanwhile that I will only do what you tell me, for which reason I beg you to share your thoughts freely and immediately, so as not to leave the matter hanging too long. I have continually before me that libretto of La traviata, altered with very few changes under the name of Violetta and approved by the censors in Bologna, a libretto that, with these alterations, was then found more censurable by the Roman authorities than the original libretto! !146

141. For further details about pvRII-l, see the Critical Commentary, Part One, Sources. 142. In the meantime, Ricordi ceded French rights for La Iraviata to the Parisian publisher Blanchet, who in 1853 issued in piano-vocal score those pieces also prepared by Ricordi. On 15 November 1853 Tito Ricordi wrote Verdi in detail about the arrangement with Blanchet for La lraviata and five other operas, including

performance and publication rights. He explained to Verdi that this transfer of rights was "nothing but a pretence, the sole aim of which is to allow me to block performances of these operas using copies obtained elsewhere, by insisting on Blanchet's apparent property rights; in fact, in an agreement of 30 January '53

Blanchet declared that this transfer had been made for the sole purpose of defending my property rights in France, and that this property always continues to be assigned to me." Original at S. Agata, Villa Verdi (I-PAi, 118/47). On 28 November Ricordi informed Verdi of an analogous agreement with the London publisher Boosey: "regarding La traviota (a score, thank God, that has not yet fallen into the bands of thieves), he will do what we tell him; that is, he will do nothing not first agreed to by the two of us, since he does not yet have in hand either this score or that of II Irovatore." Original at S. Agata, Villa Verdi (I-PAi, 118/48). 143. Mariani's letter to Tito Ricordi is published in Abbiati, 2:238, without date. For his letter to Verdi of 25 September, see Walker, 297; the original Italian is printed in Walker, L'uorrw Verdi (Milan, 1978), 362-3. 144. Letter of 7 November 1853; S. Agata, Villa Verdi (I-PAi, 118/46). Verdi remained in Paris uninterruptedly through the end of 1855, a sojourn largely devoted to the composition and staging of Les Vipres siciliennes, the first performance of which took place at the Opera on 13 June 1855. 145. The singers were the tenor Carlo Baucarde, who had created the part of Manrico in II trovatore the same year; the baritone Filippo Coletti, the original Gusman in Alzira and Francesco in I masnadieri; and probably the soprano Noemi De Roissi. 146. Original at S. Agata, Villa Verdi (I-PAi, 118/47). Regarding the censored Bolognese libretto, preserved at the Archivio Ricordi, Milan, see Buia, 37ff.

There is no surviving record of any reaction from Verdi to the Roman proposal until late in the year. In the meanwhile, on 1 December he answered a letter that had come from Cesare Vigna urging a revival in Venice, probably at La Fenice: I would like nothing better than to see La traviata remounted, which, as you know, I love like all my other operas; but I would like it to be done with excellent artists and above all those appropriate for the music. For the said Traviata requires a prima donna who has great sensitivity, sings with a passionate voice, and is physically beautiful. Without these qualities, success is impossible. La Bendazzi, 147 however fine an artist, cannot combine these qualities. I do not know if I could come to stage the opera, something that would be of primary importance. As for the rental fee, that is a matter that regards Ricordi. In any case I tell you with my usual frankness that I do not condone an impresario who requests an opera of mine without paying the rental, and a hefty one. It is also a matter of self-esteem; but I repeat to you, it is Ricordi's business. 148 No further action was taken on Vigna's plan at that point. Verdi continued, however, to inquire from Paris about a possible production in Rome. On 22 December he requested information from his friend Vincenzo Luccardi about the singers, particularly the soprano De Roissi: Have you heard De Roissi in Trovatore? Are you satisfied or not? Who is better between her and Penco? ... Why all these questions, you will say!! .. Because I might come to Rome to stage La traviata! Jokes aside, tell me sincerely and seriously without being influenced by sympathy or friendship for her, or by the pleasure of seeing me in Rome, how is this De Roissi: 1. Has she had success or not: great or little? 2. Does she make a good appearance on stage? 3. Does she sing well: is her singing the passionate or the florid type? 4. Does she act well: does she have spirit, is she cold? How is she? 5. What is the piece she performs best in II trovatore? Be sincere then: tell me the audience's opinion and your own! Write me soon so that I can make a decision.'" The response from Luccardi must have been unsatisfactory, for Verdi wrote soon after to J acovacci refusing the proposal: It is true that I asked Ricordi not to give you La traviata. None better than Baucarde and Coletti, and all the more so because Baucarde wrote me from Florence that the part suits him perfectly, but I do not know De Roissi. She may have all the talent you tell me, but I do not know her and for me it is too risky to entrust [her with] a part of such importance; then I have in mind that my presence is necessary at a second production. I trust myself, I trust in you, in everyone, but no one can see and know what is in my head. And the censors? Few things are changed, you say, but so many times even one of these few things alters a meaning, a character, a situation, etc ... Nor does it help to say your music remains. It offends me because it is as if to say "Your music is made haphazardly, it is a formless suit that goes well for nearly everyone and for everything. "150

Ricordi had evidently had high hopes for a production in Rome, for he still offered to send Verdi news about De Roissi immediately after the season opened on 26 December, and he even announced that he was on the point of sending "all the music of La traviata to my office in Florence, with instructions that it be sent immediately to Rome to the lawyer Vasselli. "151 The dispatch was actually made, but in the end Ricordi had to admit that Verdi was right in refusing. 152 The reasons he gave were expressed more emphatically by the composer himself in a letter to Luccardi: I will not come to Rome for several reasons. First, because the impresario is a miser; second because the censors have spoiled the sense of the drama. They made La traviata pure and innocent. Thanks a lot! Thus, they have ruined all the situations, all the characters. A whore must always be a whore. If during the night the 147. The soprano Luigia Bendazzi, then at the beginning of her career, would

create the role of Amelia in Simon Boccanegra in 1857. 148. Present whereabouts unknown; reproduced in facsimile in Giannetto Bon-

giovanni, Dol carteggio inedito Verdi-Vigna: Can 27 lettere inedite, 10 autograft e 7 illustrazionifuori testa (Rome, 1941), 26-7, with an inaccurate transcription. 149. Rome, Accademia Nazionale dei Lincei (I-PAi, 22/36); published in

Monaldi, Verdi, 141. 150. Wbereahouts unknown; published without date in Abbiati, 2:266. 151. Letter of 27 December 1853; S. Agata, Villa Verdi (I-PAi, 118/50). 152. Letter to Verdi of 16 January 1854; S. Agata, Villa Verdi (I-PAi, 118/51).

INTRODUCTION sun were to shine, it would no longer be night. In sum, they understand nothing!,53

The last two fruitless proposals came in early 1854: one in midJanuary for the theater in Bergamo, which had little hope of fulfillment, and one in mid-February for the Teatro San Carlo of Naples, forwarded to Verdi by De Sanctis. Verdi's refusal to the latter evidently reflected still his fear of censorship: "At Naples, no, for wouldn't your priests and your monks be afraid to see those certain things on stage that they do so well in the shadows and which would be better done in the clear light of day in the public piazza in the manner of Diogenes!"'54 Finally, just one month later, following negotiations for which no documentation survives, an agreement was reached for reviving La traviata that spring in Venice, this time at the Teatro San Benedetto, whose director was the impresario-violinist-conductor Antonio Gallo.155 The cast would comprise the soprano Maria Spezia,156 the tenor Francesco Landi,157 and the baritone Filippo ColettL'SS The first definite information we have about the new production is Verdi's letter to Piave of 16 March 1854, in which the composer hints that he intends to do more than merely adjust the vocal lines of the baritone part: After repeated letters from Gallo, I wrote to Ricordi that he should do what he considered most appropriate for La traviata. Furthermore I wrote, were he to give the score [to Gallo], I would do the vocal adjustments and transpositions that Coletti needs. Better that I do them than others. I do not know what Ricordi will have decided, but I can no longer impede the production. For the rest, let things come as they may, although, I repeat, I think you're right. It might also be, however, that if Spezia is truly what they say, some things may nevertheless tum up in La traviata that are not expected, perhaps new even for you. But what will be will be ... by the grace of God. You will write me about iUS.

Tito Ricordi sent Verdi a note the following day, 17 March, indicating that he had returned part of the autograph score to him.l60 From Ricordi's more detailed letter of the next day, we learn that Verdi had requested sections from the score a week earlier, along with additional manuscript paper. Ricordi begins with news about the secondary roles and other personnel for the production: I wrote you yesterday that for La traviata I dealt with Gallo according to your suggestions. Today I receive a reply from him demonstrating that he has engaged Landi, Spezia, Coletti, and the comprimaria Luigia Morselli, who last year and this has been loudly applauded in Venice [... ]. Dottore Grenvil will be Andrea Bellini, the same as last year, the Vicomte [Gastone] will be [Antonio] GallettL!·! The seconda donna will be much different and better 153. Whereabouts unknown; published without date in Abbiati, 1:502-3. 154. Rome, Accademia Nazionale dei Lincei (I-PAi, 11124); published in Cartegg; verdiani, 1:24. 155. Gallo, who died in 1883, was co-owner of both the San Benedetto and Malibran theaters in Venice, had a music store, ran a music copying shop, and was Ricordi's representative for the Veneto and Dalmatia; see John Rosselli, Elenco provvisorio degli impresari e agenli teatrali italiani da11770 al 1890 (unpublished

typescript; copy at I-PAi). 156. Maria Spezia (1828-1907) had recently made her debut in Thrin in Bellini's Beatrice di Tenda. After her success in La traviata she had a long and fortunate international career. particularly in Spain. 157. There is little information on Landi. According to Regli, 275, he was born in Rome in 1821 and made his debut at Vercelli during Carnival 1842-43. After singing in many Italian cities, he had notable success in Spain in operas like Poliuto, Ernani, Ii bravo, Gemma di Vergy, Stiffelio, Rigoletto, and La traviata. 158. Coletti (1811-94) was among the most celebrated baritones of the era. He made his debut in Naples in 1834 in Rossini's Turco in Italia and continued singing until 1869. According to Regli, 135, "in his career he never had a moment of repose or respite; neither did he keep to one genre, but cultivated them all, and always with the most shining success. [... J he performed the most difficult roles, the dramatic as well as the florid [... J. The facility with which he vocalized meant that he always maintained perfect intonation, making the timbre of his voice seem to the audience always equal, always sonorous, and without comparison. Tall in stature, a more handsome figure was rarely seen on stage." In reality the "vocal adjustments" (puntature) Verdi introduced in the role of Germont reveal that Coletti's tessitura was quite a bit lower than that of Varesi. 159. New York, Pierpont Morgan Library (I-PAi, 146/78); published in Morazzoni,36-7. 160. Milan, Archivio Ricordi (I-PAi, 118156 a). 161. In an 1853 libretto from La Fenice annotated with the names of performers taking part in the 1854 revival at San Benedetto (Rome, Biblioteca del Conservatorio di Musica "S. Cecilia," Carvalhaes 15237). the role of the Barone is attributed, probably in error, to "Galetti" (no first name).

than last year.!62 To have the best baritone comprimario and second bass, he is waiting to engage them until he has worked out the rental fee, because they would not otherwise be needed for the other operas.!·3 Bosoni will direct the music, Piave the stage movement, the costumes last year's, but touched up, the scene designer Bertoia;!64 and for the rehearsals, Gallo, with Gallo himself promising that everything will be as Maestro Verdi desires.

After a discussion of Gallo's request to reduce the rental fee, Ricordi continues: You will have received the original pieces from La traviata which you requested in your letter to me of the 10th, but the most estimable Signor Cerri forgot to include with those scores the same kind of music paper, and I have therefore had it sent to you in a second package. Please let me know the cost, since Cerri needs to reimburse you. Today, then, I sent you the Finale Ultimo.!·'

As soon as he received the pieces in Paris, Verdi set to work. In a letter of 23 March to his Venetian friend Vigna, however, he minimized the significance of his effort, while manifesting skepticism about the likely success of the operation: Ricordi has sent me the score, because I indicated my wish to make adjustments for Coletti myself. After a year, I have carefully examined this poor Traviata with a cool mind, and I persist in thinking that she is not such a bad devil as she was made out[;] that the third act is far and away superior to the rest of the opera; that the first act is the weakest; and that the Duetto and Finale of the second act should produce a greater effect. We will see at the new production! Everything depends, I think, on the prima donna. The rest will be as God wills! Amen! .. .'••

In reality, as we know, Verdi's revision was not limited to "adjustments for Coletti," but affected the opera's musical substance, in some cases to a considerable degree.!67 It was already evident, however, what Verdi's attitude would be in the months ahead: to make people believe that the reviSIons introduced were minimal, so that he could affirm the opera's validity in its original conception, and thus continue to attribute responsibility for the early failure wholly to the faulty performance. But now the time for the new production was growing close, and on 5 April, Ricordi urged Verdi: Gallo is in a great hurry to have the music for La traviata, which apparently will be revived. In the meanwhile I am having him sent the music originally used in Venice and then sent to Rome, as you know, and which from there was sent back by the lawyer Vaselli to my office in Florence, so that with this he can begin to rehearse the other pieces. For the five pieces that you must return to me, I wrote him that he should await their arrival, and thus I am entreating you to send me them as quickly as possible. [... ] Don't forget the pieces that must be sent to Gallo to complete La traviata. Write me something about them.!·S

A few days later Verdi had finished the work and forwarded the revised pieces to Ricordi, who acknowledged their arrival in Milan on 13 April:

162. According to the libretto, the role of Flora was taken by Luigia Morselli, named above, and that of Annina by L[auraJ Saini. 163. The libretto does not list an interpreter for the Marchese, while that of the Barone is incorrect, as stated above. 164. Giuseppe Bertoia had created set designs for both Rigoletto and the pre~ miere of La traviata. A sketch for the second setting of the second act of the 1854 staging (erroneously dated 1853), is reproduced in Muraro, "Le scenografie," fig. 14, and in Conati, plate 52. The sketch contains a long note in Bertoia's hand about the diverse receptions accorded the two productions. 165. S. Agata, Villa Verdi (I-PAi, 118157); published in Copialettere, 535. From Ricordi's wording ("those scores"), and the fact that N. 11 was dispatched separately. it is clear that the individual pieces of the opera were not bound together. 166. Present whereabouts unknown; reproduced in facsimile in Bongiovanni, 32-3, with an inaccurate transcription. 167. Compare the definitive versions ofNN. 5, 6, 7, 10, and 11 with the original ones, published in Appendix 2. For analytical and critical evaluations of the revision, see: Julian Budden, "The Two Traviatas," Proceedings of the Royal Musical Association 90 (1972-73), 43-66; by the same author the chapter on La Iraviata in The Operas of Verdi, 2:114-66; and Wolfgang Osthoff, "Aspetti strutturali e psicologici della drammaturgia verdiana nei ritocchi della 'Traviata'," in Opera e libretto 1 (Florence, 1991), 315-60. 168. S. Agata, Villa Verdi (I-PAi, 118159); published incomplete in Copialettere, 536.

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I have received the five pieces from La traviata, as well as the one from II trovatore that was sent to you by mistake. Grolli[·· is diligently taking care of them, and Saturday (the day after tomorrow) they will be sent to Gallo. Muzio will make the piano arrangements and will modify accurately the pieces already in print; thus, eliminating the older versions, the new ones will be substituted, and the entire edition will be completed according to the opera's present form. My good fellow, I could not avoid sending the Venetian copy to Gallo, since I had made no others, [70 once you told me to suspend everything until you occupied yourself directly with a production of the opera. But have no fear: Gallo, whose own interests are directly involved, has the most precise instructions to begin rehearsing all the rest, removing the five pieces with earlier versions, until he receives the new ones. 17l

Rehearsals began in the second half of April. At first, the protagonist's vocal condition raised fears that the preceding year's outcome would be repeated. 172 But on 5 May, on the eve of the first performance, the news Piave sent to Ricordi boded well: I have just done four big rehearsals of La traviata and this evening we will have the dress rehearsal, more for formality's sake than out of necessity; and I have the satisfaction of telling you that Spezia is made for this opera, and that this opera seems made for Spezia, and that if nothing else happens and the lungs of this excellent young woman sustain her, she will perform our opera like no one in the world could ever have dreamed of doing it. [... ] In this opera she is another woman than in all the others, and her very pallor, her very exhaustion, her entire person and physiognomy all concur to render her the true incarnation of the idea of Dumas, Verdi, and me as well. I wish that he [Verdi] were here instead of staying to break his balls fighting with that rich Jew Meyerbeer. He renounces the throne offered to him by Italy, to sit on a bench in France! .. Horrors! ... This very day I will write him. [... ] P.S. Landi and Coletti too are above all praise, and in a word I tell you that the whole opera from beginning to end seems a different, more sublime one than that of La Fenice. 173 As predicted, the reception of the revised version of La traviata the next evening, 6 May, was triumphal. Many newspaper reviews analyzing the two productions appeared during the coming days, but the author of the first, published immediately after the first performance, perhaps felt most justly vindicated for his foresight the previous year. Tommaso Locatelli entitled his anonymous chronicle of 7 May "A Reparation": La traviata, vilified and downtrodden at La Fenice, rose, deservedly, to the stars at Gallo's Teatro San Benedetto. Now he who was wrong before is right; and this critic may well rejOice for not having followed the flock in his judgments, and for having had the courage of his own conviction. [... ] To give credit where due, however, we must confess that the perfect performance contributed powerfully to the great effect of this great score, far superior at San Benedetto than at La Fenice. To speak of Spezia in La traviata, one must employ the phrases used for Pasta in Norma, or for Malibran in Otello. She created her role, and she created it with such truth of poetic imagination that no one seeing the actual thing would see it better. [. . .] For such a Violetta a similar Alfredo is needed, and he was found in Landi. To perform the role of this character with greater intelligence and good taste would be impossible, animated as he was in turn by the most opposing sentiments, now fired by love, now by anger, hatred, and despair. [... ] Coletti made us understand a part of it that until now we have only suspected. That motive, that famous "Di Provenza il mare, il suol," until now only a caricature, here appears in all its splendor [... ]. And to this the orchestra contributed superbly. We have not heard any other orchestra play with more love, with more suitable color, with finDer unanimity. [... F74

As we might anticipate, Ricordi's Gazzetta musicale di Milano was also triumphant in its review: The success of La traviata at the Gallo theater was so full, so splendid, so clamorous, that even the most ardent admirers of Verdi could not have desired more. This was not the doing of a few fanatics; this was not the manifestation of a claque: it was spontaneous, universal, resounding applause that began at the Preludio, broke out for every piece, and continued long after the end of the show. [... F7S Even Lucca's [talia musicale could but confirm the evidently unanimous judgment in its 10 May review. More specific in pointing out the difference between the two productions, however, was the chronicle published in La lama: How singular: the music of maestro Verdi for his opera La traviata, which on the great stage of La Fenice had little effect, on that of San Benedetto on the evening of the 6th instead caused such enthusiasm that no one can recall so uproarious a success. Why such a difference? We believe the reason lies in this, that this music was not as suited to those artists at La Fenice, however capable they may have been, as to the present ones at San Benedetto. [... F7. The happy news circulated in private correspondence as well. On 9 May Cerri sent Verdi some correspondence from Venice relating to the second performance at the Teatro San Benedetto, with the following cover letter: I enclose a letter received late yesterday from Gallo. Today others arrived, from him and from Vigna, which speak of the indescribable enthusiasm with which La traviata was received, greater still, if possible, than the first night. It is a success without parallel. You were a prophet when you said: "La traviata has failed. Whose is the fault? Mine or the singers? I don't know: time will tell." And time has told, and in the same city, and with the same audience that first condemned it, whereas now, as Vigna writes, everyone boasts of having judged it to be a most beautiful opera already last year! that's how things always are, concludes Vigna. 177 On 12 May Ricordi himself wrote to Verdi, mentioning for the first time the particular success of Act III: I must repeat to you that there never was an example in Venice of a success equal to that of La traviata, not even in the days of your Ernani. Gallo writes me that the third evening was a pandemonium of indescribable applause, and that the third act especially produced an effect greater, if possible, than on the other two evenings, and that even he (Gallo) had to thank the public amidst the applause. A novelty, yet it is so. [7' In a letter of 17 May thanking Vigna for sending Locatelli's article, we have Verdi's first reactions. The composer's words reveal how his detachment was only apparent, and how, in reality, the failure of the original premiere had embittered him: This poor Sinner of ours thus did not deserve being stoned as she was last year at La Fenice?! Good for me, for Gallo, for Ricordi, and also for you, for I know how much interest you take in all my affairs in general, and in particular what you thought, said, and wrote of this Traviata cursed then by everyone. [... ] Last year, the morning after the premiere of La traviata, Gallo came to me and, in the name of another one of our common friends too, made some observations to me particularly about the third act. I responded simply: I think you are deceived, to me it seems the best one. Now he writes me many beautiful things precisely about that act. Thus I was right then, and afterward too in what I wrote you in my last letter about La traviata. One must not forget that an opera performed not only badly, but nonsensically, has the effect of a painting seen at evensong: the figures can be made out, barely, but one sees nothing of the color, the design, the perspective, and above all the expressions of the figures. Everything seems dark and monotonous. 179

169. A Ricordi employee, responsible for the copy shop. 170. At the Teatro San Benedetto, then, except for the five revised pieces, Verdi's autograph was not used but rather a copy of the score made the year before. This copy is probably the one now preserved at the Osterreichische Nationalbibliothek in Vienna (A-Wn): see the Critical Commentary, Part One, Sources. 171. S. Agata, Villa Verdi (I-PAi, 118/60); published in Copialettere, 536. 172. For an amusing letter from Piave to Ricordi to this effect, see Abbiati 2:271. 173. Letter of 5 May 1854; Milan, Archivio Ricordi (I-PAi, 27/22); published in Abbiati, 2:271-2. . 174. Gazzetta ufficiale di Venezia (7 May 1854); cited after II pirata, no. 92 (18 May 1854): 336-7.

Performances continued with ever greater success through the end of the season. Tito Ricordi attended one, and wrote to Verdi about it on 26 May: 175. Gazzetta musicale di Milano, no. 20 (14 May 1854), 154-5 (correspondence of7 May). 176. La fama, no. 38 (11 May 1854), signed "L. S." 177. S. Agata, Villa Verdi (I-PAi, 118/63); published in Copialettere, 537. 178. S. Agata, Villa Verdi (I-PAi, 118/64); ibid. 179. Present whereabouts unknown; reproduced in facsimile in Bongiovanni, 36-7. with an inaccurate transcription.

INTRODUCTION

How happy I am about my trip to Venice, how very happy! Despite my many obligations I could not resist the magnetic temptation to go and hear La traviata, and I did well, indeed, I have never done so well in my life. My soul is still in paradise through your divine music, my heart still beats, and tears come to my eyes [... ].180 Ricordi added some details about the rental fee for the opera, which still had not been fully settled with Gallo: "The rental fee was set at 1000 lire plus another 70 lire for each performance, which will number about twelve, since Landi must leave." Notwithstanding the great success of La traviata, Ricordi reported that Gallo lamented his losses for the season as a whole. Acknowledging that there was some truth to Gallo's complaints, the publisher proposed that Verdi make some concessions. From a subsequent letter of Ricordi, we learn that Verdi agreed not to demand the 70 lire per performance.'81 Verdi gave his final verdict on the revised Traviata in a letter to De Sanctis of 26 May 1854: By now you know that La traviata was given again in Venice and that it went well! But who told you that La traviata needed to be revised? Who told the Gazzetta Musicale of Naples that I had made changes? Know then, that the Traviata now being performed at San Benedetto is the same, the very same as was performed last year at La Fenice, with the exception of a few transpositions and a few puntature which I myself made to suit it better to these singers; and these transpositions and puntature will remain in the score, because I consider the opera as if it had been composed for the present cast. For the rest, not a piece has been changed, not a piece has been added or omitted, not a musical idea has been altered. Everything there for La Fenice is there now for San Benedetto. Then it was a fiasco: now it creates a furor: Draw your own conclusion! 1182 Verdi was not wTOng in maintaining that the cause of the original failure did not reside in his music, yet his wish to minimize his changes brought him here to make patently false statements. This was all part of a conscious and calculated strategy. In the following months, Ricordi finished the edition of the piano-vocal score, published his own edition of the libretto, and printed the full orchestral score for La traviata. In none of these sources, let alone in the pUblicity appearing in the Gazzetta musicale, does the slightest hint appear that the opera was being presented in a "revised" version; on the contrary, in the list of "actors" printed, as usual, in the opening pages of the piano-vocal score we find the singers "who performed this opera for the first time at the Gran Teatro La Fenice in Venice in March 1853." The requirements of propaganda thus prevailed over the gratitude owed the interpreters who secured the opera's first triumph; their memory was consigned only to the chronicles of that season. The Subsequent History of La traviata Together with a few works of Puccini and Verdi himself, La traviata has been one of the world's most .performed operas, and among those most beloved by the general public. I83 It already began acquiring this distinction during the first few years of its existence. By the end of 1858 there had been at least 143 separate productions in Italy alone and an additional 57 abroad, in cities as far away as Athens, Bucarest, Constantinople, Warsaw, St. Petersburg, Moscow, Odessa, and Alexandria (Egypt) on the one hand, and Rio de Janeiro, Buenos Aires, Lima, Mexico City, Havana, New York, Philadelphia, New Orleans, Boston, and Washington on the other. '84 With a single possible exception, to be considered below, Verdi did not personally participate in any staging of La traviata

after the 1853 premiere, and after his revisions of 1854 intervened no more in the musical text. '8S Even during the course of performances at San Benedetto requests to stage La traviata began arriving at the office of Verdi's publisher. On 12 May Tito Ricordi informed the composer that the impresarios of La Scala wanted to give La traviata and Stiffelio the following autumn at Milan's Canobbiana Theater, but with a second-rate company.'86 On Verdi's advice, however, Ricordi decided it was perhaps better "to see to it that Spezia performs in this opera two or three times before giving it to other theaters"; for future performances, he asked the composer his opinion about a list of possible singers. These included "among the women, apart from Spezia, Albertini, Virginia Boccadabati, Rosina Penco; for the tenors Landi, Bocarde, Carrion, Malvezzi, Fraschini; for baritones Coletti, Cresci, Corsi, Ferri, etc. "187 In June it was learned that Maria Spezia had been engaged for Madrid. Ricordi hoped she would take La traviata on a tour of Italy during the summer, but the singer refused to perform before leaving for Spain. '88 Meanwhile, the publisher was being besieged with requests, but he had informed Verdi on 12 June that "up to now I have not granted it to anyone, until they propose a trio of singers taken from that list of artists you approved. "189 Such resolve was difficult to maintain in the face of angry impresarios and singers: "Just try telling a soprano or a tenor: you may be a Malibran, a Pasta, a Rubini, or a Donzelli, but the part of Violetta or that of Alfredo are not for your singing and acting talents!"'90 Near the end of June plans begin to coalesce. The first revival was supposed to occur in July at the Teatro dei Floridi in Livorno with Adelaide Cortesi, Carlo Negrini, and Coletti. '9' In the autumn it would be the turn of Rovigo's Teatro Sociale, with Virginia Boccadabati, the tenor Antonio Giuglini, and the baritone Alessandro Ottaviani; and thereafter the first performance since Venice at a more prominent theater, Florence's Teatro alla Pergola, again with Cortesi, Gaetano Fraschini, and Paolo Baraldi; in addition, another production was already fixed for the spring in Modena, with Boccadabati, Landi, and Coletti. '92 Strict censorship would continue to pose a problem for numerous Italian theaters wishing to stage La traviata. Negotiations were underway, for example, with Jacovacci for a production at the Teatro Apollo in Rome during the coming Carnival, with Rosina Penco, Emilio Naudin, and Giovan Battista Bencich, but there was the problem of getting a libretto that was not unduly distorted by the censors: "You will see," Ricordi wrote to Verdi, "that for the audience Margherita or Violetta will appear on stage as a flesh and blood whore. "193 This forecast proved too optimistic, and some weeks later Ricordi had to admit: For Rome I continue to fight, and I wrote to Vasselli at length about the modified libretto that he sent me, but which I will not send to you unless you ask me for it. Let La traviata succeed at Livorno, at Florence, at Rovigo, and later we may be able to speak of Rome, if nothing else happens. '94 Ricordi is clearly seeking to minimize the extent of the interventions in the text; in reality the libretto that would be used in Rome (with the title Violetta), which Ricordi himself would include in his catalogue of publications for use in performances in those states where censorship prevailed, was an infamous parody of the original drama. I9S 185. On the other hand, he often used motives from the opera in album leaves

offered to friends and colleagues. A substantial group is listed in the Critical Commentary, Part One, Sources. Verdi generally chose the motives "Di quell'arnor"

180. S. Agata, Villa Verdi (I-PAi, 118165). 181. Letter to Verdi of 12 June 1854; S. Agata, Villa Verdi (I-PAi, 118166). 182. Rome, Accademia Nazionale dei Lincei (I-PAi, 11/25); published in Car/eggi verdiani 1:24-5. 183. As Budden notes: "Today La traviata is without question the most widely loved opera in the Verdian canon (indeed, a poll taken in Italy some years ago showed it to be the most popular in the entire repertoire)"; The Operas of Verdi, 2:165. 184. This information has been culled principally from Thomas Kaufman, Verdi and His Major Contemporaries: A Selected Chronology of Performances with Casts (New York-London, 1990), and from a series of performance accounts preserved at S. Agata, Villa Verdi.

and "Amami Alfredo," but also "Di Provenza," "Parigi, 0 cara," and others. 186. S. Agata, Villa Verdi (I-PAi, 118164). 187. Letter of 26 M.y 1854; S. Agat., Villa Verdi (I-PAi, 118165). 188. On 15 July Ricordi wrote Verdi: "Let her go to the devil, this discourteous Spezia who, though not required to be in Madrid before September, refused the contracts offered her for the summer. Perhaps she's expecting?"; S. Agata, Villa

Verdi (I-PAi, 118/68). 189. Letter from Tito Ricordi to Verdi of 12 June 1854; cited in n. 181. 190. Letter from Ricordi to Verdi of 15 July 1854; cited in n. 188. 191. Letter from Ricordi to Verdi of 29 June 1854; S. Agata, Villa Verdi (I-PAi, 118167). 192. Letter of 15 July 1854; cited in n. 188. 193. Letter of 29 June; cited in n. 191. 194. Letter of 15 July; cited in n. 188. 195. For a comparison between Piave's libretto and four censored versions, see Buia, 37ff.

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INTRODUCTION

The first planned revival, at Livorno, was canceled, even though the libretto had already been printed, because an epidemic of cholera forced the authorities to close the theaters. 196 The honor of first restaging La traviata thus went to Florence (on 20 September 1854), followed by Rovigo (17 October). By the end of the 1854-55 Carnival season, the opera spread throughout Italy, the Iberian peninsula, and then far beyond. Contributing to the success of La traviata were the most celebrated Italian prima donnas of the period, some already named, who made the character of Violetta among the most popular in operatic history. Few of these opportunities were offered to Maria Spezia who, after her Iberian tour of 1855 (Madrid, Cadiz, Lisbon), tackled the role again only in the first Milanese performance of the opera in 1856. Decidedly more important were the portrayals of Violetta by Virginia Boccadabati (1854: Rovig9; 1855: Modena, Forn; 1857: Fiume; 1860: Udine) and Adelaide Cortesi (1854: Florence; 1855: Ancona, Faenza, Parma, Livorno; 1856: Venice; 1858: Guadalajara). Marietta Piccolomini helped launch the European career of La traviata; after putting her interpretation to the test in two Italian productions (in 1855 at Turin and 1856 at Siena), she sang it in the United Kingdom (1856: London, Birmingham, Liverpool, Manchester, Dublin; 1857: Bristol; 1859: Leeds), as well as in Paris in 1856. American acquaintance with the opera must be attributed principally to Marietta Gazzaniga (1857: Philadelphia, Boston; 1858: Washington) and to Carolina Alaimo (1859: Montreal, Buffalo, Detroit; 1860: Nashville, Charleston). By way of curiosity, we may note that Fanny Salvini Donatelli returned three times to interpret the role she had created, all in second-rank theaters (1855: Fermo; 1856: Constantinople; 1857: Senigallia) . In France La traviata had its own history from 1864, when what became the standard French version was first performed. Violetta had initially appeared in the country of Dumas' Marguerite Gautier in an Italian production on 6 December 1856 at the TMlltreItalien in Paris, then directed by the Spanish impresario Toribio Calzado. The protagonists were Piccolomini, the tenor Mario (Giovanni Matteo da Candia), and the baritone Francesco Graziani (brother of Ludovico); the orchestra was conducted by Giovanni Bottesini. This production had not been authorized by Ricordi or by Verdi, who gained no profit from it and who tried in vain to block it by bringing legal action against the impresario, from which he emerged soundly defeated. The performance was a fine success in any event, thanks to the excellence of the singers and conductor .197 Thereafter, under the name Violetta, La traviata was staged in Lille in November 1861 and in Lyons in May 1862; these productions were the first to use a French translation of the libretto by Edouard Duprez (brother of the tenor Gilbert), which was also published in 1862.198 It is with the the first performance at the Thelltre-LyriqueImperial in Paris on 27 October 1864, directed by Leon Carvalho and using a modified version of Duprez' translation, that we may 196. Letter from Cerri to Verdi of 2 August 1854; S. Agata, Villa Verdi (I-PAi, 118171). 197. See reviews by E. Viel, Le Meneslrel 24, no. 2 (14 Dec. 1856), 1-2; P. Smith, Revue el Gazette musicale de Paris 31, no. 50 (14 Dec. 1856), 397-9; and Leon Escudier, La France musicale 20 (14 Dec. 1856),398-400, who, though he was Verdi's friend, lost no opportunity to criticize the staging and the orchestra, noting that for minor roles chorus singers were used. From these reviews it is clear that Germant's cabaletta was omitted. 198. Violetta / (La Iraviala) / Opera en qualre actes / paroles franraises de M. Ed. Duprez / musique de G. Verdi (Paris, 1862), 43 pp. The exemplar consulted (at Rome, Conservatorio di Musica "Santa Cecilia," Carvalhaes 16058) has an added cover that reproduces information from the title page, but with the date 1865. Leon Escudier issued a piano-vocal score of this version.

date the beginning of the authorized Parisian career of La traviata. The opera was performed in four acts, with the second act divided in two. The protagonist was the Swedish soprano Christina Nilsson and the orchestra was conducted by Louis Michel Adolphe Deloffre. The following day, 28 October, Escudier sent Verdi a telegram and a letter announcing "the new and immense success of La traviata. "199 This time, Verdi had every reason to be satisfied, since Carvalho, though not obliged to do so by law, had granted him a percentage of the receipts. On 2 November the composer responded to Escudier: Here I am, since this morning, back in Turin, where I found your dispatch and your letter, telling me of the success of Traviata. As you can imagine, I did not shed any tears; on the contrary, I am extremely happy. I am asking you too, dear friend, to be my interpreter and in my name warmly thank the perspicacious and courageous Carvalho, the skillful artists, the choruses, and Monsieur Deloffre, who, according to what I have been told, worked wonders with his orchestra. 200

From the piano-vocal score of the French version, published by Escudier,201 and from the libretto printed for the occasion,202 it is clear that some dramatic and musical changes were introduced at the end of the second act (the first part of Act iI in the original version). At Violetta's exit after "Amami, Alfredo" ("Adieu, je t'aime"), a longer orchestral coda was added, based on the same instrumental melody as in the Preludio (mm. 17-24); and the structure of the following scene between Alfredo and Germont (Rodolphe and Georges d'Orbel) was modified, altering the order of events and omitting the cabaletta. 203 The satisfaction Verdi expressed with this French production has given rise to the suspicion that these interventions may have been his work,204 which would have necessitated their inclusion in the present edition. Yet this hypothesis seems extremely improbable. There is not the slightest hint in the surviving documentation that Verdi worked on La traviata during the period preceding the Parisian performance, and his contentment (which was, after all, justified also from an economic viewpoint) does not prove he knew and sanctioned the form in which the opera had been performed. Moreover, if the performance at the Lyrique had involved Verdi's direct intervention, the theater's management would certainly have advertised it. Highly suspicious, too, is the absence of any reference of this sort in the reviews of the production by Marie and Leon Escudier, Verdi's friends and publishers. 20s Finally, not even the piano-vocal score published by Escudier hints that the composer was responsible for the variants contained therein. They were much more likely to have been the work of Edouard Mangin, who is credited on the title page with having "put in order for the Thelltre Lyrique" Verdi's score. 199. Letter at S. Agata, Villa Verdi. The telegram is not preserved. 200. Paris, Bibliotheque de l'Opera (I-PAi, 37/6); published in 1.-0. Prod'homme, "Lettres inedites de G. Verdi a Leon Escudier," Rivista musicale italiana 35 (1928), 181. 201. The score, published by Leon Escudier, is largely a reprint of his pianovocal score of the 1861 French edition. 202. Violetta / La traviata / Opera en quatre actes / musique de / G. Verdi / traduction franraise d'Ed. Duprez (Paris, 1865). 203. For a discussion of these interventions, see Budden, The Operas of Verdi, 2:163-5. The cabaletta is lacking in the 1865 libretto, while the 1862 libretto translated the complete Italian text. In the 1864 score the cabaletta is present, but a note at its beginning reads: "At the Theatre Lyrique one skips from letter A to letter B," that is, to the entrance of the "Domestique" who bears Violetta's letter. 204. Cf. Budden, The Operas of Verdi, 2:164. 205. The first in La France musicale 38, no. 44 (30 October 1864), 344; the second in L'Arl musical 4, no. 49 (3 November 1864), 393-5.

2. The Sources: General Observations The surviving sources for La traviata can be divided into four categories: autograph sources, manuscript copies, printed musical sources, and librettos. The first part of the Critical Commentary describes in more detail each source used or consulted for this edition. Here we provide no more than a general account.

Autograph Sources The principal source for this edition of La traviata is Verdi's autograph full score (A). Housed in the archives of Casa Ricordi in Milan, it is bound in three volumes, one for each act. In its present state, the autograph preserves the definitive version of the opera,

INTRODUCTION

first performed at the Teatro San Benedetto in Venice on 6 May 1854. Most of it corresponds to the original version, which had its premiere at the Teatro La Fenice in Venice on 6 March 1853. For sections that underwent revision, Verdi generally replaced pages containing the earlier setting; he does not seem to have preserved the discarded original pages. Only in passages requiring less comprehensive revision did the composer enter his changes on the original pages, allowing the 1853 version, which remains visible beneath his crosshatching, scraping, and overwriting, to be reconstructed from A. Verdi prepared the autograph of La traviata, like most of his scores, in two phases. First he wrote a skeleton score, comprising the vocal parts with text, the instrumental bass in nearly complete form, and important orchestral cues. As he finished individual pieces in skeleton score, he sent them to the theater, where copyists extracted vocal parts for singers to use in studying their roles before the actual rehearsal period began. In the second stage Verdi completed the orchestration. The score of La traviata also contains a third stage of entries in the composer's hand, distinguishable from the rest through his use of pencil or different shades of ink. In this phase, Verdi added or modified agogic indications, dynamic markings, and phrasing or articulation signs; he also added indications regarding the number of instruments (in particular, those concerning the violins in N. 8). In a few instances he altered the substance of the musical text, as in N. 2, where he cut a measure (originally following measure 323; see Plate 1). These entries were probably made during rehearsals before the 1853 premiere: they clarify details in the original musical text and have no connection with the 1854 revision. Some modifications may have been made later in 1853, perhaps after the first performance: the cut in N. 2, for example, was made after the La Fenice copyists had made a copy of the score for the theater's archive (I-Vt). Throughout Verdi's autograph there are modifications and corrections, made in all phases of preparing the score. They affect melodic profiles, text underlay, harmonic organization, distribution of instruments, and phrasing and articulation. They range from a single note or rest to an entire section of a number (the Andante mosso of N. 8, for example, the romanza "Addio del passato"2(6). These alterations range from the simple correction of mechanical errors or oversights (instruments entered on the wrong staff, mistaken transpositions) to substantial revisions revealing conscious emendation on the composer's part, thus of great importance for understanding the opera's genesis. Although Verdi's revisions sometimes obliterate earlier versions, it is usually possible to reconstruct this evidence of his creative process. The Critical Commentary mentions these interventions as well as minor alterations, giving special attention to passages in which Verdi's corrections help establish a definitive text. Appendix 1 reconstructs the various compositional strata preceding the definitive form of "Addio del passato," the most intensively reworked section of the opera's original version. 207 Notwithstanding these changes, the autograph of La traviata is generally a document of great clarity. On most important musical matters, it reflects precisely the composer's wishes. Almost all editorial interventions can be based directly on Verdi's notation; other sources rarely playa part except in reconstructing discarded sections of the 1853 version, given in Appendix 2. Another important autograph source became available during preparation of this edition: a substantial group of Verdi's sketches for La traviata, representing stages of composition prior to realization of the skeleton score, survives intact at the composer's villa at S. Agata. Through the offices of the Istituto Nazionale di Studi Verdiani, the Carrara Verdi family permitted consultation of the original manuscripts for the present edition. Thanks to the emergence of these and other sketches in recent years, particularly those 206. Although Verdi did not use the term "romanza" for N. 8, which he entitled Seena Violetta, contemporaneous writers frequently so referred to it. Toward midcentury, "romanza" designated either an aria in a single movement, without C8baletta, or 3n aria in strophic form; see, for example, Abramo Basevi, Studio sulle opere di Giuseppe Verdi (Florence, 1859): "The aria 'Addio del passato' [... ] is repeated, in the manner of a romanza" (237-8). 207. This reconstruction is indebted to the work of James A. Hepokoski, "Genre and content in mid-century Verdi: 'Addio, del passato' (La traviata, Act III)," Cambridge Opera Journal 1 (1989), 249-76, in particular 269-74.

for Stiffelia,208 there has been an impressive increase in the accessible body of Verdian preliminary drafts, which until a short time ago consisted only of the continuity draft for Rigaletta and a few fragments for other works. 20. The sketches for La traviata, briefly described in the historical account above, constitute a document of exceptional importance for studying the opera's genesis, and they have aided in reconstructing the various strata of passages Verdi modified. But they have not played an important role in establishing the text for this edition. Rarely does a reading in the sketches clarify a doubtful passage, and even when they offer musically valid alternative versions, they cannot be considered definitive. Because of their scope, the sketches will be published in a separate edition (see n. 68) and are not reproduced here. Manuscript Copies In the middle of the nineteenth century, most Italian operas circulated in manuscript copies prepared by publishers who owned the rights and distributed the scores to theaters seeking to perform them. To avoid rental charges and royalty payments these covered, some theaters made illegal copies. It was impossible to prevent the clandestine circulation of these copies, which were more numerous for works enjoying particular favor and frequent revival. For highly successful operas, a significant number of copies is found in libraries around the world-from ten to as many as twenty copies. Despite its great popularity, La traviata constitutes an exception: only four surviving manuscript copies are known, since early publication of a printed rental score, described below, rendered such copies superfluous. No surviving manuscript copy of La traviata shows any intervention by Verdi, nor are they useful for resolving ambiguous readings in A. They were thus of limited use in establishing the opera's definitive text. The copy preserved in the archives of the Teatro La Fenice (I-Vt), however, is of singular importance: it is the only complete source preserving the original version of La traviata. The theater's copyists prepared it during final stages of the opera's creation, between February and March 1853,210 after which no further entries or alterations were made. For elements of the 1853 version that Verdi eliminated from his autograph score in 1854, I-Vt constitutes the principal source. Furthermore, in some cases it reveals the state of Verdi's autograph before he introduced modifications during rehearsals in 1853, and before Ricordi's copyists added editorial markings. While of limited value for the critical edition, the copy in the Osterreichische Nationalbibliothek in Vienna (A-Wn), the only one prepared by Ricordi's copy shop near the time of the 1853 premiere, has a certain historical interest. This copy, into which were inserted the emended passages of 1854, was employed for the first performances of the revised version at the Teatro San Benedetto in May 1854 and also served in part for the preparation of Ricordi's printed full score (RJI). Thereafter the publisher continued renting it to theaters for decades. Replete with performance markings and indications for cuts, signs of heavy use, A-Wn furnishes much material for a study of performance practice during the second half of the nineteeenth century. The other two known manuscript copies (I-Me and I-Ne), apparently produced for private study (they show no signs of use), proved of no importance for this edition. Of purely historical interest are two manuscript folios inserted into a copy of the printed full score in the Bibliotheque Nationale in Paris, classified erroneously as Verdi autographs; in fact, they are attributable to Giovanni Bottesini, probably reflecting performances of La traviata

208. In 1992 Verdi's sketches for Stiffelio, also preserved at S. Agata, became available for study. For discussion and preliminary analyses see the chapters by Gossett and by Hansell in Verdi's Middle Period, cited in n. 64. 209. The continuity draft for Rigoletto was published in facsimile as L'abbozzo del Rigoletto di Giuseppe Verdi, with an introduction by Carlo Gatti (Milan, 1941). Gatti published fragments of sketches for other works in his Verdi nelle immagini. Among recent studies of Verdian sketches and fragments, see: Pierluigi Petrobelli, "Osservazioni suI processo compositivo in Verdi," Acta musicologica S3 (1971), 125-42 (in English as "Remarks on Verdi's Composing Process" in his Music in the Theater: Essays on Verdi and Other Composers [Princeton, 1994],48-74); Linda B. Fairtile, "Verdi's First 'Willow Song': New Sketches and Drafts for Otello," 19thCentury Music 19 (1996), 213-30. 210. As specified in Verdi's contract. cited above.

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he directed at the Theatre-Italien in December 1856, against the express wishes of Verdi, and his publishers Ricordi and Escudier.211 The remaining manuscript material, a copy of the pianovocal score and sets of later orchestral and banda parts, has no relevance to this edition. Printed Musical Sources A relatively large number of printed musical sources for La traviata was published close to the time of the opera's creation. Although none of these secondary sources takes precedence over Verdi's autograph, some of their readings reflect the opinion of musicians contemporary with Verdi and have proven useful when the autograph lacks essential indications (dynamics, distribution of instruments, metronome markings), or to confirm editorial decisions in passages where Verdi's notation is unclear. There are three categories of printed musical sources: orchestral scores, orchestral and vocal parts, and piano-vocal scores. 1. Orchestral Scores

Soon after the successful revival of La traviata at the Teatro San Benedetto, Tito Ricordi decided to undertake a printed edition of the orchestral score (RP) to distribute for hire in place of the usual manuscript copies. This unusual step, at a time when no operas in Italy were printed in full score, was an attempt to limit as much as possible the use of pirated copies and "to reconcile the interest of impresarios with the respect owed to the inviolability of every work of art," as Ricordi declared in a printed circular. 212 It was a bold new undertaking, evidently inspired by time-honored French practice, and Ricordi intended to make La traviata the first in a series of printed rental scores for the most successful operas under his control;213 in fact, La traviata long remained an isolated case. Engraving of the score had begun when the circular appeared in August 1854, and was completed before 1 November of the next year, when Ricordi mentioned it in another letter to Verdi.2 14 The composer played no part whatsoever in the preparation of this edition (RP); moreover, it was not derived directly from his autograph but from one or more manuscript copies, among them probably A-Wn. For the critical edition, it is of limited value, especially as regards the vexing issues of articulation and slurs. Since RII served as the standard text of La traviata for several generations, however, it has great historical significance. Although Ricordi published subsequent editions, copies of RP were in use as late as the 1950s. Ricordi issued revised editidns of the orchestral score in 1913, 1940, and 1957: none was based on a systematic comparison with the autograph, even if it was occasionally consulted for the 1957 edition. While many obvious errors in the first edition were corrected through intuition, new ones were introduced, due to misunderstandings about the origin of individual problems or changes in performance traditions and conventions. None of these Ricordi editions, therefore, is a significant source for the critical edition, nor is the edition issued in 1880 by the Neapolitan publisher Del Monaco (DM), the first printed score of an opera by Verdi to be distributed commercially.

2. Orchestral and Vocal Parts Together with the score, Ricordi published a complete set of rental parts (pRI) for soloists, chorus, and orchestra, including a prompter's part (labeled "Cantante per suggerire") and a part from which the principal violinist could direct the orchestra (labeled "Violino principale"). Exemplars have been located of all parts but those for the prompter and the vocal soloists, but the latter are likely to have comprised collected extracts from the piano-vocal score. For the critical edition two sets of surviving parts have been examined: the set in the library of the Metropolitan Opera House in New York (US-NYmet), which includes all orchestral parts except the Violino principale, and the set at the Mills Music Library of the University 211. For further details on these folios, see the third section of this introduction, under Cuts. 212. Ricordi enclosed a copy of the circular in a letter to Verdi of 2 August 1854; S. Agata, Villa Verdi (I-PAi, 118169). For further details, see the Critical Commentary, Part One, Sources. 213. Ricordi stated this intention in his printed circular. 214. S. Agata, Villa Verdi (I-PAi, 119/31); published in Copialettere, 172-5. (See the Critical Commentary, Part One.)

of Wisconsin, Madison (US-MA), where particular attention was paid to the choral parts and the Violino principale. Ricordi reprinted these parts several times, introducing changes of various sorts in later printings. Analysis of the sets in these two collections reveals that the individual parts originated between 1855 (the date of the first edition) and 1866. These parts show even less editorial care than the orchestral score. The work was divided among multiple engravers, who may have worked from manuscript parts copied previously, but in any case paid little attention to parallel voices. Many inconsistencies resulted, especially in dynamic markings. In some cases, problems inherent in Verdi's writing created harmonic uncertainties (for example, inN. 3, m. 187) or even strident dissonances (see N. 7, mm. 506-508). For the present edition, the orchestral parts are most important for the suggestions they furnish regarding doublings in the woodwind and brass parts, where Verdi's notation fails to specify the number of instruments that should play. The criteria utilized for resolving the attendant problems are discussed in the third section of this introduction. 3. Piano-Vocal Scores In the nineteenth century, published piano-vocal scores were the principal means of disseminating an opera. Until around midcentury, publishers customarily issued individual pieces ("pezzi staccati") of the most successful operas soon after the first performances, giving precedence to pieces most likely to sell well, above all solo arias and duets, and usually omitting complex ensembles. Only later, if the opera promised to stand the test of time, were choruses and ensembles engraved and the opera sold as a complete edition. For La traviata the process was no different, even if by this time Verdi was a composer of such prestige as to make a complete piano-vocal score of each new opera the expected norm. In this case, however, matters were complicated by the poor reception of ~he first production. After eleven of the nineteen separate pieces into which the publisher divided La traviata had appeared, between 28 March and 31 May 1853, Ricordi was compelled to suspend publication. When Verdi decided to revise the opera, he forced Ricordi to recall from distribution material already printed, although some copies had already been sold and others had been sent to his agents Blanchet in Paris and Boosey in London for preparation of their editions. Only one known exemplar, at the Gesellschaft der Musikfreunde in Vienna, preserves essentially all the extracts published by Ricordi in 1853 (pvRP). Music derived from these extracts survives, however, both in official editions published by Ricordi's foreign distributors and in pirated editions published in Naples. For the reconstruction of the 1853 version of La traviata, however, pvRP is an important secondary source. Only in January 1855, more than half a year after the first performance of the revised version, did Ricordi complete engraving the piano-vocal score, which was announced for sale on 11 March. Although this edition (pvRIl-2) includes the revised versions of four pieces previously published (pVRP),215 no notice signaled the substitution to the reader. In contrast to the 1853 extracts, pvRIl-2 is found in many libraries. Yet Ricordi reprinted the piano-vocal score many times: surviving exemplars represent various issues, in anyone of which various plates may have been retouched or substituted. 216 As with the printed orchestral score, Verdi played no direct role in the preparation of pVRP-2. Nevertheless, this source has been of notable importance for the critical edition. Piano-vocal scores were intended for a very different audience from the professionals who used rental materials, an audience made up largely of music lovers, dilettantes, and novice singers who needed more explicit performing indications than did skilled specialists. In the case of La traviata, the task of preparing the piano-vocal score was divided between Luigi Truzzi, the usual arranger of Verdi's operas, and Verdi's ex-student Emanuele Muzio, who was already an established musical director, as well as a skillful composer. Both were experienced practitioners, highly knowledgeable about theatrical 215. These pieces, numbered 8, 10, 18. and 19 in Ricordi's edition, correspond to Verdi's numbers 5, 6 (Aria Germont), 10, and 11. 216. For further information about copies of pvRIl-2. see the first part, Sources, in the Critical Commentary.

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performance practice in general and Verdi's compositional and orthographic habits in particular. Their edition has proven useful in two principal respects: 1) for the suggestion of dynamic levels where Verdi omitted them; 2) for metronome markings. Later editions of the piano-vocal score, published by Ricordi between 1858 and 1868, were based on the first edition (pvRP-Z): in none of them did the editor return to Verdi's autograph. Some errors were corrected through intuition while others were introduced, and many erroneous readings were perpetuated. These sources help establish the performing tradition of La traviata, but play no part in the critical edition. Of great interest, on the other hand, are the first French editions, of Blanchet (1853-55, pvBL) and Escudier (1855, pvES), which offer suggestions for the solution of certain textual problems (see, in particular, the Critical Notes for N. 2, mm. 53-57 and N. 3, mm. 186-187). Librettos At one time manuscript drafts of the poetic text of La traviata must have existed, from which Verdi prepared his score; but none of this material appears to have survived, either in the Villa Verdi at S. Agata,217 or in the archives of the Teatro La Fenice, or among the papers of the Venetian government or police preserved in the state archives of Venice. The principal source for the poetic text of La traviata in this edition is Verdi's autograph score (A). When this source is incomplete or demonstrably in error, the critical edition relies on the libretto printed by Teresa Gattei for the premiere in Venice in 1853 (VES3). The text remained identical in the 1854 revision, hence no separate libretto was printed. Except where punctuation is concerned, the Critical Commentary notes every difference between the autograph score and the printed libretto. Divisions into scenes and set descriptions are taken from the libretto, as are stage directions Verdi omitted. Three sets of problems need to be addressed separately. 1. Scene Descriptions and Stage Directions The printed libretto contains many scene descriptions and stage directions, most of which were likely present in the manuscript libretto from which Verdi worked. Some of these appear in the autograph score, some were omitted or modified, others were added. It is difficult to ascertain which discrepancies may originate in the manuscript libretto. The critical edition generally adopts the stage directions present in the autograph score; words or phrases integrated from the printed libretto appear in parentheses. When there are significant differences between the printed libretto and Verdi's autograph score, this edition follows the latter, logging the readings of VES3 in the Critical Commentary. It is worth noting the expression "al primo panno" in the scene description at the beginning of Act II, found in all contemporary sources but changed in recent editions to "al primo piano." "Panni" were fiats hung with cloth in parallel series at each side of the stage. See, for example, the drawing by Giuseppe Bertoia for the Prologue of Attila (1847),218 from which it is clear that scenic elements were numbered from the back of the stage, so that the "primo panno" was furthest from the audience. 2. Variants in the Literary Text The text in the vocal lines in Verdi's autograph score differs from the printed libretto of La traviata in numerous ways. These variants may be traceable in part to the lost manuscript libretto, which presumably was closer to the version in the score. But evidence given in the first part of this introduction, together with our general knowledge of Verdi's working methods, suggests that other variants were due to Verdi's direct intervention. He altered the word order, added or deleted words, or modified the metric structure of a verse, aJJ according to what he perceived as the demands of his musical setting and a desire for greater dramatic efficacy. Verdi's interventions almost always tend toward greater immediacy and more colloquial language, attenuating in part the more

217. According to information supplied by the Carrara Verdi family. 218. Reproduced in the catalogue of the exhibit "Sorgete! ombre serene!": L'QSpello visivo dello spellilc% verdiano (Parma, 1994), 37. This example was kindly brought to my attention by Mercedes Viale Ferrero.

formal tone of the libretto, particularly inappropriate for a "commonplace" and "realistic" subject like La traviata. A good example occurs in the "duettino" of the Introduzione, N. 2 (Act I, scene 3), where Verdi changed Alfredo's "Di quell'amor ch'e I'anima" of VES3 to the celebrated "Di quell'amor che e palpito"; and immediately afterward Violetta's "Amar non so, ne soffro / Di cos1 eroico ardor" to "[ ... J un cos1 eroico amore." At times, Piave made a show of affected literary constructions. In the "offstage Coro Baccanale" in Act III (N. 9), note the last line of the stanza as given in the libretto: Largo al quadrupede Sir della festa Di fiori e pampini Cinto la testa . . . The form "cinto" is a classicizing so-called "relative accusative" (on the model of Manzoni's "Sparsa Ie trecce morbide"2!9), which Verdi changed to the more modest "Cinta la testa." Some changes involving metric alterations were undertaken for a similar reason, or simply to improve the singability of a line. In the recitative at the beginning of the Scena e Duetto for Violetta and Germont (Act II, scene 5), Germont's verse in VEs3 reads "D'ogni avere pensate dispogliarvi! ... "; in Verdi's score it became "Ciel! che discopro! D'ogni vostro avere or volete spogliarvi!" (N. 5, mm. 48-51). The composer added the first three words, completely distorting the regular metric structure. In another case, Piave's original decasillabo "0 barone, ne un verso, un viva" (Act I, scene 2) is rather hard to pronounce, because it assumes a caesura between the contiguous vowels of "verso" and "un"; Verdi reformulated it to the simpler, more singable decasillabo "0 barone, ne un verso, ne un viva" (N. 2, mm. 159-161). Also characterized by a caesura (between "L'ho" and "in") is the decasillabo tronco that follows soon after: ALF.

VIO. ALF.

Vi fia grato? ..

S1. Sl? .. L'ho in cor.

In Verdi's score it is altered to "L'ho giii in cor" (N. 2, mm. 172-173).220 In the correspondence of Verdi and Piave few traces remain of their labors over the libretto, since they worked face to face at S. Agata in October and November 1852 and then again in February 1853, although some changes can be documented between Verdi's sketches and his full score. The most troublesome passage from the point of view of the poetic text is without doubt Violetta's Aria (N. 3). In Verdi's sketch for the Andantino,22! the first quatrain, certainly derived from the manuscript libretto, reads: Ah forse lui quest'anima Solinga nei tumulti Godea sovente pingersi De' suoi colori occulti. In A the fourth line became "De' suoi deliri occulti." This reading has not been treated as an error in this edition, but as an intentional variant: not only is "deliri" more concrete than "colori," but it corresponds more closely to the original French words "reve" and "reverie," which recur several times in the corresponding monologue of Marguerite in La Dame aux camelias. 222 Verdi himself must have made the change, although he neglected to alter "de' " to "ne' "-the only way to clarify the meaning of the phrase. Piave probably knew nothing about Verdi's emendations; indeed, VEs3 has a different reading. It was subsequently adopted in secondary musical sources, whence it became the "official" text of the opera:

219. Compare Giacomo Leopardi's "E di lacrime sparso ambe Ie guance" in All'Ilalia, verse 81. 220. At this point in A there are traces of correction; Verdi had originally set the line as Piave had written it, as he also did in his sketches. 221. This is tbe third of three sketches for the Andantino. The first. withouttext, is written on a sheet containing material for Rigoletto; the second, also without words, is reproduced in Gatti, Verdi neUe immagini, 64. 222. For more details, see Fabrizio Della Seta, "Varianti (d'autore e non) ne La traviata" in Napoli e it teatro musicale in Europa tra Sette e Ottocento: Studi in onore di Friedrich Lippmann, edited by Bianca Maria Antolini and Wolfgang Witze.mann (Florence, 1993),417-35, in particular, 428ff.

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Ah forse e lui che {'anima Solinga ne' tumulti Godea sovente pingere De' suoi colori occulti! .. Although the composer's version makes perfectly good sense (with the small emendation mentioned), it has not been sung since the first performances (if then). In this unusual case, the critical edition prints both texts in the score, allowing the interpreter to choose between them. Less thorny, but no less interesting problems occur later in the same piece. In the tempo dimezzo "Follie! .. follie .. delirio vano e questo! ... " Verdi did not set the second verse, "In quai sogni mi perdo," which was nevertheless printed in the libretto. But it is above all the cabaletta that diverges in a startling manner. In VES3 we find: Sempre Iibera degg'io Trasvolar di gioia in gioia, PercM ignoto aI viver mio Nulla passi del piacer. Nasca iI giorno, iI giorno muoia Sempre me la stessa trovi, Le doleezze a me rinnovi Ma non muti il mio pensier. How different is the version in Verdi's autograph: Sempre libera degg'io Folleggiare di gioia in gioia, Vo' che scorra il viver mio Pei sentieri del piacer. Nasca il giorno, 0 il giorno muoia, Sempre lieta ne ritrovi, A diletli sempre nuovi Dee volare iI mio pensier. Without additional evidence, it is impossible to establish whether the printed text corresponded to Piave's original, later modified at Verdi's request, or whether the original version was set by Verdi, only to be modified shortly before the libretto went to press. All subsequent printed librettos retain the text of VES3, including those published by Ricordi, while all musical sources transmit the text Verdi set, the only one actually sung throughout the opera's history. For the critical edition there has been no hesitation about accepting Verdi's text, although a difficulty persists regarding the phrase "ne ritrovi" I "ne' ritrovi" (see the Note 144-172 to N. 3). Cases in which Verdi, through haste or misunderstanding, set an erroneous version of the text deserve separate treatment. At the beginning of the cabaletta of the Violetta-Germont duet (N. 5, mm. 320-328), for example, the autograph reads:

Morro! .. la mia memoria Non fia ch'ei maledica, Se Ie mie pene orribili Vi sia chi almen gli dica. (I shall die! . . let him not curse my memory, if only there be someone who at least tells him my horrible pains.)

3. Spelling and Punctuation Nineteenth-century Italian orthography often differs from that of modern times, and Verdi's presents its own peculiarities, idioms, and regionalisms. This edition normally preserves the composer's spelling, unless it is obviously mistaken, which happens rarely. Occasionally, his spellings differ from those of the printed libretto; even if now obsolete, the forms employed in the autograph have been retained when based demonstrably on nineteenth-century usage. This is the case with the Tuscanized forms "camminetto" (N. 8, scene description, mm. 36-39) and "Affrica" (N. 9, m. 29) employed by Verdi where Piave had the more common forms "caminetto" and" Africa." On the other hand, even the libretto has obsolete and sometimes erroneous spellings, such as "strazzian" (Act II, scene 15) and "stippo" (Act III, scene 1), for which Verdi substituted the current "strazian" (N. 7, m. 699) and "stipo" (N. 8, m. 91). Of course in such cases the critical edition follows the reading of the autograph. Even within the score there are spelling inconsistencies. A prominent example is the alternation between "giovine" and "giovane," as in N. 5 (mm. 209-210); in this case, the edition favors the spelling "giovine" (although the libretto has "giovane"), the prevailing form used by Verdi throughout the opera. Verdi often failed to punctuate his text, and sometimes he used different marks from those in VES3 (changing exclamation points to question marks and vice versa). When it exists, Verdi's own punctuation shaped his musical ideas and often has a strong expressive value. In the recitative before the Aria Violetta (Act I, scene 5), for example, Verdi added a question mark after the verse "E sdegnada poss'io?" (N. 3, mm. 16-17); he thus introduced a caesura not found in VES3 between this and the subsequent verse ("Per l'aride follie del viver mio?"). An even more radical intervention occurs in the tempo di mezzo, where the libretto reads: Povera donna, sola, Abbandonata in questo Popoloso deserto Che appellano Parigi. In its place, Verdi wrote:

Morro! .. la mia memoria Non fia ch'ei maledica, Se Ie tue pene orribili Non fia che aleun gli dica.

Povera donna! sola! Abbandonata! in questo Popoloso deserto Che appellano Parigi.

(I shall die! . . let him not curse my memory, if only there not be anyone who tells him your horrible pains.)

The exclamations, interrupting the syntactic flow of the phrase, are implicit in Verdi's musical setting (mm. 121-127). This edition adopts Verdi's punctuation whenever it is present, and completes it with that of the libretto when it is lacking. The Critical Commentary does not list editorial interventions of this type, except when the changes are of unusual importance. When it is necessary to add commas because of textual repetitions, the edition does so without further notice.

The error in the third line is evident: the "pains" are those of Violetta, who is speaking, and cannot possibly be "your pains"; the last line, translated into a more direct form, would be: "non vi sara qualcuno che gli dica" and signifies literally: "there will be no one who tells him." The critical edition corrects the error according to the text of the libretto (Act II, scene 5):

3. Problems in Editing and Performing La traviata The problems that arise in preparing a critical edition of La traviata, and in performing from that edition, can be divided into two distinct but related groups: those that stem from Verdi's autograph notation, and those that depend on performance practices in midnineteenth-century Italy.

Notational Problems Less than five months separated Verdi's initial decision to compose La traviata from its premiere, a period that also included considerable work on II trovatore and its first performance. Considering these pressures of time, the autograph manuscript of La traviata is

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a document of remarkable clarity and accuracy, which generally allows us to grasp unequivocally the composer's intentions. Nonetheless, its interpretation is not without uncertainties. Until he was well advanced in years, Verdi prepared his manuscripts for immediate use in performance, not for publication, and his autograph scores were intended for use by musicians and copyists steeped in the stylistic customs and performing traditions of the era. For them many indications necessary to modern users would have seemed superfluous. For the editor, there are three broad categories of interpretive problems in La traviata. They derive from traces of Verdi's compositional process (correction of errors and revisions), from his frequent use of incomplete or abbreviated notation, and from inconsistencies within the text (often resulting from his compositional method). These problems are becoming better understood as volumes in the critical edition appear. Since difficulties encountered in La traviata do not diverge substantially from those encountered by other editors in this series, we shall point out here only the most important and telling instances found in this opera, referring to introductions in other volumes for additional details. A fuller consideration of specific problems in La traviata (including all those discussed below) is provided in the second section, Critical Notes, of the Critical Commentary. 1. Corrections and Revisions a) Errors and Omissions As he quickly wrote out his score, Verdi frequently made small rhythmic errors in the values of notes and rests or neglected to include necessary elements (prolonging dots, one or more rests or notes, even a measure or more of a part). Often he corrected his errors instantly, but at other times he overlooked evident mistakes or omissions; in nearly all cases they can be rectified without difficulty. Some omissions occurred after page turns or resulted from his having drafted the score in successive phases. A likely example of the latter is a pair of missing measures in the bassoon part of N. 4 (mm. 114-115). Complex situations, admitting of alternative solutions, are addressed in the Critical Notes, where the rationale behind the chosen version is given. One problematic passage, interpreted as a rhythmic error in some previous editions of La traviata, occurs in N. 10 at mm. 9699, where Verdi wrote a syncopated rhythm for clarinet, producing an unusual harmonic situation with notable dissonances. Since the rhythm is preserved in all contemporary sources and Verdi maintained it even after making other corrections in the part, the critical edition has accepted the reading of A, but it prints in a footnote the emendation adopted in the current performing tradition. Obligatory accidentals lacking in one or more parts can almost always be deduced from other parts and the general harmonic context; in some instances they were physically added to Verdi's autograph by Ricordi's copyists. These include cases in which Verdi omitted necessary accidentals in transposing instruments. When the music modulates to a new tonality, Verdi would not infrequently write accidentals in the initial measures, then continue as though he had changed the key signature. Occasionally there are doubts about which accidentals are required. In a passage in N. 7, mm. 506-508, Verdi forgot either to write an obligatory flat in one part or obligatory naturals in three others, leaving some ambiguity about the intended harmony (an unresolved dominant-seventh chord or a diminished seventh). The critical edition has opted for the latter (as in piano-vocal scores), more characteristic of the composer's language. There are so few uncertainties regarding pitches that one is sometimes hesitant to reject even a dubious reading. A notable instance occurs in N. 3 at m. 187, where for the second violins and violas Verdi has clearly written f'; in the A-flat major context, this produces an unresolved seventh chord on the sixth degree of the scale, as well as an unlikely harmonic progression. Based on internal evidence of the musical text and on the comportment of secondary sources, the critical edition corrects the notes to e~'. Some signs (particularly slurs or crescendo and diminuendo marks) remained incomplete when Verdi's pen ran dry of ink; or, vice versa, stray flecks of ink and blots, resulting from an excessive quantity of ink in his pen, might be mistaken for signs of articulation. Fresh ink splatters and smudges could also be transferred to

a facing page. Verdi rarely clarified signs he had already written, although he occasionally entered additional slurs and signs of articulation during rehearsals. Nearly all such uncertainties can be resolved by direct consultation of the autograph, but some doubts remain. In N. 3, at mm. 26-50, ink spots scattered among the staves of the upper strings and even in measures of rest have often been interpreted as staccato dots, but the critical edition regards them as meaningless ink spots. b) Corrections and Compositional Emendations

More common in Verdi's manuscript than errors and omissions are instances when he immediately corrected a mistake or modified his compositional plan. The methods he used for such emendations, smearing away wet ink or scraping away dried ink, while penning a correction over previous notation (sometimes utilizing parts of notes or signs already written), are described in detail in other volumes in this series. 223 Such alterations can obscure his intentions for the definitive version, particularly with regard to signs of articulation and dynamic indications. Slurs, accents, staccato dots, crescendo and diminuendo signs belonging to an earlier layer may not be thoroughly erased or modified with sufficient clarity, and may therefore seem to apply to a revised as well as an earlier version. Even direct reference to the manuscript itself cannot always elucidate the final reading, which must be inferred from the musical context. At mm. 33-34 of N. 1, Verdi's evolving dynamic indications resulted in superimposed crescendo and diminuendo signs in the bassoon part; at mm. 187-190 ofN. 2 (and parallel measures), his modifications produced crescendo signs of varying lengths, accents in some parts but not others, and changes in slurs (which are not uniform in parallel parts); and at mm. 1-3 and 8-10 ofN. 5, his revision in the placement of accents to stress only the weak beats at mm. 2 and 9 is not carried through in all the striqgs. When necessary Verdi added new measures between existing ones, hatched out entire measures up and down the page, or replaced folios. In N. 6, for example, as he prepared the skeleton score from his sketch, he changed Violetta's melody at the present mm. 92-96, which fall over a page turn, adding m. 94 in the right margin of the page on staff lines drawn by hand. In N. 5, for the 1854 revision, he canceled with cross hatching the original m. 101, the last on a verso, then replaced the following folios. 2. Incomplete or Abbreviated Notation

To save time and effort, Verdi frequently used abbreviated notation to show repetitions of material or the derivation of one part from another. While realization of the abbreviations is generally straightforward, problems occasionally arise. a) Repetitions

Following the practice of his day, Verdi customarily indicated repetitions of one or more measures with standard signs or signaled the repeat of longer passages or entire sections (for example, the repetition of a cabaletta theme) through various written instructions, all of which are transcribed in the Critical Notes. Errors frequently arise at the junctures between the abbreviated measures and the return to full notation. These typically involve notes of resolution written in the wrong register, as in the flute and piccolo parts at m. 323 of N. 2. In N. 7, for his 1854 revision; Verdi modified a repeated phrase (mm. 732-737 = 725-730) and warned the copyists in vain to "mind the final notes of the repeat," that is, the first note of m. 738: in eight parts the notes went uncorrected, and the errors persist in recent editions (see Plate 4). Only in one case does the realization of Verdi's abbreviated notation pose a true problem: in N. 2 at mm. 53-56 only the vocal parts and some orchestral parts are fully notated, while other parts are to be read from mm, 25-28. Differences in the vocal parts between the passages, however, create harmonic incoinpatibilities between the voices and orchestra. For more details, see the Critical Notes. b) Derived parts

When several parts are to sound in unison or at the octave, Verdi generally notated only one or two of them, deriving the others through written instructions. Often he would specify the first few 223. See Lawton in Verdi, II travatore, xxviii-xxix.

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notes of a derived part to clarify its register. At times, however, a literal realization of his instruction produces notes in a tessitura either extremely difficult to play (as in the piccolo part of N. 2, mm. 303-322) or even outside an instrument's range (as in the flute and oboe parts of N. 11, mm. 64-66), in which case the part must be adjusted. The latter problem occurs frequently in "col Basso" passages for violas, in measures where a literal interpretation in unison with the cellos would result in one or more notes falling below the viola's lowest string. To help determine the proper register for these passages, and to effect a transition between them, where necessary, the critical edition is usually guided by the printed orchestral parts (pRJ). c) Doubling of wind instruments

To indicate performance of a passage by the first instrument of paired wind parts, Verdi wrote "Solo," which neither implies nor excludes soloistic prominence; for unison performance by both instruments he normally wrote double-stemmed notes (or double notes for whole notes). Often, however, there are single-stemmed notes without a "Solo" indication. When the intended realization cannot be determined from the context (for example, a parallel passage), the critical edition usually accepts the interpretation of the printed orchestral parts (pRJ). When "I" or "a 2" appear in the score within parentheses, the source can always be assumed to be pRJ. When the readings of pRJ have not been followed, the indications are put in square brackets. For the trombones, always notated on a single staff, Verdi generally intended that passages with only two parts (usually in octaves) be played by all three instruments; trusting the experience of performers, however, he rarely indicated whether the second trombone should double the first or the third. Here too the critical edition usually follows the assignment of instruments in pRJ, which represents the point of view of those immersed in the performance customs of the day. As compared with modem practice, two differences deserve mention: 1) the general tendency in pRJ is for the second trombone to play in unison with the third trombone rather than the first (as in some recent editions of the score), creating a noteworthy difference in sonority; 2) in passages with a wide range pRJ maintain the second trombone in an intermediate register, zigzagging between one outer part and the other. Passages of this kind are relatively infrequent, and the critical edition generally avoids this procedure, which is unnecessary for modem instruments. 3. Inconsistencies

The haste with which Verdi worked and his two-stage method of composition and orchestration give rise to inconsistencies not only between parallel passages, but even between two or more instruments playing analogous parts. These inconsistencies (contrasting or contradictory indications of phrasing, articulation, dynamics, and sometimes the duration of notes) pose difficult problems for an editor to resolve. While at times the differences appear to be intentional and musically significant, often there is no convincing rationale for maintaining discrepancies deriving from Verdi's failure to return to the completed score to reconcile such problems. Differences in the duration of the concluding notes of a passage are typically a product of Verdi's stratified notation of the score. In particular, a note in the bass line, entered at the skeleton-score stage, may differ from those in parts entered later. The critical edition generally alters the value of the bass note to conform to the other parts, unless a valid musical reason justifies the discrepancy: see, for example, mm. 47, 51, and 105 in N. 7, where acoustical concerns may have motivated differences between the upper and lower parts. Verdi almost never wrote dynamic indications in every sounding part. Furthermore, his markings were often made at different times, during the compositional process or during rehearsals. As always, there are frequent discrepancies between the bass part and the rest of the orchestra, or between a vocal or choral part entered in the skeleton score and voices added later. In tutti passages with many dynamic markings, the critical edition usually equalizes indications, choosing the level that predominates. Where Verdi notated inconsistent dynamic marks in just two or three parts, however, it can be difficult to make a decision. Occasionally, there is reason to respect divergences in dynamic levels: see, for example,

the contrast between ppp in the double basses and p in the upper strings in N. 7, m. 74. Or see the orchestral ritornello introducing the Brindisi in N. 2, mm. 182-202, where Verdi supplied sparse and contradictory dynamic markings, which nevertheless permit a logical interpretation. When dynamic marks are entirely lacking, the omission is not generally attributable to carelessness, but to Verdi's reliance on the experience of performers, above all in recitatives. Here the orchestra was expected to follow the interpretation of the singer, who enjoyed great freedom. For modem performers the critical edition offers suggested dynamic levels, derived whenever possible from early secondary sources, most frequently the piano-vocal score (pvRJ'-Z). Not all added dynamics from these sources are deemed necessary, however, as in the case of accented chords in a p context, exemplified in the first measure of N. 7, where pvRI'-z adds a superfluous f. Marks of articulation in parallel parts or in analogous phrases of a single part can be disconcertingly inconsistent. Verdi used two types of accents, > and A, and even the staccato dot could assume the value of an accent, especially when applied to pizzicato strings. The three signs can appear in identical parts, or alternate without apparent reason. Furthermore, the dimensions of the marks can cause difficulties in distinguishing among them. An accent can be so small as to be taken for a staccato dot or so large as to seem a diminuendo sign. As a rule, Verdi tended to write accents proportional to the value of the note in question (larger over a quarter note than over an eighth note, etc.). In terms of performance, an accent or a diminuendo over a single note tend to be similar: they indicate a marked attack followed by a diminuendo for the duration of the note, corresponding to the closed diminuendo sign used by Rossini and his contemporaries. For an example of parallel measures showing a diversity of accents and diminuendo signs of varying sizes over single notes, see N. 3, at mm. 137, 140, and 141, which also offer proof that for Verdi the difference could be significant. In the flute part (no doubt the first melodic instrument entered here), he initially wrote a short accent above the first note of 137 and 140, then added a longer diminuendo below the note, indicating that the decrease in volume should continue to the end of the note. In the parallel oboe and clarinet parts, added subsequently, most of the signs are the longer diminuendo. See too the part of Violetta at mm. 162 and 163, where Verdi first wrote accents, then transformed the signs into diminuendo markings (see Plate 2). Inconsistencies in slurring are among the most vexing, and they are often difficult to resolve. There are two particularly problematic passages in La traviata: 1) the first four-measure phrase of the Preludio, which returns three times in the orchestral introduction at the beginning of Act III (N. 8, mm. 1-4,45-48, and 81-84); 2) Violetta's lyrical phrase in the card party scene of. the Finale Secondo, first sung to the words "Ah perche venni incauta" and doubled by several instruments (N. 7, mm. 379-386,430-437, and 468-475). The latter example is further complicated by differences in the accompanying crescendo and diminuendo signs. In both cases, which are too complex to summarize here, the Critical Notes offer exhaustive descriptions of the situation in the autograph and ample discussion of the rationale behind the solutions adopted, which do not pretend to be authoritative. Performance Practice 1. General Considerations The critical edition of an opera attempts to establish a text reflecting the composer's musical and dramatic intentions as much as possible, suggesting plausible solutions where his indications are absent or ambiguous. It can enter only indirectly into questions regarding the realization of the work on stage. This is particularly evident with an opera such as La traviata, one of the most widely performed in the entire repertory, which no doubt will continue generally to be staged in theaters around the world using modem technical and musical resources. It is entirely possible to envision "historicizing" productions which seek to recreate the conditions under which the work would have been performed in midnineteenth-century Italy, including such aspects as organization of theatrical space, scenographic technology, location and composition of the orchestra, use of period instruments, and the style of

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singing and acting. Yet such performances will always be exceptional experiments, and it would be unrealistic, even undesirable, to adopt such an approach in the normal life of an opera. That the performing conditions customary in Verdi's era would all have reflected his thought is, in fact, highly doubtful. To take an obvious example, staging La traviata today in costumes from the early eighteenth century, as was normal until about 1900, would certainly be interesting; but just as certainly it would not conform to Verdi's conception of the opera. Then too, as many eyewitness reports of the period testify, the average quality of performances was poor, for the singers and orchestra had only a few days to learn a new work, and rehearsal time was very limited. The real challenge is to find modern interpretive solutions that adhere to, or at least do not transgress, the substance of Verdi's ideas in terms of musical style, structural equilibrium, and above all dramatic significance. Whatever their stance on issues of "authenticity," however, performers and producers using the critical edition of La traviata should at least be aware of the conditions and traditions prevailing at the time the work was first produced. Today, these concerns affect in particular two figures who have assumed a role in the interpretation and recreation of opera inconceivable in the 1850s in Italy: the conductor and the stage director. At the time of La traviata's premiere, the job of rehearsing and conducting performances was divided between the "maestro al cembalo" (or "maestro concertatore") and the concertmaster (called the "Violino principale" or "Capo d'orchestra"). The former helped singers learn their parts; the latter was responsible for coordinating orchestral and vocal forces during performances. There was also a "stage director," a position usually covered by the librettist, as was the case with Piave at La Fenice. But unlike a modern director he was not asked to "create" a production; his task was to ensure that everything functioned technically and that the libretto's stage directions were respected. The singers tended to carry their individual performance styles over from one opera to another. In a certain sense they actually directed the production, both in terms of music and staging: in both recitatives and arias the orchestra adjusted tempos and dynamic levels to suit the needs of the singers. 224 Facilitating the rapport between singers and orchestra were two factors. First, although the repertory was continally renewed, the musical style was quite uniform, so that performers worked within a well-defined code of conventions. Second, in performing these works, singers stood far downstage, under the proscenium arch or even beyond it on a projecting apron, while the orchestra sat at the same level as the audience on the main floor, permitting direct contact between singers and players. While the first of these circumstances can no longer be reproduced, there has been no lack of proposals encouraging emulation of physical aspects of midnineteenth-century performances. 225 To what degree this aim can be realized is beyond the scope of our discussion. One important point, however, should be emphasized: under ideal conditions, in a first-rate nineteenth-century operatic performance where the singer was truly the center of attention, the greatest fascination lay in the sense of freedom and imagination welling up from the vocal interpretation (by which we do not mean the liberty to modify a part at will), from the naturalness of the phrasing, and from the variety of expressive nuances. Today, without abandoning the advantages deriving from the modern concept of a conductor and director, an ideal performance should aim to recreate this same sense of freedom, too easily compromised by relying on an overly complicated staging or on conducting that gives exaggerated prominence to the orchestra. As for staging, it is worth remembering that La traviata represented a conscious attempt on Verdi's part to transplant to the operatic stage a type of prose theater already tending toward naturalism. Hence, a style of performance appropriate to a work such

224. Throughout Verdi's career. however. as amply documented from at least the time of Macbeth (1847), he attempted to impose his conception of the composer as dramaturge, ultimately responsible for all aspects of the operatic production. 225. See Roger Parker's introduction to the critical edition of Nabucodonosor in The Works of Giuseppe Verdi, Series I, vol. 3 (Chicago-Milan, 1987), xxv, and in the same series, Jeffrey Kallberg's introduction to Luisa Miller, vol. 15 (ChicagoMilan, 1991), xxviii.

as Nabucco,226 is no longer valid. In La traviata the "frozen attitude" is desirable perhaps only for the Largo concertato closing the Finale Secondo. For the rest of the opera, but especially for the singer of the title role, a just balance needs to be struck between perfect execution of the often treacherous vocal parts and an acting style that is spontaneous, expressive, and certainly not static. We should never forget the qualities that Verdi expressly called for in the ideal interpreter of Violetta, qualities he found in Rosina Penco: "a good appearance, spirit, and functions well on stage; optimal qualities for La traviata. "227 2. Music a) Metronome marks

Verdi routinely began to provide metronome marks for his operas with Attita (1847), sometimes notating them on a separate sheet (Attila), sometimes authorizing their insertion into a copy of the score (Luisa Miller).228 Usually he wrote them directly into his autograph manucripts, as in Macbeth (first version, 1847), I masnadieri (1847), Jerusalem (1847), La battaglia di Legnano (1849), Stiffelia (1850), and II travatare (1853). Two prominent exceptions are Rigaletta (1851) and La traviata. Martin Chusid's hypothesis, that their absence can be explained by the pressure on Verdi to submit these two scores to the publisher immediately after the premiere, is plausible. 229 Chusid also maintains that the metronomic indications appearing in the earliest secondary sources for the two operas can probably be traced to Verdi or were introduced with his approval. While this may be true for Rigoletto, the case of La traviata requires further attention. Metronome marks appear in only two of the earliest secondary sources for La traviata: the piano-vocal score (pvRfl-Z) and the manuscript copy of the full score preserved in Vienna (A-Wn), produced in Ricordi's copy shop. The indications in A-Wn were added by a single hand after the manuscript had been completed, and they may have been taken from the piano-vocal score. While the two sources generally agree, and existing small differences are simply mechanical errors, A-Wn lacks some indications found in pvRfl-z.230 That indications in the piano-vocal score were based on direct instructions from Verdi seems improbable. On one hand, metronome marks already appear in all pieces Ricordi published in April and May 1853, shortly after the premiere of the original version, and there is no evidence that Verdi attended to this task. On the other hand, there are no metronome marks in pieces published by Ricordi in January 1855, after the revised version had been performed. 231 The latter include two portions of the Introduzione (N. 2, the opening section, mm. 1-172, and the stretta, mm. 724-795); the entire Finale Secondo (N. 7); and the Baccanale (N. 9). Furthermore, indications are also lacking in some other sections revised in 1854, including in N. 5 the Andantino "Dite alia giovine" and the following Sostenuto, and in the Finale Ultimo (N. 11) the concluding Andantino and Allegro. Given that metronome marks are also absent throughout the first edition of the full score (Rfl), we may conclude that Verdi did not systematically apply them for La traviata. It was more likely the two editors of the piano-vocal score, Truzzi and Muzio, who undertook the task, completing it only in part. Nevertheless, since these indications reflect the ideas of musicians well-versed in the performance practices of the time, the critical edition accepts them (placing them in parentheses to indicate their derivation from pvRfl-2 , unless otherwise noted).

226. See Parker in Verdi. Nabucodonosor, xxv: "A further serious distortion

comes from expecting the singers to engage in complicated business during the singing of set pieces. Such evidence as we have suggests that. on the whole. singers remained stationary during set pieces: the dramatic 'frozen moment' finding its natural echo in a static visual tableau." 227. Letter of 30 January 1853; cited in Conati, 312. 228. For fuller details see Lawton in Verdi, II trovatore. xxx-xxxi. 229. Introduction to Verdi, Rigoletto. xxvii. 230. The six metronome marks missing in A-Wn are in N. 4. m. 99 (which also lacks the tempo indication Allegro); N. 5, mm. 170 and 337; N. 6, mm. 23 and 139; and N. 10, m. 239. 231. During the entire preceding year Verdi lived in Paris, where he was working on Les V€pres siciliennes.

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INTRODUCTION

b) Vocal style and ornamentation La traviata was written at the end of an era in which singers were permitted broad "creative" powers, which they exercised through their use of vocal ornamentation. A new conception of the interpreter's role was gaining ground, closely linked to developments in Verdi's art, which placed the singer in the service of the composer's musical and dramatic ideas, not the reverse. That in performances not personally supervised by Verdi singers still freely introduced changes does not mean he approved. On the contrary, in 1875 he wrote to Giulio Ricordi:

[. . .] we have no need for directors and singers to go looking for new effects; and for my part I declare that never, never, never has anyone ever been able or known how to draw forth all the effects conceived by me ... 232 As to La traviata itself, we have the precious, though late testimony of Emanuele Muzio, who in 1886 recounted for Verdi the performance of the forty-three year old Adelina Patti at Nice: Her breath control is limited, she continually breaks up phrases, and her voice uses little legato in the mid-range notes. She frequently employs vocal portamento, ascending as well as descending, and to give you an example, here's how she sings the beginning of the Adagio of the cavatina "Ah forse e lui." I don't need to tell you how it's written. Yet she sings it [here musical notation, demonstrating that Patti overly draws out the melody]. Her cadenza is good and simple: it received little applause because the audience expected a tour de force. She sang the cabaletta with great vivacity, but the spiccato notes no longer have that silvery sound of years gone by, and the trill she maintains while running into the wings, on g fiat, since it's short, because of her breath control, did not produce much of an effect. [... ] In the last act here's how she sang "Addio del passato," and I'm not exaggerating [that is, laboriously hammering the words]. With those breaths she means to imitate anguish. 233 Muzio's tone leaves no doubt that he assumed the maestro would not approve of such liberties, even in a singer he loved, but which were evidently indications of a voice in decline. In the second half of the nineteenth century alterations in vocal parts were generally not so much expressions of creative virtuosity, as in Rossini's time, but adjustments (so-calledpuntature) to match the singer's vocal means. Little more than a year before the 'premiere of La traviata, articles debating the suitability of such alterations appeared in the Gazzetta musicale di Milano; on one side was the composer Alberto MaZzucato (then a collaborator in Lucca's rival paper L'Italia musicale), on the other the editor of the Gazzetta, representing Ricordi's official position and hence, indirectly, Verdi's. Mazzucato defended his student, Marcella Lotti, making her debut at La Scala in Attila, against the accusation of introducing arbitrary changes and transpositions in the work and omitting cadenzas; the paper's editor instead declared that he would "prefer that artists not accept parts unsuited to their talents, rather than see them introduce strange changes of pitch or transpositions," and to be "of the opinion that such alterations are at times audacious, at times sacrilegious, and that scores are better left undisturbed and silent in the publishers' warehouses than altered or ruined on stage. "234 If nothing else, this discussion shows with what vehemence the problem was debated at the time. In the sober, prevailingly syllabic vocal writing of La traviata, it is difficult to conceive of introducing melodic ornamentation beyond that expressly notated by Verdi. The only possible exception is Violetta's aria, N. 3; for evident dramatic reasons, it contains much coloratura, both in the cadenzas of the recitatives and the Andantino ("Ah forse e lui"), and especially in the cabaletta, "Sempre libera degg'io." That this is the only piece for which an 232. Letter dated "Genoa 25 [March 1875]"; Milan, Archivio Ricordi (I·PAi, 91/53); published in Abbiati, 3:748-9, with the erroneous date "S. Agata, April 1875." 233. Letter dated Nice, 14 February 1886, present whereabouts unknown; pub· lished in Carteggi verdiani. 4:2230. where the musical examples are not transcribed (in their place Luzio provided the verbal descriptions in brackets); it is possible that

instead of "0 flat" one should read "A flat." 234. See Gazzetta musicale di Milano, no. 2 (11 January 1852) and no. 3 (18 January 1852). For a fuller discussion of these articles see my paper "Gli esordi della critica verdiana: A proposito di Alberto Mazzucato," presented at a conference in honor of Pierluigi Petrobelli organized by the Forschungsinstitut fUr Musiktheater der Universitiit Bayreuth, SchloB Thurnau, in October 1992 (in press).

early source (A-Wn) preserves a few ornamented variants (three alternative cadenzas for the end of the Andantino) is not merely a coincidence. Modem performers may wish to experiment with some variants in Verdi's written cadenzas, but their quality is so high that singers are advised to proceed with extreme caution. As for the theme of the cabaletta, Verdi's virtuoso coloratura passagework is so intrinsic to the thematic substance of the piece as to discourage any modification whatsoever. A specific problem in this cabaletta is posed by the conclusion of the vocal part (mm. 245-246). Many singers have found the cadence as Verdi wrote it,!" - e~" - a~ " ineffective after the brilliant passages preceding it, and the custom of inserting a cadential formula an octave higher (!" - e~" - e~'" - a~") has long prevailed. In this instance Verdi may well have adhered to the practice of the preceding generation, writing a more neutral conclusion on the assumption that the singer would embellish it. Reporting on Patti's concluding trill, Muzio condemned the failure of her inserted trill rather than its use per se. For these measures, then, the critical edition does not advise against alternative cadences, but adds two cautions: 1) it is a mistake to restrict the performance of these measures to a single formula, so hallowed by tradition as to assume the authority of a written text, contradicting the very freedom of interpretation the composer might have wished; .2) it is a mistake to set as a condition for performing Violetta, a part so rich in expressive possibilities, that a singer have a high e~"', a note Verdi did not write and which, moreover, would be used only once in the entire opera. Instead, singers might experiment with various conclusions suited to their vocal means, adopting for instance b~" - a~" as the final two pitches. 235 c) Cuts

Intimately connected with the issue of alterations in the vocal lines of La traviata is the question of possible cuts. That nineteenthcentury performances eliminated many passages is evident in A-Wn, a heavily used copy of the score: even memorable phrases, such as Violetta's "Cosl alla misera ch'e un dl caduta" (N. 5, nun. 212ff.), were cut. In Muzio's letter to Verdi regarding the 1886 performance in Nice, he noted that Adelina Patti "sang only one strophe" of "Addio del passato," and then "after the Adagio Parigi, 0 cara she jumped right to the finale, to Germont's entrance. I'm not telling you about other wholesale cuts, especially in the duet with the baritone [N. 5]."236 There is no proof positive that Verdi ever sanctioned the use of cuts, apart from the omission of a few phrases in Germont's cabaletta in performances immediately following the 1853 premiere, noted in our historical account. 237 More than sixteen years later, writing to Leon Escudier about a French production of I masnadieri, Verdi appears to have made some concessions regarding cuts: As for I masnadieri, I wish them success. I cannot say anything about it because I do not have it in front of me and I don't remember it. I know the last two acts are better than the first, and perhaps it will be necessary to make some cuts in these, if only in repeats of the so-called cabalettas. 238 When he wrote this letter, after Don Carlos and not long before Aida, Verdi was intensely preoccupied with debates about the "reform" of opera and polemics for and against Wagner. I masnadieri had begun to seem like an antiquated work, and its composer was no longer much convinced of its worth. In this light, Verdi's suggestion to cut repeats of the cabaletta themes represents a kind of last resource. Nineteenth-century alterations to La traviata were not limited to cuts but included insertions as well. At least three different sources (the manuscript copy A-Wn, the copy of RP at the Bibliotheque Nationale in Paris, and the surviving violin director's part in pRI) attest to the practice of inserting in the Scena Violetta (N. 6), between Violetta's climactic "Amami, Alfredo" and the short or235. A cadence with a final ascent from e~" to a~", on the other hand, is stylistically inappropriate. 236. Carteggi verdiani, 4:223n. 237. See the review by Tommaso Locatelli cited in n. 135. 238. Letter of 14 December 1869, cited in Martin Chusid, "Editing Rigoletto" in Nuove prospettive della ricerca verdiana, 56. See also Stephen Casale, "A newly· discovered letter from Verdi to Leon Escudier," Verdi Newsletter 11 (1983), 9, where it is erroneously dated 12 December.

INTRODUCTION

chestral coda (mm. 97 and 98), a reprise of the motive "Di quell'amor," assigned to solo strings. 239 At this same point, the Parisian Violetta called for an orchestral repetition of the melody of "Amami, Alfredo," thereby institutionalizing a practice of this kind. A further insertion is in evidence in A-Wn: on at least one occasion the party at Flora's house in the Finale Secondo was embellished with a danced divertissement, inserted after the chorus of Spanish matadors. In modem times, the practice of inserting music into La traviata has completely disappeared. Despite the recent tendency toward complete performances (mainly in recordings), the twentiethcentury performing tradition continues to permit cuts of three main types: 1) the second strophes of pieces constructed as couplets: Violetta's Andantino "Ah forse e lui" (N. 3); her romanza "Addio del passato" (N. 8), and, less frequently, Germont's Andante mosso "Di Provenza it mare, it suol" (N. 6); 2) cabalettas in Alfredo's aria (N. 4, "Oh mio rimorso, oh infamia") and Germont's aria (N. 6, "No, non udrai rimproveri"); 3) repeats of these same cabal etta themes, if the sections are performed.

Generally speaking, these practices reflect the post-Wagnerian conception that deems every form based on repetitions, particularly cabalettas, to be the residue of an antiquated, anti-dramatic convention. 240 Today, thanks to our ever-increasing awareness of the Italian operatic repertory of the first half of the nineteenth century, its style.and aesthetic ideals, we are in a better position to appreciate the architectonic character and dramatic meanings of its forms. We are now aware, for instance, that arias in couplet form refer to a particular tradition in French opera, which Verdi consciously utilized in La traviata to characterize both the Parisian setting and the protagonist's role as outcast. 241 An uncut performance of these pieces, desirable from the standpoint of the opera's musical equilibrium, also helps a thoughtful audience acquire an understanding of the cultural codes they embody. The question of cabalettas is more difficult, because it involves aesthetic evaluations that might be considered beyond the scope of a critical edition, but which cannot be ignored. Bluntly put, if the Alfredo and Germont cabalettas have been more often cut than others, it is not only because of later dramaturgical ideas, but because they have seemed musically weak. Nowadays Alfredo's aria is received more positively, thanks to performances sensitive to the variety of expression of which it is susceptible. Germonfs cabaletta, on the other hand, is still held in low esteem, despite the efforts of willing interpreters: its weakness lies above all in the lack of what Verdi called a "difference of thought" between it and the preceding Andante, which justified the two-movement aria structure. 242 Well before the most impassioned debates about "music drama," indeed, within a few years of the first performances of La traviata, Germont's cabaletta was deemed expendable. On the occasion of the opera's first Milanese performance, at the Teatro Canobbiana in 1856, Alberto Mazzucato observed in his review: The cabaletta [of Germont] does not hold up compared with that very sweet melody ["Di Provenza il mare, il suol"], and in truth it is negligible, even leaving aside direct comparisons. It would perhaps have been better to omit it, brusquely concluding the piece which, considering its dramatic function, actually has no need of a second movement, in which case it could very well assume the form and name romanza.243

239. In A-Wn the insertion is labeled "Lehmanns Einlage." There is no nineteenth-century orchestral conductor of any importance by the name of Lehmann. But since A...Wn was used in Berlin in 1878 and perhaps also in 1881, the insertion could well be associated with the famous singer Lilli Lehmann (18481929), who sang regularly in the Prussian capital from 1869 to 1885, performing many roles, including Violetta. 240. For a depiction of Verdian performing traditions that clarifies the aesthetic and ideological motivations for these choices, see Tullio Serafin and Alceo Toni, Stile, tradizioni e convenzioni del melodramma italiano del Settecento e dell'Ottoeento, 2 vols. (Milan, 1958-64); on La traviata, see in particular 2:263-323. 241. On the tradition of couplets and their function in La traviata see above all Hepokoski, "Genre and content in mid-century Verdi," cited in n. 207. 242. On this point, see Budden, The Operas of Verdi, 2:148. 243. Gazzetta musicale di Milano, no. 50 (14 December 1856), 394.

The earliest evidence for cutting Germont's cabaletta goes back to this same period: as we have seen, it relates to performances in December 1856 at the Theatre-Italien of Paris, conducted by Giovanni Bottesini. Two manuscript folios inserted into the copy of RP preserved at the Bibliotheque Nationale in Paris, attributable to Bottesini, contain a variant to eliminate the cabaletta. In place of mm. 213-221 of N. 6, in f meter, it substitutes four measures of C in B-flat minor, using Verdi's thematic material, then skips directly to m. 297; at m. 302 the diminished seventh chord is resolved to a six-four chord in D-flat major; the remaining eight measures correspond to the original, transposed up a minor third, thus preserving the tonal unity of the piece by ending in D-flat, the key of the Andante. Notwithstanding legitimate doubts about the caba\etta's musical and dramatic value, the piece was no hurried concession to "custom"; indeed, Verdi labored over it greatly. Before arriving at the definitive version in 1853 he made no fewer than six different sketches, more than for any other piece in the opera, beginning with one that was completely different. Moreover, for his 1854 revision Verdi devoted a good deal of effort to this movement, and there is no indication that he had thought to suppress it. But the most significant reasons for encouraging the complete performance of both cabalettas reflect structural concerns. Nineteenth-century Italian operatic forms have a logic grounded on balance and proportion. The suppression of large sections, even those considered qualitatively inferior, causes serious imbalances that alter the function and weight of the remaining parts. In the typical two-movement aria, the "open" section following the slow movement (the so-called tempo di mezzo) induces a state of emotional tension that needs to be discharged in a "closed" piece based on melodic periodicity. Without the latter the piece seems incomplete and the subsequent one arrives "too quickly," defects worse than the advantages supposedly gained from the cuts. Similar concerns for structural equilibrium suggest that the expected repetitions of cabaletta themes should be observed: it is up to the performer to avoid monotony through prudent variety in phrasing and expression; added ornamentation, which would have been called for by Rossini and Donizetti, seems out of place. This principle holds even more firmly for the repetition of the couplets, where variety is implicit in the different strophes of the poetic text and in the wide gamut of expressive markings provided by Verdi. d) The orchestra

The archives of the Teatro La Fenice contain much documentation regarding the instrumental and vocal forces used in the first performances of La traviata. The theater employed an orchestra numbering seventy regular members in all, as indicated in the personnel roll that served for many years. 244 A payment sheet of 19 March 1853 lists the players who actually worked during the 1852-53 season of Carnival and Lent,245 allowing us to ascertain the precise composition of the orchestra for La traviata. There were forty-one players in the string section for the operas (excluding the two first violinists employed to lead the ballets): 12 first violins (director, assistant director, adjunct [spalla], and 9 chairs) 10 second violins (first chair, adjunct, and 8 chairs) 7 violas (first chair and 6 chairs) 3 cellos (first chair and 2 chairs) 8 double basses (first chair and 7 chairs)

Although this distribution differs slightly from that given in the personnel roll, which has 1211216/3n, some first-chair players for the ballets may also have played in the opera. The rest of the ensemble comprised a harp, the usual four pairs of woodwinds, four horns, two trumpets, three trombones, a bombardone, five percussion players, and a page turner. Regarding the percussion, the payment sheet includes a timpanist, a single player for both 244. "Pianta organica dell'orchestra stabilmente fissata come all'art. 31 della Seconda aggiunta al regolamento [28 maggio 1844]," Venice, archives of La Fenice (at the Fondazione Levi), busta "Orchestra - Massime e carteggi 1852-75" (which actually contains material going back to 1844). 245. "Ruolo di pagamento del quarto quartale dovuto ai professori d'orchestra per la stagione di Carnevale, e Quaresima 1852/53," ibid., busta "Pia Istituzione d'Orchestra 1852153." The first-chair players are also named in the printed libretto for La traviata (VES3).

xxxvii

xxxviii

INTRODUCTION

Gran Cassa and cymbals, and one each for bells, sistrum, and snare drum (rullo). Althrough the latter three instruments do not appear in La traviata, the sistrum player most likely played the triangle in the chorus of matadors in the Finale Secondo, while the other two probably played the offstage castanets and tambourines in the Baccanale (N. 9). From another payment sheet, giving expenses for a benefit performance on 1 March 1853 of II corsaro and the ballet La lueerna maravigliosa, we learn that the Banda (stage band) employed at La Fenice that evening numbered twenty-six players, including a director, a head drummer, and twenty-four band members. 246 The Banda for La traviata must have been the same, even if no surviving list provides detailed information. Finally, another list of the theater's staff indicates that the chorus comprised eighteen men and fourteen women.247 Verdi, we recall, found the chorus "too paltry for this theater's importance" (see Piave's letter of 4 February 1853, cited above) and requested that it not be further depleted by drawing the comprimario parts of Giuseppe, the Domestico, and the Commissionario from its ranks. For a modern performance, this distribution of forces is merely indicative, since every theater will employ the resources at its disposal; nonetheless, it offers some useful indications. One of the most characteristic aspects of Italian opera orchestras until the middle of the nineteenth century is the relatively small number of cellos with respect to the much larger group of double basses. Recall, though, that the double basses were very different in size and force from modern instruments. With today's double basses, it would be absurd to insist on restoring this proportion. But certainly a passage in La traviata such as mm. 29-43 of the Preludio, in which the cello melody is doubled by clarinet and bassoon, would assume a different character were the cellos reduced to only three; conductors might experiment with this combination. Particular attention should be given passages in which Verdi called for a reduction of the string ensemble to achieve a lighter sonority (various passages in the introductory section ofN. 2 and all ofN. 8; formm. 1-7 ofN. 1, see the Critical Notes). In such cases it is less important to adhere literally to the number of instruments specified by the composer ,248 than to seek the effect he desired by taking into account the overall size of the ensemble and the acoustical characteristics of the theater. Regarding the location of the orchestra, in the absence of a pit in mid-nineteenth-century Italian theaters, players occupied the space taken today by the first four or five rows of seats in the parterre. This position facilitated contact between the singers and the orchestra, and there is no reason to believe that the balance of sonorities hindered the singers' performance. Of course one must take into account the nature of the instruments themselves, described briefly below, which differed substantially from their modern counterparts. While it would be impractical to suggest rearranging the theater to relocate the orchestra, even in present-day conditions a more appropriate equilibrium in dynamic levels between singers and orchestra should be sought. One characteristic of nineteenth-century Italian orchestras that should certainly not be reproduced, even in "authentic" performances of La traviata, is the actual placement of the instruments. Verdi worked incessantly to change the custom in Italian theaters, where instruments of the same family were not seated together but scattered. In a letter to Francesco Florimo of 23 July 1869,249 Verdi deplored the persistence of this seating plan in Naples, with "the violas and the cellos separated from each other," because it was a hindrance to the "bow attack, timbre, accent," to the "full sound of the string tutti:"He recalled that ever since 1843, when he mounted the first Viennese performance of Nabueeo, he was struck by "their powerful attack, their precision, their clarity, their pia246. Ibid., "Nota delle spese serali per Ie recite beneficiate d'orchesta dei giorni 1 Marzo 1853 I L'opera Corsaro e il ballo La lucerna maravigliosa." ---z47.""Prospetto generale della compagnia d'Opera e Ballo aI Gran Teatro la Fenice diretta dal Sig.t Gio. Batta. Lasina per il p,o V,o Carnevale, e Quaresima

1852-1853": archives of La Fenice, busta 30, "Spettacoli 1852-53." 248. In N. 8, in fact, these annotations were made in pencil, probably during stage rehearsals. and therefore reflecting the conditions in which the performance

took place. 249. Original in Naples, Biblioteca del Conservatorio di Musica "S. Pietro a Majella" (I-PAi, 49/5); published in Marcello Conati, Interviste e incontri con Verdi (Milan, 1980), 255-6 (available in English translation as Encounters with Verdi, translated by Richard Stokes [Ithaca, 1984], 265-6).

nos, their fortes," made possible by bringing all the double basses of the orchestra together. He remembered too the distrust aroused "when, for Simon Boeeanegra, I grouped those instruments together." If, as he implies, he first attempted this arrangement at La Fenice in 1857, then the disposition of instruments in 1853 was the customary one. While Verdi publicly expressed his satisfaction with the orchestra to its director after the premiere of La traviata, an informed performance today must seek to intuit and reproduce what the composer really wanted.

e) The instruments To the factors already mentioned one must take into consideration the physical nature of the instruments. Almost all mid-nineteenthcentury instruments had different characteristics from modern ones in terms of construction materials, form, and performance technique. Wooden flutes and piccolos, natural horns with interchangeable crooks for modifying the tuning, valved or keyed trombones with a narrower bore,25o smaller timpani, bass drum, and cymbals, and bowed instruments with gut strings, all playing at a lower concert pitch, produced an overall sonority that was much less incisive and brilliant than the one to which we are accustomed. The "band-like" character attributed to Verdian orchestration depends in large part on the excessive power of modern instruments, especially the brass. As a point of reference for achieving the kind of sonority Verdi would have considered ideal, the present-day conductor ought to bear in mind what the composer himself stated late in life, based on the experience of a long career. In 1894, criticizing the orchestral seating plan used at the Paris Opera, he emphasized that in Italy:

[... J the brasses never muffle the sweeter sonority of the other instruments and a tighter, clearer ensemble is achieved. For the rest I must say that, each time I have been able to hear the orchestra of the Opera-Comique, I have been satisfied by the elegance of their playing, their delicate and refined way of interpreting the operas of the repertory. 251 There are seven instruments that require more detailed consideration here: flute and piccolo, horns, cimbasso, timpani, cassa, and double basses; the composition of the Banda also requires further discussion. FLUTE AND PICCOLO

In La traviata Verdi called for one flute and one piccolo, the combination found at La Fenice and most other Italian theaters. In some passages, to achieve particular effects, the piccolo player is instructed to change over to flute, as in N. 7 from m. 387, in N. 8 fromm. 151, and in N.ll fromm. 53. Verdi did not always indicate precisely whether or where he wanted the second flute to return to piccolo. From internal criteria and readings in secondary sources, this edition suggests such a return in N. 7 at m. 506, and in N. 11 at m. 124. Difficulties occasionally arise in determining the proper register for the piccolo part, which Verdi often did not notate in full but derived from the flute (sounding an octave higher). An example occurs in N. 2 at mm. 303-322, where the tessitura is extremely high: up to e"" for the flute and e"'" for the piccolo (sounding pitch), raising doubts about Verdi's intentions. Orchestration treatises of the period do not entirely resolve the question. Berlioz, for 250. It is generally maintained that the valved trombone is best suited to the performance of Verdi's music. In a footnote to his translation of Berlioz's treatise on orchestration (published in 1846-47), however, Alberto Mazzucato declared: "In several of our orchestras [and thus not in all], there are so..called valved trombones [a macchina]. which by means of a particular mechanism provide greater

facility in performance and obviate the need to lengthen and shorten the body of the instrument, and hence the awkward arm movement"; cited from Grande trattalo di istrumentazione e d'orchestrazione moderne of Hector Berlioz with an appendix

by Ettore Panizza, 2nd ed. (Milan, 1912), part 3, 32. Regarding the two types of trombones another manual of the era states: "The system of keys adopted on

trombones gives them great agility, but makes them lose a little in the way of precision and robustness of sound. In my opinion, the slide trombone is the most accurate of the wind instruments, and is every bit as suited as the keyed trombone

for playing beautifully any cantabile piece whatsoever, especially in a well-phrased melody. For the orchestra, then, the slide trombone should always be preferred because of its greater accuracy"; Fermo Bellini. Teoriche musicali su gli strumenti e sull'istrumentazione (1st ed. 1846-47); cited from 2nd ed. (Milan, c. 1860), 72. 251. From "Une entrevue avec M. Verdi" by H. F. G. in Journal des debats (5 April 1894); cited in Italian in Cnnati, Interviste e incontri" 258 (Encounters with Verdi, 268).

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INTRODUCTION

instance, gives the flute's upper limit as c "", but describes it as "very harsh" and mentions that "the last two high pitches, bq and e are not used in a pianissimo, because of the great difficulty still encountered in playing them, as well as the lack of softness in their sonority" .252 Of the piccolo he writes: [... ] it has the same extension as the flute, except for the very high c [c''''], which is only playable with great difficulty, and whose sound, moreover, is almost unbearable, so that it is better not to write it; the bq [b""] is already unbearably harsh and can only be used in a fortissimO for full orchestra. 253 Consultation of other Verdi scores (even those available only in standard editions) does not reveal another instance of a e"''' for piccolo, while in at least one opera he did adopt b"".254 For N. 2 of La traviata, where the notes are employed in a loud, tutti passage, the critical edition realizes the abbreviation literally, at the octave Verdi indicated, since the result is not manifestly erroneous. Nevertheless, a performer who finds the passage treacherous might consider transposing it down an octave. HORNS

Like other great composers of the era, Verdi always wrote for natural horns, no doubt for their greater beauty of sound and purity of intonation, notwithstanding the noticeable difference in timbre between stopped and unstopped notes and the lack of many notes. At the time of La traviata, valved horns [a maeehina] had not yet been universally adopted. As early as 1845 a Milanese brass instrument maker, Giuseppe Pelitti, was producing different hom models capable of changing key more rapidly than those using crooks, but it is not clear how widely his instruments were actually used in theater orchestras. 255 For La traviata the question of hom types is less serious, since there are no soloistic or exposed passages for horns; nor are there problematic cases of notes not found on the instrument. The use of natural horns, however, would perhaps give greater prominence to the beautiful hom accompaniment in N. 3 at mm. 51-62 and N. 5 at mm. 280 and 285. An unusual situation does arise in N. 6, however, from m. 226 to the end of the piece, where the first pair of horns must make four unnotated tuning changes (alternating between the prevailing tuning in Fa and a tuning in Mi~ ) in order to play the notes. Verdi's behavior is difficult to explain, since the horns "in Mi~" play only in orchestral chords, and at no point would it have been impossible to find appropriate notes "in Fa." But this situation was not the result of inattention: not only does it occur so frequently here, but in the last two measures of the piece Verdi has the first pair of horns drop out, even though the change to a tuning "in Fa" was made just six measures earlier, so as to avoid their playing sounding B~ (written F) in unison with the rest of the orchestra; he was acutely conscious, then, of the type of instrument playing at that moment. The critical edition retains Verdi's notation, adding the requisite tuning changes. For a performer using a modem hom, who is accustomed to transposing from all keys, the problem is only of theoretical interest. CIMBASSO

Regarding the cimbasso, Renato Meucci's comprehensive study has finally resolved the question of Verdi's nomenclature up to the time of Aida. 256 Once designating a particular instrument, the term cimbasso later came to be used generically to indicate the lowest instrument of the brass section. In the list of orchestral personnel at La Fenice the term "bombardone" appears, while in the printed parts for La traviata issued by Ricordi (PRI) we find the name

252. Berlioz, Grande trattato, part 2, 47-8. 253. Ibid., 54. 254. See Verdi, Simon Boccanegra, P.R. 152 (Milan, 1993), 97, 121, 196-7; these examples must, however, be subject to the scrutiny of a future critical edition. 255. An account of Pelitti's activities appeared in the Gazzetta musicale di Milano of 19 August 1855, 260-2. Equally interesting is a "Rivista" included in the

issue of 5 November 1854, 355-8, summarizing an article on the horn written by Fc5tis pere (from the Revue et gazette musicale) "in which he attempts to demonstrate

the preference which by now horn players ought to accord the valved horn over the natural hom."

256. "II cimbasso e gli strumenti affini nell'Ottocento italiano," Studi verdiani 5 (1988-9), 109-62 (now in English as "The Cimbasso and Related Instruments in 19th-Century Italy," The Galpin Society lournal49 [1996], 143-79).

"serpano" (probably a derivation of "serpentone").257 For modern performances Meucci recommends substituting either a half-size or, at most, three-quarter-size tuba, or alternatively a bass trombone, with the aim of complementing the trombone choir to which the cimbasso serves as the lowest voice. 258 Either choice avoids the anachronistic and unsuitable bass tuba. TIMPANI

In La traviata Verdi followed common practice in using as a rule two timpani tuned to the tonic and dominant notes of the prevailing key. In one brief passage (N. 6, mm. 287-291, subsequently repeated), however, he notated the timpani part with three pitches (F, Bb, and e~). Since timpanists in Italian opera orchestras of the time normally had only two drums available this notation is certainly anomalous, all the more so because at other points in the opera Verdi followed the practice usual in his scores and those of his contemporaries, not hesitating after a modulation to include notes foreign to the harmony when there was insufficient time for the player to retune. Examples are found in N. 2 (mm. 179-181), N. 6 (mm. 218-233 and 266-270), and N. 7 (mm. 123-126 and 628-687); in every case use of a third drum would have avoided at least some of the dissonances in these passages. The most disturbing and inexplicable dissonances occur in N. 5 (mm. 114-116 and 152-160), where for the 1854 version Verdi added a timpani part in these measures only and wrote a single note, A (perhaps flatted at 114-116), foreign to most of the tutti chords, including the section's concluding C-major tonic. The timpanist would have had all the time necessary to retune to more consonant pitches, and indeed a normal tuning "in Do" would suit both passages. The principal question here, still requiring further study, is how nineteenth-century timpanists performed such passages. If played as written, what was the aural effect with timpani of the era; and if the written pitches were modified, what was the technical means for so doing? Was Verdi, who was 'usually attentive to problems of instrumental technique, taking these questions into account in writing as he did? Modern performers using pedal timpani are accustomed to changing the dissonant notes and rewriting the parts, but do such interventions result in a succession of notes uncharacteristic of Verdi's style? Two mid-century treatises describing new developments in timpani construction shed some light on these issues. In 1842 Carlo Antonio Boracchi, timpanist at La Scala, published in Milan his Manuale pel timpanista,259 which includes descriptions of his inventions for facilitating quick retuning. Among subscribers to his manual, listed at the end of the volume, we find the name "Verdi Giuseppe, maestro di musica" (p. 35), showing that from the outset the composer was well aware of the technical problems associated with the instrument. A slightly later treatise on instrumentation summarizes Boracchi's achievement: Mechanized Timpani [Timpani a macchina]. The invention and application of the mechanism to these instruments we owe to Prof. Carlo Antonio Boracchi of Monza. [... ] Through his studies, investigations, and industry he rendered them not only easier to play, but more useful for composition; thus, with mechanized timpani the performer no longer has the excessive burden of retuning them with every change of key, since on the rim of the timpani itself there is a handle, which . Le altre aggiunte sono differenziate tipograficamente come segue: I. In corsivo: dinamica (f, p, cresc., dim.); trilli (tr); parole 0 sillabe mancanti nelle parti vocali; indicazioni di movimento (Andante); numero dei legni 0 degli ottoni che suonano (Solo, I, a 2); indicazioni metronomiche (J = 88), ecc. 2. Tratteggiate: legature complete 0 parziali; forcelle di crescendo 0 diminuendo complete 0 parziali. 3. In corpo minore: note; punti di staccato; accenti; corone. (I segni che ne sostituiscono altri, ad es. > per A 0 J ! per J, sono stampati in dimensioni normali. II segno sostituito viene riportato in nota a pie di pagina.)

Le aggiunte che estendono i segni gia presenti nella fonte principale non sono messe fra parentesi. Quelle derivanti da fonti secondarie attendibili (una copia manoscritta, la prima edizione della spartito per canto e pianoforte, materiali di esecuzione) sono messe fra parentesi tonde ( ). La loro fonte viene specificata nel Commento. Quando un intero gruppo di aggiunte (ad es. indicazioni metronomiche 0 di loa 2) viene estratto da una fonte secondaria specifica, questa viene indicata nell'introduzione alia partitura e non ripetuta ogni volta nel Commento. Infine, Ie aggiunte che sono ritenute essenziali dal curatore, rna non presenti nelle fonti, sono poste tra parentesi quadre [ ]. In via eccezionale, Ie didascalie tratte dalla fonte principale per il libretto (in genere la prima edizione stampata) sono messe in tondo tra parentesi. L'aspetto della partitura e modernizzato in diversi modi: I. Sono state seguite in genere Ie convenzioni correnti per I' ordine degli strumenti e delle voci. La situazione reale dell'autografo viene indicata nella sezione relativa delle note critiche. 2. Le parti vocali usano solo chiavi di violino, di violino tenorizzata e di basso. Le chiavi origin ali, insieme alla reale estensione di ogni parte, sono specificate nell' elenco dei personaggi. 3. L'uso delle alterazioni di Verdi e adattato alia pratica moderna. Solo quando esistono dei dubbi sulle intenzioni di Verdi sono stati introdotti alterazioni tra parentesi quadre.

4. Le abbreviazioni e i segni di ripetizione verdiani ·sono realizzati secondo Ie convenzioni moderne, come pure Ie prescrizioni autografe su una parte strumentale che rimandano a un'altra parte scritta per esteso. Solo quando sono interessate sezioni musicali intere (ad es. "Dall'A al B") 0 dove la scrittura e equivoca (ad es. quando si prescrive alle viole di suonare "col Basso"), queste abbreviazioni sono state indicate nel Commento. 5. Quando due 0 tre ottoni 0 legni sono scritti su un unico pentagramma, Verdi scrive "Solo" per prescrivere l'esecuzione esclusivamente al primo (Ob. I., Tr. I). WGV mantiene questa sistema. Quando la parte prosegue in una successiva accollatura, WGV aggiunge un "I". Verdi usa gambi doppi per indicare a due strumenti di suonare la stessa parte. WGV elimina il secondo gambo e aggiunge in tondo "a 2". 6. Spesso tre tromboni sono collocati su un unico pentagramma. Non sempre Verdi chiarisce quanti strumenti debbano suonare quando ci sono solo una 0 due note. WGV cerca di documentarsi su materiali d'esecuzione dell'epoca, indicando ai Tromboni "(I)", "(II, Ill)" ecc. 7. Quando due parti scritte su un unico pentagramma procedono omoritrnicamente, WGV usa un'unica articolazione per entrambi, anche se Verdi ne introduce due (ad es. r~ =

r'l)'

8. Le abbreviazioni sono sciolte senza renderne conto in nota ("AII.°" = "Allegro"). 9. I particolari secondari sono normalizzati senza specificazione in nota: sono aggiunte pause di intero, standardizzati i segni di terzina 0 sestina ("3", "6"), inserite Ie legature tra Ie acciaccature e Ie note principali. Un solo punto di staccato mancante nell'ambito di un gruppo viene aggiunto senza differenziazione tipografica ecc. Ci sono invece taluni aspetti della scrittura di Verdi che non sono stati modernizzati: I. La scrittura degli strumenti traspositori segue la fonte principale. 2. La scrittura degli strumenti a percussione e lasciata inalterata, cosl come i termini che Verdi usa per designarli. I problemi particolari riguardanti Ie parti dei timpani e della cassa/gran cassa sono discussi nell'introduzione alia partitura. 3. WGV segue l'organico originale di Verdi. Quando sono presenti degli strumenti insoliti 0 caduti in disuso (ad es. il cimbasso), nell'introduzione vengono dati i suggerimenti per Ie esecuzioni moderne. 4. I tratti d 'unione usati da Verdi per il collegamento di piii note vengono mantenuti laddove possano essere giustificati musicalmente. 5. WGV segue la scrittura di Verdi, conservando per la Banda sui palco la stesura ridotta. Una realizzazione possibile e contenutanel materiale d' esecuzione. La fonte musicale principale e considerata anche la fonte principale per il testa letterario di ogni opera. Questo testa e stato collazionato con Ie fonti principali del libretto. Si preferisce di consueto la lezione di Verdi a quella del libretto. La punteggiatura incompleta di Verdi e integrata con quella delle fonti del libretto. Gli interventi sulla punteggiatura sono descritti nel Commento solo quando abbiano una reale importanza. Di norma, l'ortografia di Verdi e conservata quando riftette un'alternativa storicamente corretta allibretto 0 all'uso moderno. Tuttavia la divisione di parole in sillabe e stata, ove necessario, modernizzata. La punteggiatura e omessa alia fine delle didascalie. Molti elementi dell'autografo di Verdi possono essere ambigui:

==- )

I. Gli accenti (» e i diminuendi ( non sono sempre ben differenziati. WGV mira a trovare un'interpretazione musicalmente convincente della fonte principale, e i passi dubbi sono menzionati nel Commento. 2. Ci sono occasioni in cui Ie legature di espressione verdiane sono

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ambigue allimite dell'incomprensibilita, specialmente quando sottinteso un legato generaie. Un'interpretazione plausibile viene suggerita da WGV; dalla partitura, Ie note in calce e il Commento, e comunque possibile ricostruire la notazione originale. 3. Alcuni segni interpretativi (crescendi, dinamica ecc.) non possono essere attribuiti con precisione a un pentagramma 0 a un altro nel contesta di un tutti orchestrale. Tuttavia WGV Ii stampa attribuendoli a una singola parte. In genere Ie parti dei solisti vocali seguono esattamente la fonte principale. I cantanti troveranno nell' edizione critica tutte Ie indicazioni di cui hanno bisogno per dare un'interpretazione personale di ogni molo.

D' altro canto non sono state conservate Ie disuguaglianze gravi nelle parti orchestrali e corali, 0 nei concertati. WGV punta a un'interpretazione accettabile musicalmente, la piil fedele possibile alia fonte principale. Tutte Ie differenze da questa sono state registrate: Ie piil significative nelle note in calce, Ie altre solo nel Commento. L'intero complesso delle norme editoriali e dispooibile presso la University of Chicago Press. Le deviazioni da queste norme, rese necessarie da situazioni insolite nelle fonti 0 dal contesto musicale, sono prese in esame nel Commento. Philip Gossett Direttore responsabile

Ringraziamenti Molte sono Ie istituzioni che hanno contribuito alia realizzazione dell'edizione critica de La traviata. Fra queste e doveroso ricordare per prime la Casa Ricordi, che ha messo a disposizione il manoscritto autografo dell'opera, e la University of Chicago Press, che ha fornito un efficientissimo supporto redazionale e tecnico. La pubblicazione di questa volume e stata resa possibile dal generoso contributo di Brena D. e del compianto Lee A. Freeman, e da sovvenzioni del National Endowment for the Humanities. * Parte della ricerca sulle fonti e stata finanziata dall'Universita degli Studi di Siena con fondi 60% del Ministero dell'Universita e della Ricerca Scientifica e Tecnologica. II personale di Casa Ricordi ha facilitato in ogni modo i miei soggiorni a Milano per 10 studio diretto dell'autografo verdiano e per Ie ricerche sui documenti storici dell' Archivio; ricordo specialmente Fausto Broussard, Luciana Pestalozza, Maria Teresa Confalonieri e, con particolare commozione, il defunto Carlo Clausetti. L'American Institute for Verdi Studies presso la New York University, che ringrazio nella persona del suo direttore , Martin Chusid, ha messo a disposizione Ie riproduzioni in microfilm della maggior parte delle fonti secondarie. I collaboratori dell'lstituto Nazionale di Studi Verdiani di Parma, Marisa Casati, Daniela Mazzoli, Fortunato Ortombina e Lina Re, si sono prodigati per aiutarmi nella sfruttamento della raccolta di riproduzioni dell'epistolario verdiano e della ricchissima biblioteca dell'lstituto. E difficile trovare parole per esprimere la mia gratitudine a Pierluigi Petrobelli, direttore dell'lstituto rna soprattutto amico, che fin dagli inizi della mia carriera musicologica ha incoraggiato e seguito i miei studi su Verdi, e su La traviata in particolare. La famiglia Carrara Verdi di Busseto ha il doppio merito di aver consentito di utilizzare il materiale epistolare verdiano da lei custodito, e di aver messo a disposizione per questa edizione I'abbozzo autografo de La traviata. Fra Ie biblioteche che han no fornito materiali e riproduzioni utili a questa edizione ricordo il Civico Museo Bibliografico Musicale di Bologna, Ie biblioteche dei conservatori di musica "G. Verdi" di Milano e "S. Cecilia" di Roma , Ie sezioni musicali della Bibliotheque Nationale di Parigi e della Osterreichische Nationalbibliothek di Vienna, la Gesellschaft der Musikfreunde di Vienna. II CIRPM - Centre International de Recherche sur la Presse Mu-

*Sebbene questa lavoro sia state in parte reso possibile dai fondi di ricerca del National Endowment for the Humanities , Ie opinioni qui esposte non riflettono necessariamente queUe dena istituzione sovvenzionatrice.

sicale di Parma ha contribuito alia ricerca sui periodici musicali ottocenteschi. Un ringraziamento particolare va al Teatro la Fenice di Venezia, che custodisce importanti documenti e manoscritti, e alia Fondazione Ugo e Olga Levi , che ne ospita I'archivio. Molte persone mi hanno aiutato segnalandomi fonti e documenti , effettuando controlli , procurando riproduzioni, dandomi consigli e chiarimenti su aspetti particolari. Ringrazio pertanto Claudio Annibaldi, Annalisa Bini, David Bryant, Marco Capra, Damien Colas, Francesco Degrada, Gilles De Van, Mariella Di Maio, Alessandro Di Profio, James A. Hepokoski, Ralf Krause , Renato Meucci, Carlo Matteo Mossa, Michel Noiray, Paolo Pinamonti , Fabio Rossi , Franco Rossi, Paolo Trovato e Mercedes Viale Ferrero. Giovanni Morelli, Roger Parker e Mario Valente hanno segnalato e messo a disposizione preziosi documenti inediti. Di grande utilita e stato per me 10 studio delle edizioni critiche verdiane gia apparse in questa serie; ne ringrazio collettivamente i curatori , Ie cui soluzioni ho spesso preso a modello, e dei cui testi ho fatto liberamente uso nell'introduzione e nel commento critico. Vorrei ringraziare in particolare due persone che, durante la gestazione di questa edizione, si sono scambiate di posto al di qua e al di 111 dell'Oceano Atlantico: Gabriele Dotto ha seguito a Chicago la prima fase del lavoro, e, trasferitosi poi a Milano, mi ha dato preziosi consigli durante gli ultimi controlli sull'autografo; Kathleen Kuzmick Hansell , che ho conosciuto sei anni fa negli uffici di Casa Ricordi, come Redattrice coordinatrice di questa collana ha curato con dedizione e perizia eccezionali la messa a punto finale dell'edizione. Assai grande e il mio debito n,ei confronti di Philip Gossett, Direttore responsabile de Le opere di Giuseppe Verdi; egli non ha bisogno che io ricordi i suoi meriti di studioso verdiano, rna gli sono grato per quanto ne ho appreso, per avermi trasmesso un po' del suo entusiasmo e della sua energia, per aver reso gli otto anni trascorsi non solo fruttuosi, rna anche estremamente piacevoli. A lui si deve se questa edizione risultera, come spero, scientificamente ineccepibile e insieme utile alia diffusione de La traviata. In questo periodo mia moglie Ileana ha seguito il mio lavoro con passione, sopportando distrazioni e malumori, dando ascolto ai miei dubbi e offrendo contributi di buon senso alia loro soluzione. Desidero offrire questa volume al mio maestro, Nino Pirrotta, in memoria della cara signora Lea, scomparsa all'inizio di quest' an no lasciando in tutti noi che l'abbiamo conosciuta il pili vivo e affettuoso dei ricordi.

Fabrizio Della Seta

INTRODUZIONE 1. La storia La traviata, diciannovesima opera di Verdi, fu scritta espressamente per il Gran Teatro la Fenice di Venezia, dove fu rappresentata per la prima volta il 6 marzo 1853. Insoddisfatto dell'esito delle prime rappresentazioni, Verdi decise di ritirare l'opera dalla circolazione fino a quando non avesse trovato una compagnia di canto che a suo giudizio ne garantisse il successo. Cio avvenne un anno piil tardi: riveduta in alcune parti dall'autore per adattarla ai nuovi cantanti, La traviata ando in scena il6 maggio 1854 al Teatro San Benedetto di Venezia, accolta con un favore che da allora non ha cessato di rinnovarsi. Non vi sono dubbi che Verdi considerasse la versione rivista come definitiva; egli stesso scriveva a Cesare De Sanctis il 26 maggio dello stesso anno: «trasporti, e puntature resteranno nello spartito, perche io .considero l'opera come fatta per l'attuale compagnia».1 Le apere di Giuseppe Verdi presenta dunque la versione del 1854, attestata dalla partitura autografa del compositore, nella sezione principale di questa edizione; nell' Appendice 2 viene pubblicato il testo delle sezioni appartenenti alia versione del 1853, ricostruito per la maggior parte sulla base di fonti secondarie. 2 La storia della nascita de La traviata e stata raccontata molte voite, da ultimo con una ricchezza di documentazione che ha messo ordine nella vasta e non sempre veritiera aneddotica che intorno ad essa si era accumulata. 3 Potendo rinviare a tali ricostruzioni recenti e facilmente accessibili, questa sezione storica dell'Introduzione potra riprodurre dei documenti gia noti solo Ie parti utili alia narrazione, arricchite all'occasione di qualche dato nuovo. Daile prime trattative al contratto Dopo il successo di Rigaletta, andato in scena I'll marzo 1851, la Presidenza della Fenice cerco di assieurarsi I'impegno di Verdi a scrivere un' opera nuova anche per la successiva stagione di Carnevale e Quaresima 1851-52. Una serie di documenti e di lettere compresi tra il 24 agosto e il 22 ottobre 1851 illustra Ie 1. Autografo aRoma, Accademia Nazionale dei Lincei; riproduzione presso

l'Istituto Nazionale di Studi Verdiani, Parma (I-PAi), n. 11/25; pubblicata in Alessandro Luzio, Carteggi verdiam, 4 vall. (Roma, 1935-47), 1:24-5. I documenti sana stati riscontrati, quando possibile, suUe riproduzioni degli originali conservate

in I-PAi, esclusi quelli dell' Archivio del TealrO la Fenice (ora conservati presso la Fondazione Levi di Venezia), che sono citati da Marcello Conati, La bottega delu. musica: Verdi e 10 Feniee (Milano, 1983) .. Viene rispettata Ia forma originale dei testi. comprese Ie particolarita Oftografiche, rna, per facilitare la Iettura, sono stati apportati tacitamente i seguenti interventi: eliminazione delle maiuscole superfiue; scioglimento delle abbreviazioni, salvo queUe ovvie; cambiamento in «i» di «j» iniziale e intervocalica (si e fatta eccezione per il nome «1acovacci»); uniformazione degli accenti all'uso corrente; aggiunta di alcuni segni di interpunzione indispensabili. 2. II rapporto tra Ie due versioni de La traviata e percib diverso da queUo tra Ie due versioni di opere che circolarono ampiamente nella versione originale prima che Verdi Ie rivedesse, come e il caso di Macbeth (1847 e 1865), Simon Boceanegra (1857 e 1881), La Jorza del destino (1862 e 1869), Don Carlos (1867 e 1884), e di quello tra Ie coppie I Lombardi alla prima eroeiata (1843) I Jerusalem (1847) e Stiffelio (1850) I Aroldo (1857), i cui rispettivi membri si possono considerare opere indipendenti che fanno uso della stesso materiale. Ancora diverso e il caso delle opere per cui Verdi compose pezzi aggiuntivi 0 sostitutivi non destinati a entrarvi stabilmente (cfr. David Lawton e David Rosen, Verdi's Non-definitive Revisions: The Early Operas, in Atd del 111° Congresso internazionale di stud; verdiani [Parma, 1974], 189-237). I casi pi" simili a La Iraviata sono quelli delle ultime Ire opere di Verdi, Aida, Otello e Falstaff. nelle quali egli introdusse revisioni definitive dopo Ie prime rappresentazioni. 3. II resoconto piu ampio e documentato e offerto da Conati. La bot/ega della musica, 267-332. Si veda anche Anna Buia. Un cosl eroico arnore: Genesi e diffuslone censurata de/libretto de La traviata di F. M Piave, vol. 10 di «Musica e teatro:

Quademi degli Amici della Scala» (Milano, 1990), 13-18. Di utile consultazione e anche la sintesi offerta da Julian Budden. The Operas of Verdi, 3 vall. (New York e London. 1978-81: ed. riv. Oxford. 1992): trad. it.: Le opere di Verdi (Torino, 1985-88).2:127-140 (Ie citazioni successive si riferiscollo alrc la sua parte, e la crei> con tale verita di finzione che meglia non vide chi vide il vero. [ ... J A tale Violetta si conveniva un simile Alfredo, ed ei fu trovato nel Landi. Can pili intelligenza e buon gusto non poteasi rappresentare la parte di quel personaggio, animato a vicenda da' pili oppasti sentimenti, ed ora accesa d'amore, ord'ira, d'odio e dispetto. [ ... J II Coletti ne fece conoscere una parte, che finora abbiamo sospettato soltanto. Quel motivo, quel famoso Di Provenza if mare, il suol, che s'era fin posta in caricatura, qui si parve in tutta il suo lume

Trionfalistico, come ci poteva aspettare, fu anche I'articolo della «Gazzetta musicale di Milano»: II successa della Traviata al teatro Gallo fu Sl pieno, Sl splendido, sl clamoroso, che non avrebbero saputo desiderarne uno maggiore gli stessi pili caldi ammiratori di Verdi. Non fu progetto di pochi fanatici: non fu manifestazione di un partito: furono applausi spontanei, universali, fragorosi, che incominciarono al preludio, prorup-

pero ad ogni pezzo, e continuarona a lungo anche dopo il termine dello spettacolo. [ ... J175 Questa volta anche «L'Italia musicale» di Lucca, nell'articolo apparso il 10 maggio, non poteva che confermare un giudizio evidentemente unanime. Sullo stesso tono, rna piu precisa nell'individuare Ie differenze tra Ie due produzioni, era la cronaca pubblicata da «La fama»: Cosa singolare, la musica del maestro Verdi dell'opera la Traviata, che sulla massime scene della Fenice riusci di poco effetta, su quelle invece del San Benedetto, la sera del 6 in corso, fanatizzo per modo da non ricordare un successo COS! strepitoso. Perche una simile differenza? Nai portiamo opiniane che la ragione stia in questa, che, cioe, agli artisti della Fenice d'allora, tuttoche valentissimi, non si attagliasse in pieno quell a musica, come agli attuali del San Benedetto. [... ]'76 Le notizie felici circolavano anche nella corrispondenza privata. 119 maggio Cerri trasmise a Verdi a!cune corrispondenze da Venezia relative alia seconda recita al Teatro San Benedetto, accompagnate dalla seguente lettera: Le compiego una lettera ricevuta ieri tardi da Gallo. Oggi se ne ebbero altre, e da lui e da Vigna che parlano dell'indescrivibile entusiasmo can cui fu accolta, meglio ancora se e possibile, della prima sera, la Traviata. E un successo senza esempio. Ella era profeta quando diceva «La traviata e caduta. Di chi la colpa? Mia 0 dei cantanti? Non so nulla: il tempo decideri!». Ed il tempo ha deciso, e nella stessa citta, e con quegli stessi spettatori che prima l'avevano condannata, mentre ora, come scrive Vigna, ognuno si vanta d'averla giudicata per una bellissima opera fino dall'anno seorso! Ie cose vanna sempre COSt conclude il Vigna,I77 II 12 maggio si faceva vivo 10 stesso Ricordi, menzionando per la prima volta il successo particolare del terzo atto:

[... J bisagna che ti ripeta che non fu esempio mai in Venezia d'un successo pari a queUo della Traviata, neppure ai tempi del tuo Ernani. Gallo mi scrive che la terza sera fu un diavolezzo d'applausi indescrivibile, e che il terzo atto in ispecie produsse un effetto se e possibile maggiore delle altre due sere, e che dovette anch'egli (il GaUo) ringraziare in mezzo agli applausi il pubblico. Cosa nuova rna che pure

e cosl.1 78

Conosciamo Ie prime reazioni di Verdi da una lettera del 17 maggio a Vigna, che ringraziava per avergli inviato l'articolo di Locatelli; il compositore aggiungeva alcune considerazioni che rivelano come il suo distacco fosse solo apparente, e come in realta l'insuccesso della prima 10 avesse amareggiato:

nessun'altra orchestra. [... ]174

Questa povera nostra Peccatrice non meritava addumque d'essere lapidata come 10 fu I'anna scarso alla Fenice?! Buon per me, per Gallo, per Ricordi, ed anche per te che so quanta interesse prendi aile case mie in generale, ed in particolare cosa pensavi, dicevi, e scrivevi di questa Traviata maledetta allora da tutti. [... J L'anno passato la mattina dopo la prima recita della Traviata, Gallo venne da me ed a nome anche d'un nostro comune amico mi fece a!cune osservazioni particolarmente sui terzo atto. 10 risposi semplicemente: credo t'inganni, mi pare il migliore. Ora mi scrive appunto molte belle case di quell'atto. COSI aveva ragione allora, e dopa quanto scrissi a te nell'ultima lettera della Traviata. Non biso-

169. Irnpiegato di Casa Ricordi responsabile della copisteria.

sensa, fa l'effetto d'un quadro visto a I' Ave Maria di sera: s'indovinano a stento Ie figure, rna nulla si vede del colorito, del disegno, della prospettiva e soprattutto dell'espressione delle figure. Tullo

[... J E a cii> confed sovranamente l'orchestra. Non udimmo con pili amore, con pili appartuno calorita, con piiI fenna accordo suonare

gna dimenticarsi che un opera eseguita, non solo male, rna a contro-

170. Al S. Benedetto, a parte i cinque pezzi ritoccati, non fu dunque lisato l'autografo verdiano rna una copia fauane I'aono precedente. E probabile che tale copia debba identificarsi con quella ora conservata a Vienna, Osterreichische Nationalbibliothek (A-Wn); dr. Commento critico, Parte prima, Ponti. 17!. S. Agata, Villa Verdi (I-PAi, 118/60); pubblicata in Copiaiettere, 536. 172. In proposito si veda Ia divertente lettera di Piave a Ricordi pubblicata in Abbiati, 2:271. 173. Lettera del 5 maggio 1854; Milano, Archivio Ricordi (I-PAi, 27/22); pubblicata in Abbiati, 2:271-2. 174. «Gazzetta ufficiale di Venezia» (7 maggio 1854); cit. da ~t --" ,


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49

N. 2. Introduzione Salotto in casa di Violetta (Nel fondo e la porta che mette ad altra sala; ve ne sono altre due laterali; a sinistra un caminetto can sopra uno specchio. Nel mezzo e una tavola riccamente imbandita)

Allegro brillantissimo e molto vivace 1\

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# Da qui fino al segno # non suoneranno che due soli prirni Violini, due secondi, due Viole ed un solo Violoncello e Contrabbasso. VI. I

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# Da qui fino all'altro segno # non suoneranno che un solo Violoncello ed un solo Contrabbasso 34

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38 262

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>

>

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,~

>-

ri - tern - pn per go -

>

Gas. 8

- tern -pri,

....

si

ri

..

....

f2.

f2.

pri

per

go

Bar. -tern

-

>

- tern - pri per go - der, sl, nel ri - po - so an-cor la -

der,

~i: t.;. 81,

;.

nel . ri

~i: t.;.

;.

der, sl, nel

ri

~i: t.;.

;.

nel

ri

i

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t.;.

;.

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i

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t.;.

;.

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ri

Ie - na

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i i

si

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per go - tern - pn,~

>

>

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Dot. -tern

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Mar. -tern II

D.

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81,

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la

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go per tern - pri

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>

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VI. I

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80

N. 3. Aria Violetta (SCENA

v:

Violetta sola)

Allegro fl

Violetta Recitativo r.,

OJ

E stra-no!

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pp

The upper line reproduces the text in A; the lower that of VE" (similar to pvRI1- Z). See Commentary. **Vio.: Viene riprodotto sopra it testa di A, satto quello di VE53 (simile a pvRI1- 1). Vedi Note.

.

I ... •

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82 CI. inDo

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so-lin-ga nei tu so-lin-ga ne' tu

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108

ATTO SECONDO N. 4. Scena ed Aria Alfredo (Casa di campagna presso Parigi) (Salotto terreno. Nel fondo in faccia agli spettatori e un camino, sopra il quale uno specchio ed un orologio, fra due porte chi use da cristalli, che mettono ad un giardino. Al primo panno due altre porte, una di fronte all'altra. Sedie, tavolini, qualche libro, l'occorrente per iscrivere)

(SCENA PRIMA: Alfredo entra in costume di caccia)

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111\ Alfredo

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108

ATTO SECONDO N. 4. Scena ed Aria Alfredo (Casa di campagna presso Parigi) (Salotto terreno. Nel fondo in faccia agli spettatori e un camino, sopra il quale uno specchio ed un orologio, fra due porte chi use da cristalli, che mettono ad un giardino. Al primo panno due altre porte, una di fronte all'altra. Sedie, tavolini, qualche libro, l'occorrente per iscrivere)

(SCENA PRIMA: Alfredo entra in costume di caccia)

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111\ Alfredo

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Recitativo

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109

16 Aif.

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-

-

quil

lau

-

di

-

te - mil

r...

fI

VI. I \ .,

Vl.II

~

r.-

fI OJ

r.-

Vie

------

~~.

,.

r.-

Vc. \

Cb.

~

r.-

Andantino pinttosto mosso () = 96) 170 Violetta fI

'"

Ahpili pariante

non di

-

te ... In - ten-do ... m'eim - pos-

."."

Ger. Bel-Ia

voi sie-te

e

-

gio

vi-ne ... col tern-po ...

pizzo fI

VLI \ .,

Vl.II

~

[P]

pizzo

1\

....

O!

...

....

....

~

...

....

[P]

-

~

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pizzo

Vie [P]

pizzo

roo-

Vc.e [P]

.::;

...J""-...

-

Cb.

-

Andantino pinttosto mosso () = 96)

175 fI

Vio.

'"

- si

-

bi - Ie ...

lui

so -

a - mar

10

vo - gl'i

-

0 •.•

Ger. Sia arco

fI

VI. I \ .,

VI. II

Vie

Vc.e

Cb.

~

.........

JYP

arco

fI

.,

~

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..

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q...-

I .........

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~~~~

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arco

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pr-=

ar~

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pp

I5iiiiI""'l

I5iiiiI""'l

Ei""!

147 Cl. inDo

1~8

.,

-==

---

Fg.

.L

pp

Solo

Cor. inLa~

,O!

....

... .....

...

rna

vo - lu

bi -Ie

pp

Ger.

~I

re ...

pu

I

==

1\

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.....

so -

==

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1\

VI. II O!

Vie Vc.e Cb.

~ l~O

Fl.

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(I)------================ff __________________________ _ ..:.

1\

Ob.

-------===============

O!

Cl. inDo

ff

A OJ

I"..

-.J

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-----

Fg.

Cor. inLa~

1\

ff

III ........

,OJ

1\

ff Violetta

coipila

Gran

** ...... Ger. -ven

r,o,

Di

... ...

01 r,o,

Ie e I'uom ...

con semplicitil

Un

r,o,

di,

quan

...

...

div .

piZZo

~

pizzo

r,o,

Vie pp r,o,

Vc.e Cb.

IT

*A: Cl., Fg. ~ 1lJ'TI I J

-------

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I JI.. .I
~

p------------- -:---------------~~-------~' , .-. .,

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>~

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.. .

(1)h~:------------ :J:-----j~------

•

-

-=====---

-=====--

Solo

======-->-

Vio.

10)

che a

lei il

sa - gri-fi-ca e che mor-ril, e

======--

pp

mor-ril, e

mor-rill

Germont Pian-gi,

pian-gi, pian - gi,

0

mi-se - ra, pian-gi,

pian-gi,

:I:~I~':~~~~~~~~~~~~~~~~:·~~~·,~~~~~~~~~~~~~~~~~ :> ========--

! OJ

q............ ....

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156 I /""""""'

Ob. OJ

-

(I)

____________ _

~--

'.

----------------~

Fg. Solo Cor. inMi~

,0)

.

Ger.

pian - gi ... su - pre-rna, il veg

go, su-pre-rna, il veg

go,

e il sa

zio, e il sa - gri - Ii

- gri - Ii -

zio ch'og-gi

ti

Vie

Ve.

Cb.

l

:>-----------------

>~-------------

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257 Fl. OJ

(I)

~-

.~

.~

()

>-

Ob.

Cl. inDo

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OJ

= -

(I)

__-+------~--_1----~~:

'~.

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>-

(I)

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Cor. inMi~

----

dim. allargando

~

Ger. chieg - go ... Sen-to nel - I'a - ni-ma giil Ie tue .~

pe

ne ... co-rag-gio ... e il no-bil tuo cor vin-ce - ra, ed il ear vin-ee-

-

.

.~

area

Vie

-= ~~~=====~===

=

-----====================

2~2

VI 10 etta

'"

., -

Di

-

te al

la

gio

-

SI

vi-ne

--

157

--

~

bel

-

la e

-

pu

~

ra

cheav

-

vi u

- na

~

Ger. Ah su

- ra.

- pre - mo, iI veg-go,

SI,

su - pre - mo, iI veg-go,

1\

Vl.I

~ .,

(Pl

~ .,

1\

VI. II

(Pl

VIe '---'

(Pl

pizzo

Ve.

Cb.

~

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(Pl

~ (Pl

~ 2f

Ob.

.., 1\

(I) p f*

----""--- ...

Vio.

'"

vit

del

ti-ma

~

•

la

sven - tu

ra,

cui

re - staun u

un

ni-co,

f=========---......... 1!:.

-."

Ger.

e

VIe

• A: Vio.: see Commentary. vediNote.

iI

sa

-

gri - fi-zio che o-ra

ti

chieg

go ...

Sen

to

nel-

158 272

Solo

,'"

p

A

Ob. Cl. inDo

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A

I'"

----------------- _"':._---------------- '!:---------?" (/) p -.----------------j:-------I------- --------

Fg.

r II

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...-....

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u-ni - co rag-gio di

ne. . .

be

che a

lei il

sa - gri - fi - ca e che mor - ra, e

~---;-:,.. h,-.-~==== ~'=~-:::f.~=;.=.:'-:.::-::~-

mor-ra, e

~

mor-

_-=-

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-l'a - ni-ma

Ie

tue pe

ne . .. co-rag-gio... e il no- bi - Ie cor vin - ce -

Vie

-

Ve. Cb.

~

{~•• ~ to

2~7

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il

lei

a

r~ ~,::~=

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p

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mOf-

fa,

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,"'--:-'"

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e che mor-

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l

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VI. I VI. II

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p

Cb.

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t:'I

inMi~

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t:'I

1\

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OJ

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'"

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e

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VI. I

~

VI. II

~

1\

vin

- ce - ra, ah

-

-

e che mor-ra, che

mor - ra,

81, il no-hi! cor vin

(silenzio)

-..,..

t:'I

mor - rat

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t:'I

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t:'I

t:'I

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t:'I

OJ

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VIe

Vc.

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Cb.

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... t:'I

----:---.

160 Sostenuto (J ~ 88) 290

1\

Vio. OJ

Nol ere-de - riL

Im-po-ne - te. J,.,..

:

Ger.

Non a-mar-lo

di-te-gli.

Par - ti-te ...

--

-

pizzo II

VI. I \

VI. II

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OJ

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pizz.

II

... ......

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:

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[Pj

pizzo

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:

Cb. (

[PI

Sostenuto (J ~ 88)

~

r---=

..---:=

.--

,....---.,

294

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Vio.

Qual

- ram - mi.

-

Al

VLI

~

VI. II

~

glia, qual fi - glia m'ab·brae - eia

te ...

for - Ie co-s1

sa-

1.1.

:

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fi

lor ...

-

"

areo

OJ

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OJ

area

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:

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Allegro

(J ~ 138) (s'abbracciano)

II

Vio. OJ

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OJ

VI. II (

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re

so,

......

maaf -

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OJ

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fia

// U

I J.l'TI // // // I '-./

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di - re ...

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con

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(indicandogli iI giardino, va per iscrivere)

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-

ste

alpen

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Germont

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A

VI. I

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164 320

AUegro moderato

(J = 108)

1\

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f

Vio.

VI.I

VI. II

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pp

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mor-rb! ...

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me-mo

na

non fi

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a ch'ei rna - Ie - di

ca,

se

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(J = 108)

,,-

325

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Ie *mie pe-neor-ri

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=

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gJi

di

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ca.

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rff:.~··

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ro deL mio cor. pp

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sempre pi" animando

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Vc.

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VI. II

sea il sa

~ ~ ~

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- fi - zio sa-ra del vo-stro a-mo - re ... d'u-n'o-pra co - sl no - bi-Ie an-dre-te fie-ra ai-lor, si,

Vl.I

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167 350

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;: . -;

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(SCENA VII: Alfredo, poi Giuseppe, indi un Commissionario a tempo) (~ = 80)

Andante

105Alfredo

"

8

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Ah

vi - ve sol

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l'ora (sull'orologio sovrapposto-al camino)

Alf. 8

E tar-di,

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pa - dre.

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Vc.e Cb.

.::; Allegro 114

"

(L 104)

entra Giuseppe frettoloso

Giuseppe

8

La si-gno - ra e par - ti - ta ...

. .,.., . . . ... Vie

Vc.e Cb.

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.

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(J = 104)

...............

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183 119 fI

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184 131

per uscire

"

Alf.

8

QuaI-eu - no e nel giar - di - no .... Chiela?

Son i

...

sulla porta

Un Commissionario

II

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VI. I

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Alf. Di Viodii una lettera (ad Alfredo, ne) riceve una moneta, e parte f:\

Com. da - rna da un coe-ehio,

per

voi,

di qua non lun - ge

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Cb.

(SCENA VIII: Alfredo, poscia il signor Germont ch'entra dal giardino) 139 Andante (J -- 80)

"

Alf.

8

Vie

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pp

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>

pp

.. pp Andante

II'

(J = 80)

~ 144

apre la lettera (e legge)

"

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co - rag-gio!

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185

(d = 100)

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p

si volge e si trova nelle braccia del padre"

Alf. 8

Ah!

Pa

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dre

mi

o!

Germont Mio

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================= =====---------

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VIe

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If Allegro

p

(d = 100)

*VES3: "come fulminato grida"

**VES3: "Volgendosi si trova a froDte del padre, nelle cui braccia si abbandona esclamando"

186 154 Fl.

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Andante piuttosto mosso

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,

Vc.e

Cb. ·A:FI.~

fu - ro

.---

I'

0)' I

I (195~174).

J,.,..--" ch'i - vi

'-"" ,

./

~

-- ---------------------------'

189 180

"

Fl.

'"

*I

"

Ob.

OJ

I

"

Cl. inSi~

OJ

.....-

,~

dolce pp

/"ht.

~

b....--.....

sol

su

Ger. gio-iaa

VI. I

VI.II

~

te

.

'""-"""

'""-"""

"

Fg.

.

'""-"""

bril- 10,

e

che

pa - ce

co - 111

te

.' .......... - ... ,. ~

con espansione

-- .---.

rJ!:

splen-de - re an-cor puo,

e

che

" '"

~ I'""

*'""-"""*

~*

*~

~

--*

Vie '.

...

;

'""-"""

'""-"""

*'""-"""*

~*

-~-

~

*'""-"""*

~

_-- ---------------------------

--*

-

Ve. pp

Cb.

col canto r."I

Fl.

Ob. OJ

Cl. inSi~

I ....... -- ...

"

",; _________ ~------nn

;mmmn_~~---------- a2 f:;r~.----j.;~:. ~~~

,.

Fg.

pianissimo erall. ~

Ger. pa-ce co - iii sol

su te splen-de-re an-cor puo.

Dio mi gui - do, _ _ _ _ Dio mi gui-do, Dio mi gui-

Vie

col canto 'A: Fl., Ob. =

I'

{D)

J

I

(201 = 180).

••A: Fl. =

I'

®-.l (206 = 185).

190 187

Fl.

Ott.

~

OJ

~

1\

-'=t

... f:

~

l~

jL .,i.

or-

.;..

!jL ... .,.

-====

(PP)--===

rf#-

-:~ jL

~

f#-

);jL #

} ...

>-~..

.Solo

rf#-

}jL ...

}

...

)C.

}< ...

>-~..

...

.....

~~

}.

r."\

al/arg. ~

r."\

~==-

morendo

Jr.

~~

'-C-:;-I.'

~.

);..iL

-=== } ...

allarg.

-=:::::==:=::morendo

-===

-=====

(PP)--==

'jL ...

Jr.

allarg.:..-.-.. ---;

r."\

Ob. OJ

-==

(PP)-==

allarg.

Solo

,...

1\

Cl.

in Si~

~

>- ...-----..

A.

.

OJ

--====morendo

-==

-

_=:0==

(PP)-==

....-::;:;;

-

-===

r."\

--====morendo

-

(I) :

Fg.

~

-=

r."\

(PP)

p.

'"

:

GeT.

-db!

r."\

VI. I

VI. II

~ loJ

~

r."\

1\

I'"

'*~'*

:;j:,-,,~

~:;j:

'i!= '* '-"

~'*

(PP)

'-' (PP)

---- -

-

'*,-,,~

....--..--,

---.---,

~

VIe

~'*

~

r."\

----

-

r."\

Vc.e Cb.

: (PP)

191

".

:

GeT.

Ah it tuo

VI. I

VI. II

~

~

;.. ;..

...

dolcissime

.

~}~ l";'

vee-chio ge - ni - tor

-~

tu non

mareate ~

-"-

sai quan-to sof-frl,

tu non

ppp

);~ ~

,.----..

sai quan-to sof-frl

il tua

" OJ

~'----"~

~~

'*'--.--"'*

~'*

'*~'*

~'*

'*~'*

~'----"~

.~~

~~~

....~~

~~'*

~

'*~'*

:;j:~:;j:

(PP) 1\

oJ

,*,----,,:;j:

VIe

Vc. e Cb.

:".

:

191 195 1\

FI. I'" Solo II

Ob.

IOJ

"--" Solo

1\

CI. inSi~

, ......

~'"

_-_ ... ,

.---

Ger.

---== ....

--..

vec-chio ge . ni - tor! ..

Vl.I

~

VI. II

~

Te Ion

---.

... ...

~..

ta - no,

.--

di squal-Ior

dolcissime

...

-..

iI

suo

marcate

:-----..

p";tet - to

si

r--:.

co - prl,

iI

suo

'II

'"

'*,,--,,'*

~~

~"--"~

~~~

~

~~

~~~

'-.....~

'j:

~"--"~

~'*

--~

~"--"~

~

II

IOJ

....'--~ ....

.f

Vie

Vc.e

Cb.

198 II

FI.

IOJ

pp I

1\

Ob.

IOJ

CI. in Si~

pp"--"

1\

I

'"

p~ I~~~

~

Fg. pp

.---. ---

~.--

Ger. tet - to

VI.I

~

~VI. ~

Vc.e

Cb.

co - prl

---.

---

di squal - 10 - re,

.,;:-

/""il',

di squal-Ior ...

Ma se al

- fin

ti

tro - vo an-cor,

~ se in me

II

'"

'*,,--,,'*

'*,,--,,'*

'*,,--,,'*

~

~'it

"--"

'it....... .. ___'it

'it....... .. ___'it

'it,,--,,'it

~

~'it

0·.... ___

"--"

II

II

VIe

si

---

I'"

~

'-- --------~-------------------

192 201

"

FI.

'" I

"

Ob.

'" I

"

CI. inSi~

'" ~

Fg.

.-----------

........

---======= /'hi: . .(It.

spe - me non fal - Ii,

Vl.I \ VI. II

~

Cb.

~

YO -

" ~------~

~~

OJ

~------~

~

'\

la

'"

Vie

Ve.

se

--~

,

--- ...

~,

--

-,..-

[h~ri

-.

---

Ger.

-----ee

del- 1'0 - nor

pp

b...

---

f

---.

in te ap - pien non am-mu - ti ...

e

rna se al-

------

------

~------~

~

-~-

~

~~

~

'-- ----------------------------

--~

-

pp

-:::;

;-;-t:

2~4

~----

FI.

'" CI. inSi~

I _-----'.

"

-

OJ

'"""'.; ---- - -------------------------

---------------------------

Fg.

a2

~--i----v

m~' !~!: : : :i:~: ~: : : : ~: ~ ~ ~ ~ ~ : -~-~-~-~-~-~-~-~-~-~-~-~-:-:-:-~-~-~-~-~-~-~-:-~-~-~-~-~: : : - :-:-:_~_~-:-:-~-~-:-:-~-~-:-:-~-~-:-:-:-: : inLa~ ~.., Ger. - fin

ti

tro - YO an-cor,

sein me

spe-me non fal - Ii ...

----------------------------- -------------------------------Vie

Dio m'e- sau - di, _ _ _ __

193

to

2~7

FI.

~

Ott.

~

~

~

e

r.\

r.\

1\

..,

1\

, ..... -~- ..... ,

-11

-e ~~~ *

!

r.\

jr ., ....... "

...

.f..~.

~

~

-

}r.~.

~-

====--

--====

1r .' _., ,

-

r.\

r.\

--====

====--

--====

::===--

--==--

------

- -::-:-::- - -

------

---

-..-

r.\

'"

'"

'" 1\

Cor.

III

inSi~

r.\

'"

...,

inLa~

:

Ger.

VI.I

~

VI. II

~

~

Cb.

~

Dio m'e-sau

~ r.\

1\

-

...

~

- dl!

rtf:

*---------*

*---------* *--- ... ..,-.

r.\

"'-

*-----.Y r.\

~-- ..

...

-.-.

r.\

r.\

r.\

r.\

r.\

col canto r.\

1\

r.\

..,

morendo Solo

r.\

1\

Ob.

'--'"

OJ

(I)

r.\

II

inSi~

Ma, r.\

*---------*

~

210

CI.

~

P-

r.\

..,

OJ

~

P-

Dio m'e-sau - dl!

Dio m'e - sau - dl,

~ Fl.

~

1\

VIe

Vc.

pp

-e e ~ e * -

.'"

'--'" dim. ed allarg.

f

~-t:

e

~

e "'-

~

...

~

~

Ger.

~. ~.

... ------

r.\

~

morendo r.\

'--'"

morendo

P-

r.\

ma_se ai-fin ti tro-vo an-cor, ti tro-vo an-cor ... Dio m'e-sau-di, Dio m'e - sau - di!

VI.I

~

VI. II

~

1\

r.\

•J

OJ

It

r.\

OJ

.,--",.

.

r.\

.,--",

~'--"'~

r.\ ~

r.\

r.\

r.\

r.\

VIe

Vc.e Cb.

~r.\

====--

1r .'_.''.

.--::--...

in Fa

r.\

1\

Cor. inMi~

~-

Solo

r.\

I

Fg.

.f..~.

So~

r.\

..,

in Si~

...

--====

...~...

..,

CI.

~

OJ

1\

Ob.

~

col canto

194 Allegro

213

f1.

~

Ott.

~

a tempo (~= 138)

col canto

1\

1 01

P

1\

1 01

1\

Ob.

~

1 01

P

1\

CI. inSi~

01

P

.

Fg.

.

.

P

1\

in cor'j Fa

01

Solo

1\

Cor. inSi~

01

p

1\

Tr. inMi~

1 01

Trn.

~

Cimb.

~

Timp.

in Si~

1\

1

Alfredo

8

Mil

- Ie ser - pi

di -

(ab.braccian~olo )* L

Ger.

Ne

VI. I

VI. II

~

~

ri - spon

- di d'un pa - dre al-l'af -fet - to?

3

1\

3

01

P

01

P

. VIe P

3

.~~~

'''P'''P'''P'

.~~~

.~

'''P'''P'''P'

3

3

1\

.~~~

~

.....

. ~ ....... 3

"'""7""" 3

Vc.e Cb. Allegro "Rl' , pvRI' - 2 : "(seuotendo Alfredo)"

col canto

'*p

""A: Cb. (Vie, Ve. =Cb.) =pp

3

3

a tempo (~= 138)

. ~.......

............

-

195 :>

~

218

FI.

~

OJ

Ott.

~

.,

~ P

e

~

II

i:

>

Ob. OJ

r

p :>

II

CI.

.,

inSi~

h

Fg. >

l

... ,.

...

~

...

~

...

h.

... ...

h.

>

p

a2

>

>

II

in Fa Cor.

I!*

p

~?"

.

inMi~

., III

Cor. in Si~

:>

OJ

[a2)

Solo

:>

p

II

Tr. inMi~

OJ

Trn.

~

Cimb.

~

~':>

,. >

~

>

'!'

>

~

Timp.

in Si~

8

(respingendolo)

>

"

Alf.

il

- vo - ran-mi

pet-to ...

Mi

(risoluto)

* Ja- scia

- te ...

(Oh

.,..

...

~

Ger. La

VI. I

~

:>

II

3 ~

OJ

p

VI. II

~

...

>

II

3 ~

OJ

...

p

. Vie

Vc.e Cb. c' • A: A1f. = do3

~.'

:~..-

- ti!

>

yyy

~.

"~"-yyy

I~ ...

.

,~'"

. "'q..-yyy

"'~"-yyy

~

. .

~.

. r

~.

. r

3

>

. "'q..-yyy

~

~

3

p3

sciar

3

. . :>

-

-

;-

....

:q..- y y y

-

-

~.

.

>

-

3

>

P--:3

~

> --......;J

--......;J

- -

ven-

196

PI.

~ I"'

Ott.

~

~

€

2~3

f

P

...

#i

1\

"'

CI.

1\

...

-

::-

1\

inSi~

...

f

Ob. I"'

~

p

...

f

>-

~.

p

f

...

...

...

>-

Pg. V

p

f

~

cor·l Cor.

inMi~

inSi~

" ,",

f

" "'

[a2l

III

p

f

"

Tr. inMi~

r~

OJ

Trn.

~

Cimb.

~

~f

H';'

~

~

f

~

f

Timp. in Sib

:

f

~

A

-"L

Alf. 8

- tal)

- det

(Ahfu

~

~

~

.(II.

Du-phol!)

~

.(II.

Ger. Non pill in-du

3

"

Vl.I

VI. II

~ I"'

~

3

-

-

......

3

... 3

8

• or

p

• or

.... ;t:.

-

P

p

3

... 3

3

...

. ... .

------

-

...

...

.... .... .

-

... ~~~

8

::-

3

f

-

......

M'a-

- -

,....

-

3

- ta ...

t'af - fret

... .it. •

. . . .it.

VIe

Vc.e Cb.

par - tia - mo, ...

gi,

p

" IOJ

_3

-

3

~

3

8

f ~

. .

3

3

3

f

. .

~

........... ......................

r

3

197

-

Ob.

...

...

...

(a 2) *

--,

f-~---~_~d==

============ __ **

Cl.

in Sib

f-~---~-=~==

============--

Fg. f------~~~~================ in Fa

a2

f':'I

f-------~~==

============--

(a 2)

Tr. in Mi~

; ____~_~:===

...

...

...

...

::===::===~===

-G-

(I) 1"-

1"-

1"-

1"-

1"-

1"-

.~

(II, 1II)

f------===== ============--

f------=~==================

Timp. in Si~

f-------==================; 1\

Alt. No.

Ger. - seol

ti

Dun

tu?

quein - va

Vie

.

no

-

tra

-- --

f------~~=~~

VC.e Cb. *A: FI. (Ott.

= Fl.) = I

ro / / I '/. I ; Ob. = I [TI /

/ I '/. I

**A: Cl.

= I~

va

to

l'a

-vrb!

==============

198 234

Ger.

VI.I

VI. II

Assai moderato

(.I = 96)

pp

~

~

C~ ~t':~~

to'

f\ OJ

r~

!.I'---...

~

""'...

~"'"'

>

""'-

..

...--

.-.-----

NO,llon

u-drai rim-

r."\

:

allarg.

~~.

~

r."\

pp

1f:.

f;

f _____ = __

tJ

'"

~

~

~

~

~

~

~

~

~

~

~

~

~

~

~

~

:t!-

VIe

Vc.

~

Cb.

~

:

.

.

.

.

iit ;..~

2~5

Fl.

f{~ ./L~

;..

..

201 -j;.

>-

~

t-j;.~

.~

.., (I)

1\

Ob.

'"

(I)

I~

~

Cl.

in Si~

Ol

......

Solo staccate ..

>-

-

>-

>

>

>

>

Fg. pp

I

1\

Cor. in Fa

OJ

...

-------------------

pp

(III)

1\

Cor. inSi~

,Ol

-....

;; ..

- nar.

Un pa-dre ed u - na

--:---...

*

-

Ger.

...

- ra t'af-fret-ta a con-so -

suo

...

>-

b-:-

re, t'af-fret-ta,

* ...

>-

t'af - fret-ta

-

a con

so -

>-

1\

Vi. I

>-

OJ

"

VI. II

~

>-

.........

OJ

-

...

1\

VI. I

;:

~

€;;~ ~ ~ I ~

'if 'if

-

.~

t:'I

t:'I

..,

w~

~~

~

~

t:'I ~

~

...

t:'I

t:'I

>,.

t:'I

t:'I

>,.

t:'I

t:'I

Vie [arcoJ*

Vc.

~

Cb.

~

h:

..

..

[arcoJ* :

• A: Ve., Cb.:

h:

:':uc:J:::.entary.

I

202 262

:6-

FI.

l

OJ

#~.,..

....

.-

#~~~

~~~~~~~~~~~~~~~~

.-

.,..~~~

.-

.,..~~~

~~~~~~~~~~~~~~~~~

f

1\

Ott.

.-

'"

f

1\

Ob. OJ

f #.

1\

CI. in Sib

OJ

f

:eo

~

:eo

~

~

.....

Fg.

f

COL

in Fa

Cor.

l

..

.1\

;

OJ

-61-

....

....

-6>

a2

1\

in Sib

..,.

OJ

f 1\

TL inMib

...

OJ

f

~

:

Cimb. (

:

Trn.

r

r :eo

""'-

...

r

r :eo

~

~

~~

""'-

..,e,

~ f

Timp.

:

in Sib

f 1\

Alfredo

S

Mil - Ie

di-vo

ser· pi

ran - mi il pet . to ...

:

Gel.

·Iar.

VI. I

~

..-...

1\ OJ

.,.. fL

fL~

.-

..

~~~

~~~~~~~~~~~~~~~~~

f

.11

..."

VI. II (

f-

OJ

Vie

f Ve. e Cb.

•

:

f

-

"'"'"

.

203

If _ _ _ _ _ _ _ _ __

265 Fl.

~

Ott.

~

11

Cl. in Si~

.Q

~~~~ ~:f!:~~""",..fI:;..."".

If

If

.Q

.Q

.Q

"' 11

I"'

.

..

.

II

Ob.

~~~~ ~:f!:~..~.~ ..""

.,

...

II

.,

....

..J

I

I

fI-

.J

~.

-I'l-

.....

-I'l-

....

~

.

.~

I

Fg.

Cor. in Fa

Cor. in Si~

Tr. inMi~

Trn.

Cimb.

II

a2

!:

a2

"'

II

"I

I"

...

~

!

r

"V

J

M

I~"~

.~

.fI-

....

7.J

.e,

.i!i'!-

...A.

77

7.J

77

Timp. inSi~

II

Alf. 8

Ger.

No.

:

M'a-sco! - ti tU?

Vl.I

Vl. II

!':

~~ ~ ~ ~:f!:1: ~ ~"}:~ ..""

-

"'

VIe Vc.e Cb.

.. ~~~-~~~~~~~

....

~

.... :j!:~~~~~ ~~~~~~

..

~

======--

......... ======-

;p

III

If

.,.

If

.,.

204

.,,-

268 FI.

Ott.

!~

:/!:1I1!::/!:t::/!:~:/!:t:~~:/!:t:~~~t:

:/!:1I1!::/!:t:~~~t::/!:~:/!:t:~~~t:

~

r.-

~~~t:~~~l:~~~t:~~~l:

~~~l:~:e:~l:~~~l:~:e:~t:

~

r.-

...

,-

r.-

-

..

r.-

"'

"

Ob.

,-

...

..

..

...

-

I"'

"

CI. inSi~

..

...

.

..

..

.

OJ

r.-

a

Fg.

Cor. in Fa

Cor. inSi~

r.-

"

!:

a2

r.-

.,

r.-

1\

Tr. inMi~

.

.,

~'

...

.~

Trn.

Cimb.

!

...

~

...

....

...

.~

..~

r.-

r..-y

y

y

-.;

-.;

*in fa-si~-mi~

r.-

Timp. inSi~

r.-

Ger.

---

.".

::----

Un pa-dre ed u - na

VI.I

VI. II

~

~

1\

~~ ~

t:

~

:e:

~

l:

~

:e:

~

l:

~

:e:

~

l:

~#~ ~

t:

~

:e:

~

l:

~ ~ ~

t:

~

:e:

~

l:

~

r.-

oJ

r.-

1\

.....-.--

I'"

...............

.............. r.-

VIe

Vc.e Cb.

iP

'I'

iP

'I'

iP

'I'

iP

'I'

I

r.-

-=

*T' . see Commentary. Imp.. vedi Note.

............

............

............

205 271 II

~f:.;,,~..,.

i!:.i':~~..,.

;..~-~

1":\

Fl.

'" II

Cl. in Si~

,OJ

II

Cor. in Si~

,'"

pp

(/1

1":\

-

~ (III)_ pp

----... ...

.. jL . . .

Ger. suo

Vl.I VI. II

~

~

--

--- ...

~.

.

ra t'af-fret-ta a con-so

-

~

-

la

,--~.

.. jL . . .

re, un pa-dre ed u - na

1":\

}0

- ra t'af-fret-ta a con-so - lar.

suo

'-"

No, non u-drai rim1":\

II

'"

dolcissimo

1":\

~

pp 1":\

II .."'!'

'"

"'!'

"'!'

--

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101

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255

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257

Jmmi J1llm i

3~3.

FI.

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>

>

ff>

>

>

>

>

Sl,

- tor.

Gas.

" 8

al

- Ie - gri ... or pria

ff>

- tor.

>

Sl,

al

.If;'

ten

-

tia - rno

gri ... or pria

ten

-

tia - rno

- Ie - gri ... or pria

ten

-

tia - rno

- Ie ~

-

;

del

-

la

>

>

>

del

-

del

-

;.

- te il

sor

sor

- te il

la

sor

-

te il

~

>

-

te il

la

;.

Dot. Sl,

- tor.

al

ff>

Mar. Sl,

- tor.

...

Tamb. e Pieehe

Corodi Zing.

,.,

rr ~,

-

.If~l,

-

I

T. 8

- tor. :

- tor.

VI. I

". '"

VI. II

..

..

>

>

- Ie - gri ... or pria

rr'!.

fl.

fl.

B.

>

...

ten

>

..

- tia - rno

..

del

-

la

..

sor

...

r

- tor.

Corodi Matt.

al

...

...

>

~

.,

..

Sl,

:----'

al

- Ie >

~ al

-

J'1'llm ~t: t:~_~;.

--.. Ie

...

-

ten

>

~ - gri ... or pna

>

Ie

~

gri ... or pna

>

gri ... or pria

...

ten

- tia - rno - tia - rno

·

~

ten - tia - rno

~ e *-;. .. ~ e*-;. .. e *- ;. .. >

del

;;

del >

ff ~

del

---

la

--- -

sor

I

•

Iff >

>

'" r--

>

>

r--

Ve.

•

.If >

Cb.

.If 1.1>' , I

,

>

I'

-

-

I'" >

--..

!:

sor

la

sor

>

~ >

>

..

te il

>

~~~e*-;. ~

>

>

ff

Vie

*A Ve., Cb. =

-

>

I' >

>

-

- te il

...

- teil

e *-;. ...

258 3~O

Fl. OJ

,., Ott.

~

~

Jmm~

~

~

~

~

~

~

Jmm ~

~

~

I~

i~

.;.

•

.;.

.;.

I•

i

>

>

>

.:;.

>

.:;.

.:;.

>

>

>

>

>

>

I

I

>

>

OJ

,., Ob.

.

OJ

,.,

CI.

inDo

>

i

.

:;

OJ

Fg. Cor.

in Sol Cor.

inRe Tr. inDo

,., OJ

>

>

1\

>

OJ 1\

OJ

>

>

>

>

>

.:;.

>

.:;.

.:;.

>

>

!

!

Trn. Cimb.

!

....

....

....

....

>

....

....

....

Trgl. Timp. in Sol

>

>

>

>

.........

............

.........

.........

>

>

>

>

>-

:;

>

>

>

............

............

Gr. C.

,.,

> >

Flo. OJ

va

,.,

-

riou - mor;

la

pa

-

:>

>

Ie

-

stra

>-

di

- schiu - dia - rna

-

gliau -

a

-

gliau -

a

-

gli au -

-

gliau -

-

gliau -

----

gliau -

-

gliau -

a >-

>-

Gas. 8

va

-

riou - mor;

.:;. :

Dot.

va

-

>

Mar. va

...

Tamb. e Picche Coro di

Zing.

...

riou - mor;

... I

I

,., "

>

-....

,OJ

va

T Coro di

-

riou - mor;

,.,

"

8

rio u - mor;

---

>

B.

la

pa

>

,..

la

pa

...

-

riou - mor;

...

mor;

Ie

-

stra

.:;. Ie

-

...

stra

..,.

>

- Ie

di

.:;.

-

stra

di

di

...

I

I

I

>-

>-

la

-

pa

-

---

,..

-

>

la

pa

-

la

---

Ie

-

stra

>-

pa

schiu - dia - rna

-

schiu - dia - rna

..,.

>

-

stra

...

- schiu - dia - rna

... I

stra

I

schiu - dia - rna

a >-

~di

a

...

schiu - dia - rna

...

a >

- schiu - dia - rna

~~t:t:e~;.. ~e~;.. .... ~e~;.. .... e*-;.. ....

a

0)

';

>

:>

~

:>

VI. II OJ

Vie Vc.e Cb.

'"

>

-

1'1'

1'1' >

'"

>

-

I'">

-

1'I'r---

,..

~t:t:e*-;..

VI. I

,.,.

,..

>-

ill >

;. >

>-

i:""Ie

-

>

>-

I

-

- riou ,.,. ~ e*-;.. .... va

pa

>-

>

va

Matt.

-

la

;.

1'1' >

259

3r.

~

~

~

~

~ ~

~ ~

~ ~

~.

~.

~ ~

~ ~

~ ~

~ .~

~.-

:g'- :g:-

*• •

...

...

...

~ ~

~.

~.

~

r.-,

~

mula in

FI. 0;

IH

Ott. 0;

•

1\ • •

Ob. 0;

1\ •

CI.

inDo

:

Cor.

inRe Tr. inDo

Trn. Cimb.

*

>

>

>-

:;;: >

:;;: >

:;;:

:

!.

:

. , - - .,.-

>

-

oJ

Fg. Cor. in Sol

*

.;

.;

>

>

>

>

>

>

>

>

>

>

>

>

>

>

a2

>

:

:

:

:

r.-,

Fl~~to

r.-, in Sihr.-,

.,-

. , - - .,.- .,.-

r.-,

-- ---- ---- ----

I >

~:-

in Far.-,

in Lahr.-,

0;

in Mihr.-, : 0;

:

I

>

>

.;

.;

>-

...

~

...

>-

...

~

>-

~

...

~ ,..

~

,.-

Trgl. Timp.

in Sol :

Gr. C.

--

'--'

>

>

,.'

>

>

>

:

~

,.'

~

,.'

>

~

,.'

>

:

:

,-=

~

>-

~

:

-.,=

r.-, r.-,

--,.'----,.'----,.'----,..

:

:

:

~

,.'

r.-,

in Rehr.-,

>

r.-,

(Gli uomini si talgono la maschcra, c chi passseggia. chi si accmge a glOcarc)

1\ •

>

>

>

>

>

....-...--- ..--- ..---

>

Flo. oJ

.

Gas. 8

- da

:

Mar. Tamb. e

:

Picche

-

>

- da

Zing.

ci

.;

- da

-

ci

,.. ci

..-

ca

tor, sl,

..lLJl ,0;

8

>-

gio

-

.;

gio

-

ca

ca

tor, sl,

;.

sl, * ;.

tOf

>

,..

gio

ca - tor, sl,

,.

j

,.

:

B.

-~-

ci

>-

1\

i

-

ca

glO

-

tor, Sl,

-

ci

,.. ci

f:--t.-io-.;.-

glO

ca

,..

>

gio

i

-

tor, SI,

;.

ca - tor, sl,

f:--t.-io-.;.-

>

;.

di-schiu

.

;.

di-schiu

,.

dia-moai

dia-mo ai

;.

dia-mo ai

.

';

dia-mo ai

>

di-schiu - dia-moai

oJ

>-

>-

. ;.

;.

di-schiu - dia-mo ai

di-schiu - dia-mo ai

>-

.

>-

,.

~

VI. II I

>-

I

gio-ca

';

gio-ca

.

;.

...- ... --- ..--....

-

-- ---- ---- ----

I

>

.

gio-~ L

tor.

**

,.**

--

----

;--.~ :

, - . --- , ..--- ... -- .......
~

263 363 1\

Cl. in Si~

"""" ".

OJ

-

~--

I>?~"'~

,11.--

... ~ ...

l1J..~

q"f 'if' " " " " •

1\

Flo. I"'

- di - to.

.. .. ..

(piano a Violetta)

Barone

e

Ger-mont

VI.I

~

VI.II

~

1\

~

"'

~7!f~7!f~

11#'.. _

~.~.~

.. .. - - - -

1\ 01

-

I't.,..

..

~

~

11#..:.....

~

....

...

~

\'t.....

... "#..:.....

11#.:...,....

-

VIe

Vc.

~

Cb.

~

-

-

.. ...

II#'_.. ~...

~

~~~7!f~7!f ..

~

11#'.. _

~

..

.. "#..:.....

~

~

'"'-..'l--

.........

.........

~ 368

"

Cl. in Si~

..

-

~-

01

II>?~

If#r

p_.

... ~ ... ~ ...

.~~ , bri.

:

Fg.

~-

J~

>

----

I

pp

Violetta

"' ~

~

"

VI. II

~

01

-

't.,..-

~.

~.

~

't.,..

't.,..

11#'.. _

~

..

~

...

....

"J_~

.. ..

~

~

Vie

~-

"t:.,

"t.;...

-

Vc.

~

Cb.

~

......... :

.........

-

.. .. ..

Da

non un sol

'

" ~

.. ..

cupo

iI ve - de - te? ..

qui! ..

01

ve-do.

..

~

Bar.

~

II

(Cie-iol glie ve - roI) ~

VI. I

(piano)

fra s6

"

-

~

.. .. .. ..

~

1>'1!:t..:..

~

~

~

:---------------- '-'

>-

.........

+,;......

~.J5ii=

~

"t;...

voi

.........

-

---

-

-

264 373 II

CI. in Si~

TT TT TTY

'"

Bar.

VI.I

~

VI. II

~

~.

t.-

... ...

... ...

... ...

det - to

si

vol

.........

t.-

",T",T",T.

TT TT TTY

... ... ...

... ... ... ...

- gaaque - sto AI-fre - do,

non un det - to,

" 01

I::,-~

1''''1''''1'.'-

-';1' -';1' -';1'-.'

't.~

~-.'

I't.~

1'.1''''1''''-

" ~-- ~-

"'

~~-

~-~-

~..:,-'#..:,-

Vie

~-- ~-

~-~-

~-~-

~-- ~-

...,

.....-

~.

~--~

~-~-

Vc.

Cb.

~

* Solo

378

Ob.

"

01

CI.

-------------;------------------------------

.-- ......

p

dim.

p~

II

inSi~

Fg. p

II

Violetta

(da se)

=====~--

con passione

...

per

(Ah

-

cM __

ven

nil in

dim.

p~endo

---------- ......

cau - ta! .. pie-ta,

gran

Dio,

pie-ta, gran

Bar. non un det-to.

VI. I

~ ~ -.; :-------." ~':-":..---- --===i=====1==== VI. II ~~

~~

-.'-.'

-.'-.'

-.'-.'

-.'-.'

------- ------===p========

-.........

====--

--

dim.

--

pp

d~.~ 1m.

pp

dim.

pp

:;;t:;;t

•• Vie ~'.

Vc.

Cb.

. >-.--

------- --===1=====\====

...

...

==--

dim.

pp

==-

dim.

pp

... ... ll~~--------~-+~~~~~~ -----------===========

Problems concerning dynamics and articulation at 379-386, 430-437, and 468-475 are discussed in the Commentary. *A: Problemi riguardanti Ie dinamiche e I'articolazione a 379-386, 430-437 e 468-475 vengono discussi nelle Note.

**A: VIe =

lJ>n'nl

265 385 ,,~

Fl. I

~ .,

FI. II

~

~

.. .. .. ;..

;..

;..

........

...

pp

.

"

., II

Ob.

)r

~.

pp

I

., morendo

•

II

CI.

-

,.,

inSi~

ov

--

A

II

Vio.

!'t,..

"""

pp

Dio,

di

me!)

Flora

" .,

Me - co

t'as-si - di,

nar-ra-mi,

quai no - vi-til

veg-

II

VI.I

~ .,

VI. II

~

"

.,

-- -- -- -...... ...... •• • •

Vie ~.

Vc.e Cb.

391 -,..-

Fl. I

~

Fl. II

~

CI. inSi~

Flo.

Ir

~

.. .. .. ;..

;..

;..

...

~,'

>~

.,;.

........

-,

Irl,.

• 1,:

,OJ

• 1,;

"

::::;::-

......... "

., II 'OV

-

""" parlano fra loro

" .,

>"---'

-

(fa sedere Violetta presso di se suI divano; it Dottore si avvicina ad esse che sommessamente conversano; it Marchese si trattiene a parte col Barone, Gastone taglia, Alfredo ed altri

"""

puntano, altri passeggiano)

- g'i - o? Alfredo

" II

Un quat-tro! Gastone

" l1

An-co-ra hai

Vie Vc.e Cb. *A: Cl. =

:

ltd.' td. ' I (397 = 389).

·

........... .~:

.. ..

(punta evince) r----r-"'., ___ Sfor - tu

401

II

~:

>- --- -, .,.:

-

. ~:

na

nel

-

I'a - rno

re

.t..fl.

~r:.

,h~,

ok.fl.

for - tu

-

na

re

- ca al gio

"*;.. ... ;.. ... ;..~

co ...

1;

1\

Cor.

in Fa

,01

Violetta

(piano al Barone)

oJ

(MioDi - o!)

(Fre-

A

Alf. 1

8

-

- co

ra:

poi

mi

sfug-gi - a ...

Gastone

1

(ad Alfredo indicando Violetta)

8

(Pie - til

di

leL)

{ad Alfredo can malfrenata ir~

Barone :

...

Si - gnor!

,k

1\

VI. I

VI. II

i:

-

oJ

VIe

:

Ve.

Cb.

i

:

-

--

======--

-0,:..--0,:..-

--

-

-

--

.........

.........

-

.........

269

,,-

>-

421

FI.I

Fl.II

~ .,

"fl:-'

"fl:-'

>-

>

.

~ .," "

Ob.

.,

,Jr.

l
:

" ,.,

Cor.

in Fa

>-.

"

Vio.

..,

-na - te - vi,o

vi la - scio!)

(disinvolto)

"

Alf.

,8

Ba - ro

-

ne, m'ap - pel - la - ste?

"

Gas.

.8

.. .. ..

....

..

Sie-te in sl

gran

for-

ironico

Bar.

VI.I

VI. II

~

~

VIe

Ve.

Cb.

...

,J.

.,

... OJ

........

........ ~

~

........

........

........

-

........

........

-

........

........

........

........

........

270 426

Ob.

" O!

Cl. in Sih

, .I.

"

.,

dim. Cor. in Fa

Vio.

Alf.

" O!

dim.

"

.,

(Che

" 8

.

---

'

Bar.

-tn

VI. I

VI. II

Ve.

Cb.

ehe algio

na,

!: .,

Vie

.............

! ~ 4~O

.

..

Sl?

---

la

---

dim.

p

ppp

dim.

p

ppp

.............

.............

.............

............. ppp

dim

ppp

ppp

dim.

•

Solo

- - - - - - - - -: - - - - - - -4 - - - - - - - -.- - - - - - - - - - - - - -;. - - - - - - - --

.~

Ob. O!

Cl. in Sih

"

.,

p

dim.

.. .

Solo

da ae-

ten-ta - ste ...

co mi

dim . .............

di-sfi

---.

pp--'

~

,=

p

(I)....-

.fL'

i~'

q:j!:'

!:j!:'

~.

I~'

I~'

~.

1'•

.fL'

Fg. p

Vio.

-

~

" O!

a? .

fi

Alf.

VI.I

VI. II

rir

mo

mi

sen

to!

pie - ta,

Dio,

gran

pie-ta, gran

"

a

- eet - to ...

... ...

--

--

.... ....

-; -;

-- --

-;-;

pp ... d~ 1m.

-;-;

-; -;

=========p===-------

--------~F---========

Vie

p :j!:'

q:j!:'

I~'

~.

I~'

~.

I

,=

;i'

r-___

dim

.fL'

dim. 1--dim.

see Note 379--386, 43(}-437, 468-475 . • A: vedi Nota 379--386, 430-437, 468-475.

.. pp

--pp

pp

271 436

"

Fl. I

-'

pp

FI. II -'

"

Ob.

-'

..,.

pp

I

morendo

"

CI. inSi~

,-,

Vio.

-.,

t..

"---pp

"'"~"'"~"'"~ ...

t.-

~

1\

Dio,

me!)

di

(punta)

1\

Alf. Ii

Ed (punta)

... ... ... ...

Barone

lu

Cen - to

VI. I

VI. II

~' :

:or;;;do ....

I'"

....

... ...

- i

-

gi a

"t,....,;

I~"

al - la

man

-

ca

... ... ... de - stra ...

l~'

~.

~

....

..

1't.,.:;I:

pp

~

-.T -.T

morendo

-

Vie '-'

Vc.

Cb.

l

-..:1.-

pp

inorendo

"-'

morendo

pp

morendo

pp

"-'

"-'

"-'

*..J

*..J

~ 440

FLI FI. II

>-

l':

>-

'"

CI. in Si~

" ,-,

~

... ~ ... ~ ... :t:

t.-

... ... ... ...

t.:t:

~

~

~

~.

,.

~

!'---"

1\

Alf. 8, 1\

cen-to ... Gastone

ad Alfredo

8

VLI VI. II

l·

Un

'If~'If~'If~"';

l~"

+;....,;

as - so ...

l~'

~.

~.,.

un

...

fan-te ...

~

~

'If

hai

:"---"..,;

OJ

--

Vie

Vc.

Cb.

l

....J

....J

'J

I'" 'J

'J

'J

*...J

>~

*...J

272 444

Ft.I FI. II

!;

~

• ''', ..

OJ

1\

CI. inSi~

,OJ

1\

Alf.

~

8

'!'

~

II

dop

1\

- pio

or • '!'

• -

~

+..]1"

1"'(....

:,..

si - a.

Gas. 1

8

Yin - to! .. Barone

..

:

II

VI. I VI. II

!~

" ~

I

dop-pio? ..

...

:,..

~-rf--n~

...,

...

OJ

VIe

~

Vc. ~

"'...1

~

"'...1

Cb. ~ :;;.-"

448

>-

1\

Ft.I FI. II

!~

CI. inSi~

>-

~

OJ

1\

~.~.~.-

.OJ

'l.'"

• ...

.......

1\

Alf. 8

Gas.

Pur la

(tagliando)

" 7 Dottore

Un

quat-tro ...

un

..

~

>~..

vit - to

-

ria e

..

set - te ...

An - co - ra? Marchese An - co - ra? '1\

Donne V

-V

V

An - co - ra? .1l

Tenori

Coro 8

An - co - ra? Bassi An - co - ra?

VI. I VI. II

!;

...

:,..

...,

IT

'if

or

>~

Ii'

VIe Vc.

"'...1

Cb.

>

~

-

1"'...1

"'.J

273 452 /I

Fl.I

l

OJ

/I

Fl.II

oJ

/I

Ob. OJ

'-:..:lo-

pp

/I

Cl.

in Si~

I-·r

...

..

"'T"'~'"

II.

i..

Fg.

...

~

Lk

pp

/I

Alf.

18

mi - a!

"

Gas.

18

Bra-va dav - veri .. ~

~

la

sar

-

e

tut

-

ta

per

AI-

.. ..

...

~

Dot.

te

Bra-va dav - veri ..

la

sor

-

te

e

tut

-

ta

per

AI-

Bra-va dav - veri ..

la

sar

-

te

e

tut

-

ta

per

AI-

Bra-va dav - veri ..

la

sar

-

te

e

tut

-

ta

per

AI-

Bra-va dav - veri ..

la

sar

-

te

e

tut

-

ta

per

Al -

Bra-va dav - veri ..

la

sar

-

te

e

tut

-

ta

per

Al-

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(entrano nella porta di mezzo; la scena rimane un istante vuota)

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a tempo 5~3

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col canto

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l

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ver - ril. ..

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283 521

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P 1\

Alfredo

8

Mi chia-ma-ste?

l

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p

che bra-

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VIe p

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p

v

v

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525 1\

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p

I

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v

v

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cor'l

inMi~

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(/ll)

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p

Violetta

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Que - sti luo

- ghiab-ban

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un

vi

pe - ri-glio

so-

li

Alf. 8

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II

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v

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Jj I (523,524,525 = 522).

v

··A: Cb. (Fg., Ye. = Cb.) =

f

..

284 529 A

Ob.

.,

Cl. in Si~

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I

(/)

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v

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cor'l inMi~

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.,

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Ah,no,

no,

A

Alf. 8

Ah com-pren - do! ..

Ba - sta ... ba-sta ...

sl vi

E

- Ie mi

ere - de - te?

1\

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~ .,

VI. II

~

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v

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l: 1\

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., Tre-mosem

rna-i. ..

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ba-ro-ne ...

1\

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VI. I

~

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~

Ma ehe

E fra noi

te - me - te?

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285 >-

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1\

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mi

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un

sol

~

Alf. 8

- stio-ne ...

l

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per ma

no

.........

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col

- po vi

...

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tor - ri

a,

un sol

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VI. I VI. II

OJ

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..

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Vc.e Cb.

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l

col

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tor - ri

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col - l'a - man

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te il pro - tet - to

re ...

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VI. I VI. II

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Ob. fI

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Cor. in La~

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8

Par -

I

ti - fO,

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rna

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r--

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che

do

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fa

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Cor. in Lab

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III

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Ahno,

""'" giarn - rna - i.

Va, scia-gu -

fI

Alf. 8

VI. I

- fai

I

pas - si

i

mie

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oJ

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..r-.t-.t 1=1

-.t-.t 1-

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1=1

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giarn - rna . i! ...

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VI. II

Vc.e Cb.

No ...

i ...

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== ==

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1"-

be

-~~

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288

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56,.8

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Fl. OJ

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(I)

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.,.,.

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.,

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~ .,"

Va ... mi la - scia

sui mo - men - to ...

difug-

i

OJ

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VIe Vc.e

che e in-fa - rna - to ...

scor-da un no - me

....

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Cb.

573

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I

::::;----- ......

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>

>-

.,

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ti un giu

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ra - men

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fe - a ...

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Vl.I

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VI. II

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A chi? ..

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Cb.

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dil-Io ...

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289 577 I

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Fg.

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(can supremo sforzo)

f\

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f\

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Eb - ben ...

l'a - rno ... (corre furente a spalancare

....

f\

la porta, e grida:)

Alf. 8

mil.

l'a

1\

;: I

VLI

~

01

VI. II

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01

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Or tut

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ti a

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-------======

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;. VIe "'---"

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:

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290

(SCENA XIV: Detti, e tutti i preeedenti, ehe eonfusamente ritornano) 587

Fl.

Ott.

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f:

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~----~ :g:

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.p.

.p.

.p.

~~

A

Ob. 01

.if

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pp

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A

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01

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u

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pp inMi~

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u t

t

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8

Neap - pelH...

me.

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Gastone

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Neap - pel. .p.••

Dottore

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1

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I: A

Vl.I VI. II

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fl

fl

fl

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pp iq;:'-~~'

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pp ih;:'-~" pp

291 593

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FI.

OJ

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in Si~

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vo - Ie - te?

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vo - Ie - te?

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vo - Ie - te?

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vo - Ie - te?

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vo - Ie - te?

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vo - Ie - te?

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vo - Ie - te?

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vo - Ie - te?

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Vio-

A

(additando Violetta che abbattuta si appoggia al tavolino)

--

Alf. 8

Que-sta

don

na

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CO

no - see - te'?

..

fI

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ehe p...

:

Bar.

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ste?

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:

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- la - ste?

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VI. I VI. II

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OJ

dim.

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>

o~ - gm suo a-ver

8

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tal fern

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per a-mor mio sper-de

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a ... 10 cie-co,

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VI. I \ ., VI. II

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8

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l

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IJ J."lJ.. )1

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294 6!8

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----:---...

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mo ...

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sti - mon

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inMi~

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Gas. 8

ne

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>

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>

.;.

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>

Mar.

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>

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D. '"

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ne

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grandioso

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n'ho! Gastone( V' Itt) "PPP3._ alOea

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(a Violetta)

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a que-sta don-nal'a-tro-ce in-sui-to qui tut-ti of-fe-se, ........ 3' ......

quan-to pe-ni ... rna

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Oh Donne (a Violetta)

Cb.

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3

A que-sta, a que-sta don-na, Dottore . PPP 3 (a VIOletta) , ... j ...... ,

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Oh Gerrnont Ida sel

(10 Barone (piano ad Alfredo)

Ve.

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10.---3

cor ...qui

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pppi'

VI. II

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fra

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,

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fra

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ca-ria-mi-ci

sen-to or - ro-re!...

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qui sei sol- tan-to,

~3~

~3_

ne

ra - sciu -ga iI pian-to

,--3----,

ff*::

~~

che t'in - non -

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da lei per - do-no piu non a ffr--3--, .----3------,ppp ,. ... --3-- ... , ra - sciu -ga iI pian-to che t'in - non h?- ;t .,.. ,.,.3~ppp,~--3-~,

rI.",.

.,~~-r-~,.

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io

~3_

so

che I'a-ma,

, . . --/!--.......

~¥~u

che gli e fe - de -Ie;

r--3--,

,"'--3--"',

.--3----,

ff>

.;.

.;.

- de -Ie

ta - cer do-

u-- 3 ------,ppp., ... --f- .....

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pro - var

vi

vo-glio,

pro - var

vi

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ff ~!--;!

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ffr;;:-4.----,

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fiac-car sappp ..... -- .....

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fra

qui sei sol- tan - to,

ca - ria- mi-ci

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~3_

ra - sciu -ga iI pian-to .----3 ------,

che t'in - non ppp .............. ...

Mar. -lor;

D.

"

fra

-lor;

~3~

fra

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ca - ri a - mi-ci

, . . -3-......

ra - sciu - g':i1 pian-to

qui sei sol - tan - to,

ca - ria-mi-ci

~3_

~

qui

.----3------,

.----3-------, ff'--~--;:'

sei sol - tan - to,

, . . -3-......

,--3------,

fa - s~iu - g~ iI f,f'--!-----:

che t'in - non -

. - - - - 3 - - - , p p p , ..... -3- ...... ,

pian-to

che t'in - non -

r--3------,ppp.~.

CoroT. 8

-lor;

fra

~3_

ca-ria-mi-ci

,. ... --il-- ... '

qui sei sol - tan-to, ,~--r-~,

B. -lor;

fra

ca-ria-mi-ci

~ - sciu-ga iI pian-to

che trin - ':on -

ra - sciu -ga iI pian-to

che t'in - non -

~3~ffr;;:-4-~

• •

qui sei sol - tan -to,

tt r-3---.!!!,CO

~

~

;;

=1=

+=

:>

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(riavendosi)

--

con voce debolissima e con passione

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AI-fre - do, AI- fre Flo.

p

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do,

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---

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di que - sto co

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., - do. 1\

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1\

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Mar. -do.

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D.

.,

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1\

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-do.

B.

-do. VI. I

VI.II

"

~

,.,

~

..,

1\

r--3----, r-3----, .--3----,

~3~

>-~

P .r-3----, ,...--3

3

3

..

..

,...--3----, ,...--3----, .--3----,

~3~

P

.

>........

Vie

P Vc.e Cb

pp

>-

......

...... ...... ......

307 710 II

Cl. in Si~

'"

,.' ........

Fg. ~

I 1\

Cor. inMi~

01

II

...... --- ......

.---...

...

---- ....

....--.---...,

Vio.

'"

-mo

-

re ...

Tunon

co - no

-

sci

-

che fi - noa prez

f ".-.....•

- zo

di-

del tuo

1\

Flo. 1

01

II

Alf. 8

II

Gas. 8

Ger.

Bar.

Dot.

Mar.

1\

D. 1

01

II

CoroT. !

8

B.

II

Vl.I

~

VI. II

~ '"

'"

".,-,-

:t-.t

".'---

>

II

".

Vie 1......1

".""

Vc.e Cb

".

So~_

0---

8 -----,

I

I

pp

aneora pianissimo .~

pro-va to io l'ho.

Ma ver -

ra

in ehe il sa-

tern - po,

p~

Quan-to

pe

ni.

fa

cor .. .

pp~

(Ohi-mc,ehe

p~ Quan-to

fe-ci! ... nesen-toor-ror! ...

.~ pe-ni ... fa

cor ...

(Jo so

P

Pro-var

VI

pp----, .3 '.

.

vo-gho

Dot. Quan-to

pe-ni ... fa

cor ...

pe-ni ...

cor ...

pp •• --, 3 '

Mar. Quan-to

fa

1\

D. of

'!'

'!'

Quan-(o

P~'T-'

1\

'!'

'!'

pe - ni...

'!'

fa

cor ...

pe - ni ... fa

cor ...

pe-ni ... fa

cor .. .

:,,---f---'"

CaraT. S

Quan-to

Pi}·-r--,

B. Quan-to

VIe p

Ve. e Cb *A: Bar. =

pp

I ,...~).J

che l'a

309 7~6

I

~------

____ _

Ob. 0)

============~.::...--

Cl. in Si~

11 OJ

Fg.

Cor. inMi~

1\ OJ

[a 2]

Cor. in Si~

Vio.

"

~3_

OJ

" "' 1\

,...--------

---

- pra

------- ... co-me

i ...

fa - mas

si _ _ __

~

Flo. O'

quan - to

pe-ni ...

fa

cor ...

11

Alf. 8

Gas.

" 8

ohi-me, che .".- -3-""

quan - to

fe -ci! . .. ne sen-to or - ror! ... ." ......... -if-

......... - .....

pe-ni ... fa

cor ...

Ger. che gli e

-rna,

Bar.

v . stro or-go - gho

c~e il vo Dot. quan - to ---3--"-

pe

ni.

fa

cor ...

"'----3-----,

Mar. quan - to 11

"' ... --;-- ....

pe - ni ...

fa

cor ...

"..... --,j---- . .

D. OJ

quan - to 1\

pe

ni ...

fa

cor ...

fa

cor ...

----,i---"

;--~3--"""

CoroT. 8

quan - to ... ---... 3

pe

quan - to

pe

ni ...

...----3""--- . . . .

B.

VI. I

VI. II

"

~: OJ

Vie Vc.e Cb

ni. ..

fa

cor ...

fe - de

con

- fes - se-

310 7{B

-

I~

Ob.

"' CI. inSi~

"

-------============

~3~

'OJ

------=============

r-----:-a~

-

Fg.

Cor. inMi~

Cor. in Si~

"

!':

~------===---------

I

r----;-3---,

-

a 2,-- 3----,

Solo

-

IOJ

Vio. IOJ

Flo.

- ra

"

ti sal

cor ...

fra

ohi-me, che fe-ci! ... ne sen-to or-ror! ...

18

quan-to

ri-mor - si, dai

ri-

ca ria mi ci -------====================

ge-Io - sa sma - nia,

de-Iu

so a -

-------=======================

.... ' ... -~--- .........

".--.3- .......

vi al-lo - ra, dai

----------

------;-----

"

"

ri-mor - si

---------=====================

ni. .. fa

pe

quan-to

18

Gas.

Diodai

---3---"

I"'

Alf.

i. ..

---------------------,

pe - ni. .. fa

cor ...

fra ca ria mi ci --------====------------------

Ger. -Ie;

ep

pur

crn

de

--------======================

--------------------

Bar. ~

~

sa-pro,

/lac-car

-...

che

il

vo - stroor - go

-~.----

Dot. quan-to ....... -;- ...

pe - ni ... fa

cor ...

fra

ca

--;--- ...

/

ria

mi

ci

---------------------

Mar. quan-to D.

pe

... --; ......

"

"

ni. .. fa

cor ...

fra

ca

ria

mi

ci

--'3---.. . .

OJ

CoroT.

" S

'

quan-to ... -- ...... 3

'

quan-to ... --3' ......

pe "

pe /

ni. .. fa --~---

cor. ..

...

- ni. ..

fa

cor ...

ni. .. fa

cor ...

--'3--- . .

B. quan-to

VI. I

VI. II

pe

!: "

OJ

Vie

-----============ Vc.e Cb

311 3 __

721

Ob. 3

3

1\

CI. in Si~

3 -

:>

=========---1--.r-t--1_ ,....J. >

=====3~====~==

.-:-

~3~

=~~=-=-,========

~

r---k'

I3~

i - -~~-- -~;.----- -..---- ----- -- -

=========---- ---======= =====================-------

Fg.

Cor. in Si~

.OJ

---

1\

Vio. OJ

si_ Dio ti__

-mor 1\

sal - vi,_

:>

sal-vi al - lor ...

ah! _ _ _ _ _ _ _ __

io

Flo.

ta an -

:>--------

~

sei ... 1\

spen

--sciu

ra

gail

"' ... ----3--- ... - . .

---

Alf. 8

1\

-mor ...

ohi-me, ehe fe-cit ... ne sen-to or-ro-re! ... ge-Io-sa sma-nia, de-Iu-so a-

---

:>----------

,~,

Gas. 8

sei ..

ra

sciu

ga il

--.......,

>--------------.

Ger. -Ie,

ep

pur

eru

---

... ---- ... ----- ....

Bar. - glio,

eheil

vo

stro or

sei ...

ra

sciu

ga il

sei ...

ra

sciu

gail

ra

sciu

ga il

ra

sciu

ga il

ra

sciu

ga il

--Dot.

Mar.

1\

D. ~

-.;;:---

... _--------'"

1\

CoroT. 8

B.

1\

VI. I

!

OJ

1\

VI. II

-;

OJ

===============

Vie

-r

-r--'

:>'-

=============== =========---Vc.e Cb *A: VI. II

•• =

M-L

*.A: Cb. (Vc. = Cb.) = pp staccate

-;

-;

-;

-

312 7~3

Fl.

., "

Ob.

1

"

CI.

--

3

'" inSi~

---;-b::-; ....t!=--------~ ~ ~ ~ -/-1-------....

~3~

-

1

'"

~

3

----

~

~3~

.. ---3--- ,

~3~

3

. . ----3----.. .

.....--...

---------

3

3

----c--

a~

3

3

3

3

~

~

-..

-...}

Fg. pp

•

~3~

"

Cor. inMi~

a.L-3~

Ii

.,

inSi~

~3~

~3~

~

~3~

-

pp

'"

Cor.

~3~

-

3

3

3

.... 3

pp .-.3

.-.3

Cimb. ~

Ii

Vio.

'" "

Flo.

.,

-

-co

pian

--

ra

t'a

-

to

-

~

---me

- ro, -

ehe fin

--

-----~-----

Ii

Alf.

3

----3----.. -

::::::

.. --:;-- .......

t'a

-

--

--==== ~

me

-

non

-- ---3--.. . . -

pp

- roo

Dai

do,

"'--3---'"

ra-

-

- moore mi stra-zian l'al-ma ... pill nonra-gio-no ... da lei per-do-no pill non a-vro.

" 8

Vo-Iea fug - gir

- la, non ho po -

~

-

pian

-

ehe t'in

to

-

non

do,

ra------==~========

. .,;.,;..

.~

~

:

Ger.

..-r--.

."-;---". .~.

8

Gas.

ri -

-

- de

Ie

ta - eer

-

do

vro!

10 so ehe I'a

*r=t-3---,

~3---,

glio

-

fiae - car

-

sa

pro.

A

que

*~3-,

- sta

-

don-na

~3---,

-

pian

to

-

ehe t'in

-

non

do.

-

l'a - tro-ee in ~3---,

-

Ahi quan - to

~3---,

~3---,

~3~

Dot. ......."

- rna, ehe g1i e fe -

~3~

Bar. -go

*~~

pe-ni ... ma pur ~3~

~3---,

fa

~3---,

Mar. "-'

-

to

ehe t'in

-

non

-

to

ehe

t~n

-

pian

-

to

ehe t'in

.......-: pian

-

to

ehe fin

pian

-

do.

non

-

do,

ah

si,

fra

-

non

-

do,

ah

81,

fra

-

non

-

do,

ah

sl,

fra

Ii

.

D.

CoroT.

'"

"'-"~

"

~

8

plan

Ahi quan - to

pe-ni ... ma pur

fa

:

B.

VI. I

~ "

VI. II

~

'"

,

3 ~

" T

'"

T

T

T

r----l

r----1

VIe

T

T

r---1

T

TTT

T

r---'1

,

Ve.

-"

Cb.

T

~

TTT

T

I

I

I

** .

TTT

T

~

TTT

' ...... _3_ .. ,....;

~

_3

aSSaI plano I ContrabbasSl

l-;ffl"l/

.--r----

T

""""""'" """"""'" , """"""'" ---.§---- .......... -:! ......... "" ...... "

... --~-.-'

~

*A: Cor. I, II =

---

,..--;---

~3

~3~

_ . Problems concerning the beaming are discussed in the Commentary. A. Bar., Dot. (Mar. - Dot.). Problemi riguardanli it coJ/egamenlo vengono discussi nelle Nole.

~

_3

......3

313

Fl.

'" Ob.

==============-----

~---

Cl.

in Si~

'"

=-============-----

=-

a2

-

Fg.

=-

Cor. inMi~

Cor. in Si~

'"

a2

"

Cimb.

-

===============---Vio.

'"

si

- mor

Dio

ti

sal

vi al - lor ..

spen

ta an-

Flo. OJ

_

sciu

ga il

pian - to

che ~.

Alf.

.~

8

- tu

Gas.

to ... dal

l'i~ra

spin

to

son

qui ve - nu - to! ...

or

che

10

-

gno ho

sde

di - sfo

" 8

_ sciu

ga il

pian

- del,

fe

del;

to

Ger.

Bar.

..-. co - re ... qui

Mar.

D.

CoroT.

qui

tut - ti

of

fe - se,

rna

..... co-re ...

ta - cer

sof - fre

0

== qui

sof-fre

non

nul - to

fia

tan - to

01 - trag-gio ... pro - var

0

-

gnu-no

del

tu

0

do

10

re;

Ira

ca - ri

a

r: -ci

tu

sei

sol

-

del

tu

0

do

gnu-no

10 - re;

fra

ca - ri

a

mi

tu

sei

sol -

.....

ci

" ca

ri a

mi

ci

sei,

ah

8i,

fra

ca

ri a

mi

ci

sei,

ah

SI,

fra

ca

ri a

mi

ci

sei.

ah

si,

fra

" 8

B. ~

Vie

Ve.

Cb. *A: Cl. ~

IJ'

(733 ~ 726).

do

vi

==

==

Dot.

Ie

.....

..-. - sui - to

ep - pur cru - de

314

FI. Ob.

...---- .......

CI. in Si~ a2

Fg. a2

fl

Cor. inMi~

-

OJ

1\

Cor. in Si~

'"

Cimb.

-

-

-

============= -- ---fl

Vio. OJ

ra _ _ _ __

- co

pur _ _ _ _ t'a

me - rb,

ah!

"

Flo.

'"

"

Alf.

8

fin

"" ... --3----,

:---

to, me

- ga

non

== = = - - - - -

!"i---a-----'

seia-gu-ra

"'"

-"

to!. .. ri

db, ~3~

mOT-SO

n'ho,

.~ri - mor - so

~a~

n'ho,

.~. ri - mor - so

"

Gas.

8

non

fin

d~3 ~

~

hn

;;

.--- a ~

~

~

;;

~

Ger. ep - pur eru - del,

- vrb,

"""

Bar.

~-glio ehe

tan-to

or

g-;;"- glio fiae - car

"""

Dot. -t';;;-to,

ra

il

pian-to

che

=

Mar. - tan - to,

ra

t'in

~

non

db ,

ira

sciu-ga

il

pian-to

che

t'in

ca - ri

"'" non

-

db ,

fra

ca - ri

vi

~-glio che

............ tan

to or-

.;,. -:'

a - rut - ci

tu

....,.sel

sol

-:-sel

sol

.;,.

a - mi - ci

tu

ca

ri a

ml

-.

ci

sei,

ra

sciu

ga il

ca

ri a

mi

ci

sei,

ra

seiu

ga il

ca

ri a

sei,

ra

sciu

ga il

D. '"

pro - var

==-"'

**

1\

prb,

sa

=-"'

sciu-ga

ep - pur eru - del ,;,.

=-"'

1\

CoroT. Ii

B.

fl

VI.I VI. II

l

OJ

b..~

~

mi

:---...

ci

./

-.

3"-

============== - ----

" '"

VIe Ve.

-

Cb.

*A: CI. = T'lj T'lj I

-----------

(734

= 727).

**A: Coro D. =

~

(734 = 727).

~a~

~

315 7~9

FI. Ott.

i---;---~

!:

{:---;--

~

1\

CI. in Si~

'"

Fg. Cor. inMi~

Cor. inSi~

!~

~""-'--""".h 3 .... 11 , .;,. -----

a 2- -- -- -

-

inMi~

rf)

{-3---~

fm~

~.fIL

~~

l' ~----a---,..

J"J---:;----.h

y---j--- ,

~-

~J---":,':---:::l- ~---8---,J\

"'-'3-- ... ,

--r--~

--.---;----.

::Jl

1'--:;---, ,

,---3--",

.fIL--a---...

- - - - - - -h-= - - - - - - - - J: __ '~3_

f

.-:;---... ~~.1:---'

y--:;---,

1..

3 -";-

:t..~

--- =~ ==p'= ==3=-=(.= === == ==,; == ======.= =========;: =

~---------------~-----==~===============~======~=======~== a2 a2 ----------~------------=-=-=========~=====~======~=======~== ~3~

'"1\

Tr.

i---j--~

~3~

Ob.

'"

i---:;---~

-------_ ....

O!

1\

{--;--'E

~~

'"

~

....

~

f-----~-----===~=======-=~=

h;

Cimb. Timp. inMi~

>-

1\

Vio.

'"

ta

spen

an - co

ra,

spen

taan - co

ra

~3~

1\

'---3---,me - ro, _ _ __

t'a

f

t'a

me -

Flo.

'" 1\

to

ra

che t'in - non - do! _____ che

f ,....-;::;-----..

~3

.,;.

3

-

Alf. /I

n'ho!

or che 10 sde

gno

ho di-sfo-ga

-

....---::---.-

1\

to,

ri - mor - so n'ho,

~3-----.

ri

f '--"--',

fin

-

non-

i ...~ mor

so

fin

non-

Gas. /I

ra __-------_S~3-----=---, ga il ..-,. --... .----.:;.-.fIL"""",---~

pian

-

to

che t'in - non - do,

~3 _ _ f~~

che

h> ...----;---...

1 ...----.--.....

Ger. cer,

ta

~

Bar. - go - glio fiac

.-

Dot.

.

car

sa

pro,

ep - pur

...

cru - de

pro

....

vi

non

db,

{a -... sclU-ga

il

pian-to

non -

db,'

ra

il

pi~-l~ che

- tan-to,

ra

sclu-ga

,;il

pian-to

che

- t~-t~,

ra

sclu-ga

il

pian-to

che

-

Ie, ~..

vo - glio che h.'

....

ep - pur cru - del

r

ta

..

tan - to

or

...

..,.

go - glio fiac

.-

.. sa ..

do -

- cer

car

..

.

che

non -

Mar. 1\

tlfn-'-

sctu-ga

11n -

non-

----------------------------=========~;~==f~~~j~~===~=====~~~~~~=

D.

'"

pian

to

chet'in

do,

pian

lo

chel'in

non

pian

to

che t'in

non

1\

che l'in - non - do,

f ,---;---

che" 1~3- non -

.,;.--,,---,

-",'...

3-.......

CoroT. 8

pian

-

,----3 - - ; - 1

B.

-

!~

1\

VI. I VI. II

l~

3

'"

VIe

h.:-----Ve. h..

Cb. *A:Vio.=

n1T1 '--"'--'

(737=730).

.,;..

-

-

non-

tf-- ---f:

- -

-

316

FI.

pp

Ott.

'" Ob.

r=--3----,

"

pp I ___ 3

,OJ

CI. in Si~

I / . . --3---------- ... ---------------- . .

-3-

I'"

--

pp-------===~========~===

I

......

......

a2 .....

Fg.

- ....

==============-----

pp

-

-

-

-

Cor. inMi~

Cor. in Si~ Tr. inMi~

'"

"

,'"

Cimb. pp

Timp. inMi~

--====

Vio. OJ

Flo.

Dai

-

rnor

si

Dio

ti

sal

vi al -

-do, ~3~

"

... .. __ :1 ........

8

n'ho! Gas.

ri

" '"

Alf.

-roo

Vo - lea

fug - gir

-

la, non ho

po - tu

to ... dal

l'i-ra spin

-

to son

quive-

" 8

-do,

ga il

~3-~

Ger. - vro!

10

so

che

l'a

rna, che gJi e fe - del,

-

sta

d~-na

l'a - t;:;; - ce

pp

fe

Bar. -pro.

A

pp

que

Dot. -do.

Ahi

- do.

Ahi

pp

-.

in

- s~ - to

qui

tut - ti

of -

fu-

.....

se, rna

non

i

....

-

quan - to

pe-m.... rna

pur

fa

c;;' - re ... qui

sof - fre

0

-

g~-no

del

tu -

0

do-

quan - to

pe-m ... rna

pur

fa

c';- re ... qui

sof-fre

0

-

g;;"u-no

del

tu -

0

do-

Mar.

....

.....

pp

D. 01

- do.

CoroT. 8

_

ro,

ah pp

81,

fra

ca

ri a

rni

ci

ah

sl,

fra

ca

ria

rni

ci

ah

81,

fra

pp

B. -do

g-3~

ca ri a uniti ~~ ..-....,3:---~

VI. I

/" ;--;; ; ;,

rni

-

VI. II

VIe Ve.

.... Cb. pp *A:Alf.=

----

n1;;~11

-

.....

-

ci

~----3--~

317

7!3

Fl.

!~

...

-~

...

b_

tt

~

f:

~C

~

~

q~~~~...~qC

3

-OJ

1\

I

.....----a

I

r-c=--

Ob. 01

1\

Cl. in Si~ 1

01

3

3

inMi~

Cor. in Si~

I:

I~~

~

---

3

......

_--3----~h.'---3------,

--

-

1\

1

:--..

3

~...~ ~-----a-::-....

=-

Fg.

Cor.

--.. --...

3

.'l

......

-.

a2 .....

~

----

~

I

Ott.

3

-

a2

01

1\

Tr. inMi~

I., :

Cimb.

-

Timp. inMi~

--===========------

-?~'=2',==

~3~

-~

Vio. I"

-lor ...

- co

spen - ta an

-

:--.,

3

-'Ii

ra

,

, ..... -3--- ...... ,

pur

-.. -;--- ..... -

t'a

,

-

me

1\

Flo. 1

01

pian - to

-

Alf. 1

.~

8

- to! ...

-nu 1\

or

che

10

- gno ho

sde

1>,,;---:,-.----,

- ga

di - sfo

pian :

Ger.

- to

che fin

-del; Bar.

.....

- nul- to

fia

-

Dot.

-

ep - pur ern - de

..... tan -to

-

-10 - re; fra

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ah

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mi

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CoroT. 8

B. VI. I VI. II

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Vie

01

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I r - - - - 3-------,

Ob. i>

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n'ho,

ri - mor - so

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A

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rn

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'~

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to

ehe t'in

non

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ga il

pian

to

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non

sei,

ra

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ga il

pian

to

ehe t'in

non

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1\

VI. I VI. II

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Ob. Cl. inSi~

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320

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>

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qui sof - fle o-gnun, qui sof-fre o-gnun del tuo do - lor, ah! _ _ _ _ _ _ _ _ _ _ _-_ fa PPP .,'.~---, .--3--":*,./ ~' h~ 3--'pp'/'j--,. ff>- > » » : »

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- db.

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che gli e fe PPP

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ff.;,

if ~ ~

il pian-to che tfin - no?">

>

>

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.--3--. **" 3 "

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il pian-to ehe t'in - non >-

>-

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oj

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il pian-to che t'in - non >-

>-

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il pian-to che t'in - non -

~ i""~ i i"'~

VI. I

;:

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Solo

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pp

1\

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in Si~

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pp

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Cor. inMi~

Cor.

in Si~ Tr. inMi~

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pp

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...

Cimb. Timp. inMi~

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io spen-ta an-cor e'-1!:.1::;;!!1~.:. LO, gur }~'!.:.me-ro, PPP ,. ..... j- .. _, ,--3-. ,,-""'-.r-::::.---;....3-/'P'" .) " , - - 3 - - : .

Flo.

l'a

pur

me

---~--~=======================

.

..

cor...

cor, qui sof - fre o-gnun, qui sof-fre o-gnun del tuo do-lor, fa ppp .,--J--~3~h/-~--'· ~8-,pr--3--'. ~3~ ~3_

n'ho,

ri - mar - so ppp .~.

fa

Alf. 8

n'ho, ri - mar-so n'ho, ri - mar-so n'ho! ah si! ... che fe-ci! ... ne sen-to or-ro-re! ... da lei per-do-no piil non a~3~ --.~==~3~P~--'j--,. *."=----3~ ___________ ===================

Gas. 8

- do,

qui sof - fre o-gnun, qui sof-fre o-gnun del tuo do-lor,

---- '. PPP./?

~~=== 3 pp~ ~.... ~ ~. • •

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fa

cor,

fa

ta

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do

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chc gli

e

fe

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ep -pur cru - del ta - cer do-vro, ~,..-;'~{~;":::.= = ~3-!!?-"'''1-'''. ,--3-----,

------========================

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sa - pro, fiac-car sa - pro, fiac-car sa - pro,

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fa

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fa

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fa

~3~ -::-"'i='~==~3-PP/-3-"

cor. .. qui sof-fre o-gnun del tuo do -lar; ,-3-, -/-;=;-~~::':=~3-,PP/-"'3"""

che

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ra

cor. .. qui sof-fre o-gnun del tuo do - lar;

1\

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pian-to

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t'in

non

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pp

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pp

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pp ** A: Gas. = ~o12

322 7~5

iii i i 1: ~ iii i

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ff Via. ~

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(II signor Germonl Irae seeo il figlio, il Barone Ii segue. Violetta e eondotta in altra stanza dal Dottore e da Plora; gli altri si dispcruono)

-

ff

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(Fine del secondo atto)

323

ATTOTERZO N. 8. Scena Violetta (Camera da letto di Violetta. Nel fondo e un letto con cortine mezzo tirate; una finestra chiusa da imposte interne; presso illetto uno sgabello su cui una bottiglia d'acqua, una tazza di cristallo, diverse medicine. A meta della scena una toilette, vicino un canape; pili distante un altro mobile su cui arde un lume da notte, varie sedie ed altri mobili. La porta e a sinistra; di fronte v'e un camminetto con fuoco acceso) Andante 8 divisi

(J = 66)

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,

(J = 66)

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323

ATTOTERZO N. 8. Scena Violetta (Camera da letto di Violetta. Nel fondo e un letto con cortine mezzo tirate; una finestra chiusa da imposte interne; presso illetto uno sgabello su cui una bottiglia d'acqua, una tazza di cristallo, diverse medicine. A meta della scena una toilette, vicino un canape; pili distante un altro mobile su cui arde un lume da notte, varie sedie ed altri mobili. La porta e a sinistra; di fronte v'e un camminetto con fuoco acceso) Andante 8 divisi

(J = 66)

,

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:

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,

(J = 66)

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",.

",

...

*(~~~~ ... ... .

...

~

...

(~~~ru ... ...

...

~

~

scivolore

~ ". "

pas - so

velocissimo

{~~~m ...

OJ

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",.

-

gi

Pa-ri - gi

to.

'g#~~~~ ..

-

Pa-ri

to.

B.

Ott. I

da - te

~3~

tr[~l

2~ •

- ni,

Pa-ri - gi

to.

.

scivolore (04)

( 4) velocissimo r--~ (I,ll) o • #'it.

,",

(04)

r--~ (I, II)

*.-r;

I

scivolore

~

I

(III,IJ)

(III, IV) ~

f\

I

OJ

I

~

velocissimo

I

~

I

* -------- . . :i.,.. ... ~...~

(02) ':i-;'-:---·;.:::i:~

~

Trn.

D.

" OJ

.

-

gras

CoroT.

" 8

gras

scivolare ",.

-

-

so, al tri

.. ~

",':---tt;

B. gras

on - fo del

Bue gras-so,

al

tri

~

-

on - fo del

Bue gras-so.

... ... - on

-;0

del

Bue gras-so,

~

so, al tri

*A: Ott. J (Ott. II = Ott. J). Ct. Trn. =

-

...

so,al tri

**

... ...

...

-

I ~I

on - fo del

Bue gras-so,

al

tri

~

~

al

tri

(50.52 = 23. 25).

** A: ~~~;~7~:~i: "Non si spaventino i bassi di questo La: non va cantato rna scivolato come fanno gli stromenti"

~

-

on

-;0

del

B ue gras-so. ~

-

on - fo del

Bue gras-so.

",.

Bue

342

Ott. I

~

Ott. II

~

2~.

t

-~

~

..

.,. .,.

~

1\ •

::;--

~

~

t=

t=

::;--

'?"

~

.,. .,.

>-

>-

1----1

>-

>-

-

>

:-

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.(1, II)

.---.

----.

'----'

''''(Ill, IV)

a2

1\

Cor. inRe

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0)

Cl.

inDo

.

.;..

;

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Trn. "---'

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1\

>

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r,

ne

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-

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fri

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ea

vi

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deil

pift

bel

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van

10,

>

1\

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toed

or

-

t~ed

or

toed

or -

>

CoroT. 8

-

L'A

~

ne

Sla,

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I'Af

fri - ea

vi

-

deil

pift

bel

-

van

10,

r

-

;.

;. B. L'A

Ott. I

~

Ott. II

~

33 A

.,.

~

ne

I'Af

fri - ea

.,.

•

vi

deil

pift

bel

van

10,

'?"

.,.

h~

f.:

,/L

h.;..

.,. .,.

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h;'

t=

•

h•

.,.

.;,..

h;'

t=

•

h.

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,.

10) 1\

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sia,

inDo

10)

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1\

(I, II)

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>-

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>

.

.

>

•

>

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>

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rna - eel

-

10 ...

...

AI

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Ie

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gre

rna - sche - re,

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Ie

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>

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0

d'o

gni

rna - eel

10 ...

AI ~~

~

~.

AI

Ie - gre

rna - sehe - re,

343 38

Ott. I

~

" '"

~

II

Ott. II

..

~;.

to

;..

~;..

#-

#-

#-

#-

~;.

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it-

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II

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,",

(III, IV)

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(a 2) >

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Cor. inRe

.,

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>

(a 2) >

,;;

it-

. ...

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..

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:

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>

""

D.

'"

-

paz

zi

gar

-

zo

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ni,

tut

8

ti

pIau

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di

-

te - 10

con

can - ti e

-

ti

pIau - di

-

te

-

10

con

can - tie

pIau - di - te - 10

con

can - tie

>

""

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-

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paz

zi

gar

-

zo

-

tut

ni,

k>

~

tut

ti

~.

B. zi

paz

~

43

Ott. I

~ .,

Ott. II

~

gar

-

zo

ni,

-

tr~[ll_ _ _ __

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tr[ll

-

II •

"' (I, II) tr[ll "

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'(ill, W) II

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I

L-

inDo

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(a2) [Il tr

(a2) [Il Ir

Tm. Ir

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D. OJ

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suo II •

CoroT. 8

~3~

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ni.

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Pa-ri

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gi

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ni,

da

-

te

pas

-

so

al

tri

-

on

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fo

del

Bue

-

gi

- ni,

da

-

te

pas

-

so

al

tri

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on

-

fo

del

Bue

....

~

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del

Bue

~3~

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..

m.

Ir[ll

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1!:c

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ni.

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gi

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ni,

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da - te

..

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pas - so

al

1!:c

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,~

tri - on - fo

344

velocissimo

{~~~~ ,. ,.

5~

Ott. I

Ott. II

~

~

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f~~~~

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,.

,.

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scivo/are

velocissimo

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.

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@"~ ~ ~ ffi I,. ,.

,.

scivo/are ( 4) ve/ocissimo

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r-~

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rv)

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I

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1\ •

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gras

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".

55

Ott. I

I

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f;

f;

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;0

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del

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del

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al

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Bue gras-so,

Bue gras-so,

.;..

tri

.. ..

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so, al tn

gras

.. ..

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al

tri

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al

tn

- on -

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on -

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del

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,

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,

,

.

,

,

.

,

Bue gras-so.

B ue gras-so.

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=:-

>.;..

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f;

f;

=:-

=:-

I~

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OJ

1\ •

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OJ

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(I, II)

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. I...-..J

(a 2) :

-----

,.

..

-----

..

..

..

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>-

>-

>

>

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1\ •

r

Lar

..

-----

..

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~o - r~ e

pam

- pi - ni

lio - ri e

pam

- pi - ni

lio - rie

pam

pi - ni

::>

>

D.

'"

I...-..J

a2 I

OJ

Nacch., Tamb.

>-

>-

a2

1\

Trn.

...--.

r

- go al qua - dru

-

pe - de

sir

del - la

fe

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sta,

di >-

>

CoroT. 8

Lar

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-

pe - de

sir

del - la

fe

-

sta,

di

;.

~ B. Lar

go al qua - dru

pe - de

sir

del - la

fe

sta,

di

345

Ott. I

~

Ott. II

~

...

6~ •

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i

>-

fff

II •

I~

.,

>

>-

>-

'(III, IV)

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i

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i

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.if >-

II

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inDo

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(I, II)

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W

>

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I

>

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>

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Trn. >

>

>

>

.;.

.;.

.;.

.;.

- go al qua - dru - pe - de

sir

del - la

fe

- sta,

- go al qua - dru - pe - de

sir

del - la

fe

- sta,

...

... ...

/L

sir

del - la

fe

.if

...

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...

....

....

.;.

Tamb.

.;.

.;.

.if

D.

.,

ff

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cio

ta

te

la

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sta ...

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II "

CoroT.

8

-

cin

ta

la

te

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sta ...

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ta

cio

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sta ...

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I e;-------- .e;-------

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FFl1ffl f:

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Fff!ffl If:

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(a4)

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(a4)

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I

'(III, IV)

OJ

~

Lar - go al qua - dru - pe - de

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te

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(I, II)

inDo

la

i

6~"

Ott. II

... ...

-!

B.

>-

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I

I

(a2)

:>

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>

a2

r.-.

f'f'9i'i"'P

>

~

r.-.

Trn.

Nacch.,

>

>

.;.

.;.

.;.

.;.

...

~

r.-.

Tamb.

....

II •

D. '"

lar

- go,

B.

- go,

lar

- go,

... lar

-

-

lar

.

II

CoroT. 8

lar

r.-.

go ...

... lar

...

/L

go,

lar

- go,

-

lar

.... -

go,

lar

r.-.

go ... ~

.....

- --

~

~

go ... _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

r.-.

74

346

N. 10. Duetto [Violetta e Alfredo1 (SCENA

v: Detta ed Annina ehe torna frettolosa)

Allegro assai vivo (d II

= J08)

Violetta

OJ

Che t'ae-cad - de?

II

(esitando)

Annina

'"

~

Violini I

~

Violini II

Si - gno - ra ....

~. t>

~t: q~

~

..

b....

-ll'-rl.,..

H.

Que-

h.

pp

1\

• OJ

...:

pp

:

...:

-.t.

-.t.

....,1.

ij-ll'- Ib....

~

...:

...

Viole pp

Violoneelli ~

: -.t

pp

Contrabbassi

~

...

...

-.t

-

-.t

...

-.t

...

...

:

...

,

pp Allegro assai vivo (d = 108)

::::6 1\

Vio.

oc

Si,

per-

1\

Ann. t>

e

- st'og - gi,

VI. I

~

#t: q~

f:

II

....

-11'-1,....

~.

....

.... ~

Cb.

~

~

me - glio?

q~

....

OJ

Vie

Ve.

te

h.

..

1\

VI. II

sen - ti

vi

ve - fO?

....:

-:

"-II'-

b....

....~

:

-.t

-.t

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-.t.

-.t.

-.t.

-.t.

q....

: -.t

....:

:

-.t

...

-.t

...

...

-.t

....

347 11 fl

Vio. OJ

Si,

- eM?

ehe

vuoi dir - mi?

1\

Ann.

'"

l

"

VI. I

- mapra

D'es-ser eal

.

..

met - te - te?

~

..

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f\

VI. II

.,:

q::

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q::

:;.

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:

Cb.

16 f\

CI. inDo

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pp

.-

:

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'&

pp

1\

Vio.

'"

U - na gio - ia?

di

fl

Ann. OJ

Pre

l

-

vi

ve - nir

Ii ...

..

f\

VI. I

vol

u-na

..

gio

- ia im

..

..

prav - vi

sa ...

OJ

f\

VI. II

q::

v

.,:

:;.

:;.

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:;.

#'.'

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•

•

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VC'l Cb.

:

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f!:f!:f!:

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f!:f!:f!:

---

f!:f!:f!:

.....-

f!:f!:f!: ~

348 21

"

CI. inDo

. ---------------------- --------------------..... .~--------------------

OJ

lifo. Pg. ILJ!

Via. OJ

-

- ce

-

Al - fre

sli?

Ah tuilve - de - sli? .. ei (Annina affenna col capo, e va ad aprire la porta)

do? .

II •

Ann.

., Sl,

#~.

"• VLI ~ ., VI. II

~

"

.

~~.

0

~~.

~~.

-

si-gno ~ ~.

ra ...

~~.

~~.

~ #~.

~~.

~~.

~~.

~ ~.

~~.

pp

11,.0..

.. .. . .. . ..

-,t.

-,t.

~.

Vie

~

~

111,.0.·

.. .. . .. . .. -,t.

~.

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.. . .. . .. ... .. . -,t.

.

11,.0..

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pp ~ ~

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POCo cresco

~

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poco cresco

~ PI.

~~.

poco cresco ~

Ve.

~~.

poco cresco '-,t.

OJ

~~.

(SCENA VI: Violetta, Alfredo, Annina)

("

-----============

II •

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OJ

-----============

II •

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---------------======================================= Cimb.

p--------------===================== Timp. inMi Via.

"

.

pp (andando verso l'uscio)

vien! . . ei vien!.. I'af - frel - la... Al - fre - do?.. A Alfredo II. comparisce Alfredo (pallido pella commozione, ed ambidue gettandosi Ie braccia al collo eSclamano:)

OJ

8

Oh ~~.

~~.

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ViolL~'

lL

Vie

: !l~----~----~---~----~---~----~---=~====~====~=F==~====~====~===~====!!====~====~====~====~===

349 #~

2~

Fl.

!: q:!: .if

Ott.

'"'

Ob.

:! :

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ff

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Cl. inDo

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.if

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inMi

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Tr. inMi

If

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If -&

... _----- ... '&

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Trn.

.if Cimb. ff

Timp. inMi

Vio.

.if -~~

O'

do,

- fre

a - rna - to Al - fre - do, a - rna - to Al - fre - do, ob gio

------------------------------

-~-

Alf.

#---H~

8

-let

ta,

ob

mia

II

.

o'

Vio - let - ta, ob mia VIO - let - ta, ob gio

:·:!I~:~~H~~.~~~:!!:~~~,~~~~~~~~~~~~~I~"-~~~~~~~~~~:~~~i~: -ir

.if

i • Vie If

ff

350 35 Ii

-

H.

Vio.

'"

- ia!

8

VI. I

VI. II

~

~

Col-pe-vol so

- ia!

Ii

-

re-so mi se

i!

- no ... so tut-to, 0 ca - ra ...

Da que-sto

"H.

OJ

Ii

- ne

-

.---

1LJL!i.

Alf.

so che ai-ii

10

pp H.

... ... ... '

'"

'

pp

...

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... ... ... ... '

'

... ... ... ...

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... ... ... ... '

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Vie

pp

Vc.e Cb.

pp

40

Ii

CI.

inDo

H

OJ

pp

(Il

I, II

Ii

Cor. inMi

OJ

pp

Ii

Vio.

pp

~

H.

., Ah s'an-co in vi - ta

"

Alf.

8

VLI

VI. II

~

s'io t'a-mi im-pa - ra,

pal-pi-to

Ii

--

~

~

sen-za te e -si - ste-re

pill non po - tre - i.

H

OJ

~"

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y'

OJ

y'

y'

y

... ... ... ... ... '

'

'

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... ...

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... ... ... ... '

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...

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Vie

~

Vc.e Cb.

m'hai ri-tro-

:

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351 45

CI.

1\

inDo

..,

Cor. inMi

A

~. ~~

(I)

"""'

I"

1\

Vio.

~.

~

.>

.., . va • ta,

1\

non puo il do -lor.

ere-di ehe ue-ci·de-re

--

~

-------Seor-da l'af-fan

Alf. 8

VI.I

VI. II

A

~

.,

~

..,

1\

-

-

no, don-na a-do - ra

ta, a me per-

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a.

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0

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•

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Vc.e Cb.

50 .i'c

---

~

Vio. OJ

-

Ch'io ti per-do

1\

-

ni?. la rea son i

0; rna so-Io a-mor

talmi

ren-

~.

Alf. 8

VI. I

VI. II

1\

a.

1\

~.

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~

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- naealge - ni - tor.

...

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.....

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0

Vie

Vc.e Cb.

.

'

....

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pp

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Vc. e Cb. b, (ISO = 128); sce Commentary.

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359 146 /I

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VI. I VI. II

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--

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363

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180 1\

Vio.

vacilla

E nul-la,

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sa - i?

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non en-tra

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Alf. 8

Tu im-pal-li - di - sci! ...

...

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VIe

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si abbandona (come) sfinita sopTa una sedia (col capo cadente all'indietro)

185 1\

Vio. rna

sen-za tur - bar - 10

-

un me-sto

co

Eil mio ma-

re ...

(spaventato sorreggendola)

1\

Alf. 8

Gran Di - o! . .. Vio - let - tal

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-_ .. _- ... ,.

VIe

....... -."' ...

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fi

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;, '-,

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in Sol

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fi

.ff

.

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(I~~~~~~~~>-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ito) ff

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I ff

(II, III)

if

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ff >-

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em - do, il em - do

ter

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ser - ba

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_ de il tuo

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~.

A>-»>-

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toal no

lor,

ah SI,

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de il tuo

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ff

378 3{5

Fl.

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ser - ba

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al

(Violetta s'abbandona suI canape)

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no - stro a-mor! ... ~

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ta, deh cal- rna - ti.

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see Commentary.

. - so12; vedi Note.

Attacca subito il Finale

379

N. 11. Finale Ultimo (SCENA ULTIMA;

Detti, Annina, il signore Germont ed il Dottore)

Allegro assai vivo " Violetta

(d = 92) Voi . . .

si - gnor?

" Alfredo

Mia pa

(cntrando)

Germont

dre!

.fI'.'

Ah

Via-let - tal

Violini I p

cresco

Violini II

. • w· • • •

p

cresc.

Viole p

Violoncelli e Contrabbassi

cresco

p Allegro assai vivo

cresco

(d = 92)

-;:; 6

Via.

" v

Non

mi

scor-da - sle?

GeL La

pro-mes

.

..o:.~:

sa a-dem - pia ...

. .

. . . .

a

.~:

strin-ger vi qual

.,.Q,.o. p

Vie p

Vc.e Cb. *0

The 1853 version is: er.: La versione del 1853 e:

p

:!)r~

_

,[rin-ger.vi qual

Ii - glia ven-go al sc - no, 0 ge - ne-

380 12

abbracciandolo

"

Vio.

I"'

Ohi-me!

tar

-

di

ilt..-

*

*

giun-ge - ste!

Pu -re, gra - ta yen

Ger.

-

- ro

sa.

1\

VLI \ VI. II

'"

~ I"'"

,~I ,~\

Vie

Cb.

-

:

Ve. \

lit..-

*

*

*

q*

*

*

*

*

Ie brae

-

1*

~

-

17 1\

Vio . .

VI. II

~

*

*

--

~

VLI \

*

'"

so

- no ....

Gren-vil,

-

ve - de

te?

fra

cia io spi

-

di

ro

" I"' 1\

'"

... ... ... ...

Vie b...

Ve.

... ... ...

.... ...

... ... ... ...

..

... ...

Cb.

~ 22

"

Vio.

"'

quan

-

ti ea

-

ri ho al mon - do ...

Germont

....

.......*

Che

mai di

osservando Violetta

-

VI. II

~

(Oh cie - lo!

.. ----

1\

VLI \

te?

'"

It

r"""--

.....-

.....-

.....-

.....-

r

.....-

.....-

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.......-

1\

'"

It

-----

===--

Vie pp

It .~

Ve. \ Cb.

.~..... .,..1!:~

It

~ di·te?

I~ pp

It-

~

'Ger.: ~e:~e v~~;.,~:r~~~~~3:

... .fII.1!:~

1!:

~

381 2~

Fl.

I ___

..,

p--:::::=============

--;,;;;,;,- -------

Solo

"-

Ob.

"'

p~~~~=============

Solo

"-

CI. inDo

,.r~i'--;-;'~~~

,_--..;;,;,------_,

OJ

"- Alfredo 8

La

ve

-

di, pa

-

dre mi

-

o?

Ger. ever!)

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VI. II

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p

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p

lu:---------;,----I ~

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l

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-----==============

p

FI.

p--================ __ ___

(I)

Ob. '"

p~=~============

>

Fg. p ~---""'e

....

.".

Ger. piu _ _ _ non la-ce - rar

mi ... trop-po ri - mor

--

so I'al - ma mi

di - vo - ra ...

QUa - si

I~ -"=--=-=-============= #~ ~ __-.t__

!=:JI"==========

Vie p

p

------============

382 I q> 3~ ~~

---

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.,..

>

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R.

FI. OJ==

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1\

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CI.

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l

l

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:

Fg.

>

>

1\

inDo

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.-

===l;;----------------------- -> ~~

:r=

----

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Ger.

VlI

-

ful

!

OJ

-

>-

1\

VI. II

=~ ....

..

-

min m'at - ter

-

inSi.

p

,. .....

ra

Violetta

-

0

-

gni

>-

-

--

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(I)

p

>

1\

-

--.-

p-'-.'

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-- -

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suo

.. .. --.-

:;;:

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det - to ...

-.- .....

pp

~;:

pp

VIe >

-Vc.

Cb.

!

pp

~

-'"

.- ... -pp

p

40

."

~

p

:

:

a pre

>

>

p un

p

ripostiglio

toglie

e

un

pp

medaglione*

..

Ger. Ah mal cau - to

VLI VI. II

~

~

- do! ...

ve-gliar

il mal

ehe io fe

-

ei

0

- ra

.,;

.....

- do! ...

sol ve

1\ OJ

.,;

.....

.,;

.....

.,;

.....

-.- .....

-.-

dim. 1\ OJ

~'

dim.

VIe dim.

--

-""

-.,

Vc.e Cb.

---

-'"

~

-,.

. -...

••

dim.

~ 46 Violetta

col canto

" OJ

VLI

~

VI. II

~

Piilame

t'ap-pres - sa ...

a - seol

- ta,

a-rna - to AI-fre

-

'" do! ... t:'I

1\ OJ

P

PPP t:'I

1\ OJ

ppp

P

t:'I

VIe P Vc.e Cb.

ppp t:'I

p

*YES3: Via. = "frattanto avrs aperto a stento un ripostiglio della toilette e toltane un medaglione dice:"

col canto ··A:Cb.(Vc.=Cb.)= I J-I

ppp

53

Fl.I

~ .,

Fl. II

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ppppp

"

Db.

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h

CI. inSi~

"

~~

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~

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ppppp ..,..,..,

inMi~ Cor.

383

Andante sostenuto (J = 56) Questo squarcio bencbe a tutta orchestra dovra eseguirsi pianissimo

'i/Ir 1 ~~=fk 1

'i/Ir 1 ~~=fk

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.,

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F=I k

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1

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1==1

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1

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Cassa

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Vio.

OJ

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VI. II

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pippp :;;.:;;.:;;.

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(J = 56)

ques-t'e I'im-ma

:;;.:;;.:;;.

.

- gi

ne

:;;.:;;.:;;.

de'miei

.

pas-sa - ti

:;;.:;;.:;;.

384 57

FI. I

~

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1\

FI. II ( OJ

1\

.

Ob.

"'

. .,.

.

.

"

CI.

in Si~

OJ

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inMi~ Cor.

. .,.

• • •'

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...

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7

7

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14

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• • •'

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7

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'it~~

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OJ

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p'~

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7

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Via.

.~

~~~

..

..,

..

...gior

-

ni,

a

ram

men-tar

ti

tor

ni

co - lei

~~~

I~"

che sl

Alfredo 1\

8

Germont :

VI. I

~

" 'it

OJ

1\

VI. II ( ~

VIe

~

:

Cb. (

:

Ve.

~~~

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~~~

~

~~~

t'a-

385 6~

FI. I

FI.II

~

~I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~!§~~~~ OJ

A

Ob. a2

CI. in Si~

1

••

"1=

Fg.

*

Tirnp. inRe~

Cassa

A

"'"'

'"

-mo.

Vio.

A

Alf. 8

No, non mor-rai,

non

dir

me -10, dei vi-ve - re, a - mor

mi

o ... a stra-zio

sl

ter -

Ger. Ca-ra, su - bli

me,

su-bli-me

vit - ti - rna

d'un di-spe-ra-to a-

Vie

**

*A: Timp. =

I ;-:;-;;;

-

.if ::>

oJ

.if

II

Tr. inMi~

:

~

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.~

.if

i:ti

:

:

Trn.

ff

Cimb.

1

: jJ'

Timp. inRd

-

-

>

:

ff

--

II

Vio.

.., io

ri

no a

tor

vi

vcr! ...

.n--

oh

gio

..

-.n

-

-

(ricade sui canape)

ia!

Annina

.., Oh Alfredo 1

8

.,..

Germon! :

Oh Dottore :

Oh Tutti i Primi Violini

VI. I

l

.. II

VI. II

'"

r)econd'

T uth"V' I IO

tnt

loJ

1'1:

Tutte Ie Viole

Vie

eres,' sempre

1

1

ill

1

eresi'

s~mpre

Cb.

..

ff

-

cresco sempre

Ve.

ff

l

I.

:

p

cresi" sempre

.if

ff

: ff

Allegro

.n

..

.. .

~

~

t!:

397 131

FI.

Ott.

"

I:

...

.p.

i!>-

"p.

i!>-

.,..

... ,.. ...

...

~~p.

i!>-

~~p.

i!>-

~,..

... ,.. ...

.,.. ... ,.. ... ~~,..

... ,.. ...

OJ

a2

Ob. OJ

::-

CI.

in Si~

a2

OJ

~

Fg. I

Cor. inMi~

Cor. inLa~

"

I:

I

I

I

I

I

....

.....

....

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•

•

- --- -

I

I

I

I

I

I

I

I

I

I

I

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::-

a2

/'L

Tr.

Cimb.

I

OJ

inMi~

Trn.

I

.~

OJ

i

I

Timp.

..... [1,11] [hI]

I

I

I

I

>

:

inRe~

11.

Vio. OJ

"

Ann.

OJ

.

* cie - lo!

muor! ...

OhDio,

soc - cor - ra-si ...

~

~

"

Aif.

8

Vio - let - tal

... ...

Ger.

cie - lo!

l!:

muor! ...

l!:"

OhDio,

~.

~

l!:

soc-cor-ra-si ... (dopo averle toccato iI polso)

Dot. cie - lo!

I

"

VI. I

...

E-

muor! ... ~~p.

i!>-

"1f;

.£.

~~p.

....

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... ,.. ...

~~,..

... ,.. ...

OJ

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VI. II

•

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Vie

Vc.

~

Cb.

~

*A:Ann.=

I J )7 - I

..

"

,..

"

,..

"

,..

"

,..

398 1~6

FI.

\ or

Ott.

~ loT A

A

Ob.

>-

>-

.D.

.D.

>

>-

.D.

.D.

,>-

>-

~.

~ki


L>

L>

>

>

a2

L

>

>

ror (a2)

>-

:

Fg.

>-

Cor. inMi

"

'! ~

Cor. in La ~ror Tr. inMi~

>

>

>

>

a2

or

Cimb

I

>

a2

"

...

'g

~v~

>

Trn

L>

"

.D.

>

>

~

.-. [f,{!]

>

.D.

>

[lIh

>

>

~e

I >

>

:>

Timp. inRe~ [Tutti]

Cassa

if (Quadro e cade la tela)

Ann.

or

Ohmio

..

A

A If.

do - lor!

"8

Oh rio

do - lor!

....

....

/0."

.D.

G er. Ohmio

do - lor!

.D.

D ot.

-

spen A

VI. I

V 1.11

!~ ""ii

~

'e

-

-

-

~b/O.~/O.b_~'

-

-

ta! ...

~_

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b.... ~.. h_ I".

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L

-

'I'

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......

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~

:>

~

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> >

VIe >-

Vc.e Cb

> :>

>-

:>

399 I~ FI.

Oft.

~

~...!~

~~~~ .;. ~~

~

"

a2

a2

>

>

(a 2)

~

...

...

~~

e

~

e

l..-

l ....

a2

~,

~.

~~-~ ~~.

~~

...

~>

i!:. r., .n

r.,

b r.,

~

" .,

r.,

>-

:

>-

>-

..,;

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a2

inLa~

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r.,

a2

"

Cor.

r.,

01

inMi~

a2

a2

A

Tr.

01

Inr

>

>

[1, Il]

Trn.

~

,01

Fg.

inMi~ Cor.

~

>

A

in Si~

!~

>

>

jOi

CI.

... h ... !~ ...

01

~ .,"

Ob.

~ ~~ ;.'~

146

r.,

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~

[JIl]

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>

>

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~~..

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:it

..,; :it

.,..

Inr

..,; :it

Inr

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.,.. I

I

:it

I

.,..

r.,

Inr' I>"U

,~

,~

(a 3)

I

r.,

>>-

r.,

>.'

"U

r.,

Timp. inRd

:

r.,

Cassa

Vl.I

VI. II

~ " 01

~ .,"

.~~

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••~ ~

>-

>-

>-

.

Le Lf: ~

'*

...,;..

-

~

i"'--·

~

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~

"'--

~

"'--.

~

I...,;..

~

,

.

,;...

r., ~

l

r.,

l

y

I

,,,

,'I!:

r.,

Vie >- >-

Vc.e Cb.

>>-

r.,

>-

(Fine [dell' opera])

Appendix 1 / Appendice 1 Sketches and Rejected Fragments Abbozzi e frammenti scartati

403

An earlier draft of "Addio del passato" (N. 8) Una prima stesura di "Addio del passato" (N. 8) Andante mosso [[l>-

127

Oboi dolente e pianissimo >-

Violetta

Ad - di -

legate e dolci

0___

del

pas-

Andante mosso

vol-to _ _

so - no _ _

gia

pal

len

ti; l'a - mo

d'Al- fre

re

per-

do

Cb.

~ 140 Vio. no

-fi

ca,

mi man

145

---..

---

>-.

con -for

to,

>-

so - ste

gno

del -l'a

ni

*

>--

- rna stan-ca ... _

>-

con

Cb.

~

146=-

dim. >-

a

PPP

147

150

1481[49

PPP

for

to,

so

- ste - gno,

con

for - to,

so

ste

Cb.

*A: Verdi made an intermediary correction at both 145-149 and 183-187: Verdi/eee una correzione intermedia sia a 145-149 che a 183-187:

**A:

/45

pp

146

1481149

147

~9Ei'I-~-~§I~~~~::S~~if~~~~~tW~4'.' ol!l i , " biiiIii ~ • , ~. slan-ca ... _

see Commentary. vediNote.

so - [stcgno ... 1

- for-to.

Before writing the second strophe. Verdi eliminated the change of key signature. Prima di scrivere la seconda strota, Verdi cancello it cambiamento di armatura in chiav£!. con forza

tA: Before writing the second strophe, Verdi made a first correction at 154-156: Prima di scrivere la seconda strata, Verdi effettuo una prima correzione di 154-/56:

,rn = -

154

pp

..-...

r~

IdeJ • sl -

0,

V a

*;--.

-----

Vio.

~

tiM

Cr

CC

Ie - i. den per - do - na. lu

ac - IcoglilaJ

gno ... Ah,

404

164

Ob.

* tr Vio. -n\.

Cb.

,

do -

p

~

169

Vio.

gio - ie,_

Le

r-

:>

~

ri _ _

-

-10

re r ?

~

s

r

~

t

po - e o _

tra

ere

.€2±9 I J

:>

r I~

- vran

a

fi

ne;

la

tom - b a _

ai

I

mor -

~

,

-ta-li_

~

178

Vio.

-

--F'

e r

,

IF

- vrii

la

mia

fos

-~

~

sa,

-

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II

Appendix 2 / Appendice 2 (Venice, Teatro La Fenice, March 1853) (Venezia, Teatro la Fenice, marzo 1853) Passages and Numbers Belonging to the First Version and Modified in 1854 Sezioni e numeri appartenenti alla prima versione e modificati nel1854