Gli Orazi e i Curiazi
Encyclopedia
Gli Orazi e i Curiazi is an opera in three acts (azione tragica
) composed by Domenico Cimarosa
to a libretto
by Antonio Simeone Sografi, based on Pierre Corneille
's tragedy
, Horace.
, Italy
. The première was so unsuccessful that Cimarosa, disappointed, decided to leave the town immediately. The run of the following performances turned into a big success, as would happen twenty years later with Rossini’s The Barber of Seville
, and the second was even more successful. At least 49 performances were held throughout the season and the opera was later staged in the major European theatres — including Teatro La Scala
in Milan
and Napoleon
’s imperial court in Paris
. In Europe
during the 18th century Italian
operas did not normally endure very long in theatres, hardly ever getting through one season. Gli Orazi e i Curiazi, however, kept running for several decades, even after the death of Cimarosa. In Venice, for example, the opera had four further runs during the six years following the première and "more than 130 performances" altogether were staged in the same period.
The opera had several re-adaptations, among which Marcos António Portugal’s staged in 1798 is specially notable, and was also employed as the object of the parody La prima prova dell'opera "Gli Orazi e i Curiazi" by Francesco Gnecco on Giulio Artusi’s libretto – later to be renamed La prova di un'opera seria – which was also staged in Venice in 1803.
Gli Orazi e i Curiazi was very dear to Napoleon, especially in the Parisian performances of the singer Giuseppina Grassini
who was for some time a lover of the Emperor, and of the castrato
Girolamo Crescentini
— both of whom had been the original creators of the major roles of Horatia and Curiatius in 1796. Grassini would almost always interpolate different arias from the original ones, mostly drawn from Portugal’s version.
The opera has been a matter of renewed interest in modern times with several stagings beginning from the Genoese Teatro dell’Opera Giocosa’s in 1983, which was also the first world recording, with Curiatius played by the soprano
Daniela Dessì
. Another notable revival took place at the Teatro dell'Opera di Roma
in 1989 with the conductor Alan Curtis
, Gianna Rolandi
as Curiatius and Anna Caterina Antonacci
as Horatia.
in general, as that of the special kind of melodrama which was forced into fashion in the century’s last decade, following in the wake of France
’s revolutionary success. The new fashion required melodrama to share in the new times by adequately exalting the republican virtues of ancient Rome. Rodolfo Celletti
writes: "Cimarosa had already happened to occupy himself with Gaius Marius and Junius Brutus, but it was unintentionally. Now with Orazi e Curiazi, and the following year with Attilio Regolo, he was to give a more specific contribution to the exaltation of the republican myths". In the end, however, the composer still remained quite the same and according to Celletti it brought about the conclusion "that the opera hadn’t anything intimately tragic or really heroic. ... We have to consider everything according to the use it was conceived for. In Oriazi e Curiazi, an archetype of the classicist and 'republican' drama between the end of the 18th and the beginning of the 19th century, we must see a kind of elegant evolutive operation in ultra-conservatism ... As to musical habit, the republican melodrama by Cimarosa and others was adorned with some more embellishment and accepted clangs of trumpets and some marches in order to remain, substantially, the one it had always been at the time of court theatres: a source of lyric effusions and not of epic [bursts]." The musicologist Francesco Florimo, Bellini
’s friend, chanced to observe: "sometimes Cimarosa gives himself up to a more lyric than tragic affection, at other times to vocalisms and graces which can only be borne in the comic genre".
According to Celletti it is rather hard to claim Gli Orazi e i Curiazi as a masterpiece, as it is for such a large part of the second half of the 18th century’s Italian opera seria. "Domenico Cimarosa was the standard-bearer of our comic musical theatre and … it is clear that the comic operist not only prevails over the serious one but it rather often gets out of his control and inspires him". So it happens in the duet between Curiatius and Horatius that opens with "the solemnity of the typical duets of challenge (Quando nel campo armata …)", only to pass soon, almost imperceptibly , "to the tenderness and the abandon of A questi accenti adesso …". Celletti says it is true for all the most noted pages of the opera, first of all Curiatius's Quelle pupille tenere. The only possible exception is Oratius’s Se alla patria ognor donai, which constitutes instead "an example of heroic aria for a tenor of buskined melodrama", which was to remain in full vogue till Rossini beginnings, "central range, periodical ascending intervals to give vigour and fit to the melody, short melismas or descending scales to strengthen its aulic expression, and intensification of the melismas when the Allegro A voi tutti il vivo lampo begins."
Celletti also says that Cimarosa got to give the best of his inspiration in the grand scene of the subterranean temple in act two: "An orchestral introduction, solemn and mysterious, is followed by other orchestral moments of a descriptive character that show how brilliantly certain operists of ours could catch the element either mysterious or fearful or horrid without imitating nature slavishly …; but in the meantime the beautiful recitatives of Curiatius and of Horatia and Curiatius’Andantino Ei stesso intrepido intersect, to come to the great resumption of the other solo voices and of the chorus (Regni silenzio muto, profondo)."
The final furious duet between Marcus Horatius and Horatia is unusual in Metastasio
melodrama, but was reported to be "greatly appreciated" by the public. In the première it was performed by two of the most imposing coeval singers: the young beautiful man-eater diva (and great cantatrice), Grassini, and the handsome heroic tenor Matteo Babini
(or Babbini), who, besides being a cultured, most refined and expressive singer, could undoubtedly cut a worthy figure by her side, not surely lacking in phisique du rôle (he was tall, blond, slender and with a very fine countenance).
Cimarosa’s vocal writing is extremely measured, avoiding high tessitura, long vocalizations, acrobatics and excessive ornamentation — save, to a small extent, in Marcus Horatius’ heroic aria. Celletti comments on this "Cimarosa’s coloratura is one of those we can define as wide, opposed to the minute coloraturas of some baroque operists or of the Neapolitan period’s Rossini. Hence the performers have not the discretion but the duty of integrating the composer’s writing with variations, reductions and interpolation of cadenzas, especially in the da capo”.
. The protagonists of the opera are two families, the Horatii from Rome and the Curiatii from Alba. In spite of the state of war the two families are connected as a girl from the Curiatii, Sabina, has married Marcus Horatius, the designate heir of the Roman family. During a truce in the war Horatius' daughter Horatia is in her turn given in marriage to her beloved Curiatius, leader of the Alban family. In order to avoid further major damage the two kings, Tullus Hostilius and Mettius Fufetius, reach an agreement to settle contention between the two towns through a limited encounter to the death between six champions, three from the Horatii and three from the Curiatii. The news of the agreement drives the two families to despair as the two sisters-in-law are doomed to weep over the death of either their husbands or their brothers.
In act two Horatia and Sabina, supported by the people and the priests, endeavour to prevent the abomination of a mortal challenge between relatives by swarming over the Campo Martio just as the struggle is about to start. They manage to wring a postponement in order to allow Apollo’s oracle to be consulted. Both families warriors accept this decision reluctantly. Act two ends in a grand scene in the vaults of Apollo’s temple: at first Curiatius and Horatia appear there alone, later they are joined by all the others and Curatius bewails the sad fate of those who are possibly going to shed their relatives' blood. Finally the oracle’s voice proclaims that the challenge must go on.
Act three is shorter than the others and is generally staged along with the act two. After a farewell scene between Curiatius and Horatia it shows the final encounter between Marcus Horatius, victorious in the fight, and his distressed sister. Horatia, rebelling against her fate, calls down curses from the gods upon her native town which has driven her husband to a bloody death and is in her turn slain by her furious ruthless brother and flung headlong down the staircase.
, which has been quoted directly from its English translation save few minor, but necessary, adaptations) Teatro dell’Opera’s Programme for the performances of Gli Orazi e i Curiazi, Roma, 1989, including, among others, these essays:
Opera seria
Opera seria is an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1710s to c. 1770...
) composed by Domenico Cimarosa
Domenico Cimarosa
Domenico Cimarosa was an Italian opera composer of the Neapolitan school...
to a libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
by Antonio Simeone Sografi, based on Pierre Corneille
Pierre Corneille
Pierre Corneille was a French tragedian who was one of the three great seventeenth-century French dramatists, along with Molière and Racine...
's tragedy
Tragedy
Tragedy is a form of art based on human suffering that offers its audience pleasure. While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of...
, Horace.
History
The opera was first staged on 26 December 1796 at the Teatro La Fenice in VeniceVenice
Venice is a city in northern Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region...
, Italy
Italy
Italy , officially the Italian Republic languages]] under the European Charter for Regional or Minority Languages. In each of these, Italy's official name is as follows:;;;;;;;;), is a unitary parliamentary republic in South-Central Europe. To the north it borders France, Switzerland, Austria and...
. The première was so unsuccessful that Cimarosa, disappointed, decided to leave the town immediately. The run of the following performances turned into a big success, as would happen twenty years later with Rossini’s The Barber of Seville
The Barber of Seville
The Barber of Seville, or The Futile Precaution is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville , which was originally an opéra comique, or a mixture of spoken play with music...
, and the second was even more successful. At least 49 performances were held throughout the season and the opera was later staged in the major European theatres — including Teatro La Scala
La Scala
La Scala , is a world renowned opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the New Royal-Ducal Theatre at La Scala...
in Milan
Milan
Milan is the second-largest city in Italy and the capital city of the region of Lombardy and of the province of Milan. The city proper has a population of about 1.3 million, while its urban area, roughly coinciding with its administrative province and the bordering Province of Monza and Brianza ,...
and Napoleon
Napoleon I of France
Napoleon Bonaparte was a French military and political leader during the latter stages of the French Revolution.As Napoleon I, he was Emperor of the French from 1804 to 1815...
’s imperial court in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
. In Europe
Europe
Europe is, by convention, one of the world's seven continents. Comprising the westernmost peninsula of Eurasia, Europe is generally 'divided' from Asia to its east by the watershed divides of the Ural and Caucasus Mountains, the Ural River, the Caspian and Black Seas, and the waterways connecting...
during the 18th century Italian
Italy
Italy , officially the Italian Republic languages]] under the European Charter for Regional or Minority Languages. In each of these, Italy's official name is as follows:;;;;;;;;), is a unitary parliamentary republic in South-Central Europe. To the north it borders France, Switzerland, Austria and...
operas did not normally endure very long in theatres, hardly ever getting through one season. Gli Orazi e i Curiazi, however, kept running for several decades, even after the death of Cimarosa. In Venice, for example, the opera had four further runs during the six years following the première and "more than 130 performances" altogether were staged in the same period.
The opera had several re-adaptations, among which Marcos António Portugal’s staged in 1798 is specially notable, and was also employed as the object of the parody La prima prova dell'opera "Gli Orazi e i Curiazi" by Francesco Gnecco on Giulio Artusi’s libretto – later to be renamed La prova di un'opera seria – which was also staged in Venice in 1803.
Gli Orazi e i Curiazi was very dear to Napoleon, especially in the Parisian performances of the singer Giuseppina Grassini
Giuseppina Grassini
Giuseppina Maria Camilla Grassini was a noted Italian contralto, and a singing teacher...
who was for some time a lover of the Emperor, and of the castrato
Castrato
A castrato is a man with a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto voice produced either by castration of the singer before puberty or one who, because of an endocrinological condition, never reaches sexual maturity.Castration before puberty prevents a boy's...
Girolamo Crescentini
Girolamo Crescentini
Girolamo Crescentini was a noted Italian singer castrato , a singing teacher and a composer.-Biography:He studied in Bologna with the noted teacher Lorenzo Gibelli and made his debut in 1783, quite advanced in years as a castrato...
— both of whom had been the original creators of the major roles of Horatia and Curiatius in 1796. Grassini would almost always interpolate different arias from the original ones, mostly drawn from Portugal’s version.
The opera has been a matter of renewed interest in modern times with several stagings beginning from the Genoese Teatro dell’Opera Giocosa’s in 1983, which was also the first world recording, with Curiatius played by the soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
Daniela Dessì
Daniela Dessì
Daniela Dessì Born May 14, 1957, in Genoa, Italy is an Italian lirico-spinto soprano.Daniela Dessì completed her singing studies at the Conservatory of Parma and the Accademia Chigiana of Siena. After having won the first prize at the International Competition organized by RAI TV in 1980, she had...
. Another notable revival took place at the Teatro dell'Opera di Roma
Teatro dell'Opera di Roma
The Teatro dell'Opera di Roma is an opera house in Rome, Italy. Originally opened in November 1880 as the 2,212 seat Costanzi Theatre, it has undergone several changes of name as well modifications and improvements...
in 1989 with the conductor Alan Curtis
Alan Curtis (harpsichordist)
Alan Curtis is a noted American harpsichordist, musicologist, and conductor of baroque opera. After graduate studies at the University of Illinois , where he wrote his dissertation on the keyboard music of Sweelinck, he studied in Amsterdam with Gustav Leonhardt, with whom he subsequently recorded...
, Gianna Rolandi
Gianna Rolandi
Gianna Rolandi is an American soprano. Following a highly successful 20-year national and international operatic career, Rolandi retired from performing in 1994, and is currently director of and principal instructor at the Lyric Opera of Chicago's Patrick G. and Shirley W...
as Curiatius and Anna Caterina Antonacci
Anna Caterina Antonacci
Anna Caterina Antonacci is an Italian soprano, known for her roles in the bel canto and Baroque repertoire.Born in Ferrara, Antonacci studied in Bologna, and made her debut as Rosina in 1986 at Arezzo. She spans the soprano and mezzo-soprano repertoire...
as Horatia.
Artistic features
Gli Orazi e i Curiazi is generally regarded as the best of the 11 opera seria produced by Cimarosa, even though Cimarosa himself considered it “the most passable” of his works Artemisia, regina di Caria, which was staged in 1797. It represents the typical example not so much of the second half of the 18th century’s dramma per musicaDramma per musica
Dramma per musica is a term which was used by dramatists in Italy and elsewhere between the late-17th and mid-19th centuries...
in general, as that of the special kind of melodrama which was forced into fashion in the century’s last decade, following in the wake of France
France
The French Republic , The French Republic , The French Republic , (commonly known as France , is a unitary semi-presidential republic in Western Europe with several overseas territories and islands located on other continents and in the Indian, Pacific, and Atlantic oceans. Metropolitan France...
’s revolutionary success. The new fashion required melodrama to share in the new times by adequately exalting the republican virtues of ancient Rome. Rodolfo Celletti
Rodolfo Celletti
Rodolfo Celletti was an Italian musicologist, critic, voice teacher, and novelist. Considered one of the leading scholars of the operatic voice and the history of operatic performance, he published many books and articles on the subject as well as several novels.-Biography:Rodolfo Celletti was...
writes: "Cimarosa had already happened to occupy himself with Gaius Marius and Junius Brutus, but it was unintentionally. Now with Orazi e Curiazi, and the following year with Attilio Regolo, he was to give a more specific contribution to the exaltation of the republican myths". In the end, however, the composer still remained quite the same and according to Celletti it brought about the conclusion "that the opera hadn’t anything intimately tragic or really heroic. ... We have to consider everything according to the use it was conceived for. In Oriazi e Curiazi, an archetype of the classicist and 'republican' drama between the end of the 18th and the beginning of the 19th century, we must see a kind of elegant evolutive operation in ultra-conservatism ... As to musical habit, the republican melodrama by Cimarosa and others was adorned with some more embellishment and accepted clangs of trumpets and some marches in order to remain, substantially, the one it had always been at the time of court theatres: a source of lyric effusions and not of epic [bursts]." The musicologist Francesco Florimo, Bellini
Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini was an Italian opera composer. His greatest works are I Capuleti ed i Montecchi , La sonnambula , Norma , Beatrice di Tenda , and I puritani...
’s friend, chanced to observe: "sometimes Cimarosa gives himself up to a more lyric than tragic affection, at other times to vocalisms and graces which can only be borne in the comic genre".
According to Celletti it is rather hard to claim Gli Orazi e i Curiazi as a masterpiece, as it is for such a large part of the second half of the 18th century’s Italian opera seria. "Domenico Cimarosa was the standard-bearer of our comic musical theatre and … it is clear that the comic operist not only prevails over the serious one but it rather often gets out of his control and inspires him". So it happens in the duet between Curiatius and Horatius that opens with "the solemnity of the typical duets of challenge (Quando nel campo armata …)", only to pass soon, almost imperceptibly , "to the tenderness and the abandon of A questi accenti adesso …". Celletti says it is true for all the most noted pages of the opera, first of all Curiatius's Quelle pupille tenere. The only possible exception is Oratius’s Se alla patria ognor donai, which constitutes instead "an example of heroic aria for a tenor of buskined melodrama", which was to remain in full vogue till Rossini beginnings, "central range, periodical ascending intervals to give vigour and fit to the melody, short melismas or descending scales to strengthen its aulic expression, and intensification of the melismas when the Allegro A voi tutti il vivo lampo begins."
Celletti also says that Cimarosa got to give the best of his inspiration in the grand scene of the subterranean temple in act two: "An orchestral introduction, solemn and mysterious, is followed by other orchestral moments of a descriptive character that show how brilliantly certain operists of ours could catch the element either mysterious or fearful or horrid without imitating nature slavishly …; but in the meantime the beautiful recitatives of Curiatius and of Horatia and Curiatius’Andantino Ei stesso intrepido intersect, to come to the great resumption of the other solo voices and of the chorus (Regni silenzio muto, profondo)."
The final furious duet between Marcus Horatius and Horatia is unusual in Metastasio
Metastasio
Pietro Antonio Domenico Trapassi, better known by his pseudonym of Metastasio, was an Italian poet and librettist, considered the most important writer of opera seria libretti.-Early life:...
melodrama, but was reported to be "greatly appreciated" by the public. In the première it was performed by two of the most imposing coeval singers: the young beautiful man-eater diva (and great cantatrice), Grassini, and the handsome heroic tenor Matteo Babini
Matteo Babini
Matteo Antonio Babini , also known by the family name of Babbini, was a leading Italian tenor of the late 18th-century, and a teacher of singing and stage art.-Life and Career:Matteo Babini was born in Bologna on ....
(or Babbini), who, besides being a cultured, most refined and expressive singer, could undoubtedly cut a worthy figure by her side, not surely lacking in phisique du rôle (he was tall, blond, slender and with a very fine countenance).
Cimarosa’s vocal writing is extremely measured, avoiding high tessitura, long vocalizations, acrobatics and excessive ornamentation — save, to a small extent, in Marcus Horatius’ heroic aria. Celletti comments on this "Cimarosa’s coloratura is one of those we can define as wide, opposed to the minute coloraturas of some baroque operists or of the Neapolitan period’s Rossini. Hence the performers have not the discretion but the duty of integrating the composer’s writing with variations, reductions and interpolation of cadenzas, especially in the da capo”.
Synopsis
The action takes place in Rome during the war against the town of Alba LongaAlba Longa
Alba Longa – in Italian sources occasionally written Albalonga – was an ancient city of Latium in central Italy southeast of Rome in the Alban Hills. Founder and head of the Latin League, it was destroyed by Rome around the middle of the 7th century BC. In legend, Romulus and Remus, founders of...
. The protagonists of the opera are two families, the Horatii from Rome and the Curiatii from Alba. In spite of the state of war the two families are connected as a girl from the Curiatii, Sabina, has married Marcus Horatius, the designate heir of the Roman family. During a truce in the war Horatius' daughter Horatia is in her turn given in marriage to her beloved Curiatius, leader of the Alban family. In order to avoid further major damage the two kings, Tullus Hostilius and Mettius Fufetius, reach an agreement to settle contention between the two towns through a limited encounter to the death between six champions, three from the Horatii and three from the Curiatii. The news of the agreement drives the two families to despair as the two sisters-in-law are doomed to weep over the death of either their husbands or their brothers.
In act two Horatia and Sabina, supported by the people and the priests, endeavour to prevent the abomination of a mortal challenge between relatives by swarming over the Campo Martio just as the struggle is about to start. They manage to wring a postponement in order to allow Apollo’s oracle to be consulted. Both families warriors accept this decision reluctantly. Act two ends in a grand scene in the vaults of Apollo’s temple: at first Curiatius and Horatia appear there alone, later they are joined by all the others and Curatius bewails the sad fate of those who are possibly going to shed their relatives' blood. Finally the oracle’s voice proclaims that the challenge must go on.
Act three is shorter than the others and is generally staged along with the act two. After a farewell scene between Curiatius and Horatia it shows the final encounter between Marcus Horatius, victorious in the fight, and his distressed sister. Horatia, rebelling against her fate, calls down curses from the gods upon her native town which has driven her husband to a bloody death and is in her turn slain by her furious ruthless brother and flung headlong down the staircase.
Rôles
| Rôle | First performer’s vocal register | Première’s cast, 26 December 1796 (Scenery: – Antonio Mauro ) |
|---|---|---|
| Publio Orazio | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Giuseppe Desirò |
| Marco Orazio | tenor | Matteo Babini Matteo Babini Matteo Antonio Babini , also known by the family name of Babbini, was a leading Italian tenor of the late 18th-century, and a teacher of singing and stage art.-Life and Career:Matteo Babini was born in Bologna on .... |
| Orazia | mezzosoprano/contralto Contralto Contralto is the deepest female classical singing voice, with the lowest tessitura, falling between tenor and mezzo-soprano. It typically ranges between the F below middle C to the second G above middle C , although at the extremes some voices can reach the E below middle C or the second B above... |
Giuseppina Grassini Giuseppina Grassini Giuseppina Maria Camilla Grassini was a noted Italian contralto, and a singing teacher... |
| Curiazio | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... castrato Castrato A castrato is a man with a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto voice produced either by castration of the singer before puberty or one who, because of an endocrinological condition, never reaches sexual maturity.Castration before puberty prevents a boy's... |
Girolamo Crescentini Girolamo Crescentini Girolamo Crescentini was a noted Italian singer castrato , a singing teacher and a composer.-Biography:He studied in Bologna with the noted teacher Lorenzo Gibelli and made his debut in 1783, quite advanced in years as a castrato... |
| Sabina | soprano | Carolina Maranesi |
| Licinio | soprano castrato | Francesco Rossi |
| Il Gran sacerdote | basso Bass (voice type) A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C... |
Filippo Fragni |
| L'augure | basso | Fantino Mori |
| l'oracolo | basso | Fantino Mori |
| Tullo Ostilio (usually not performed) | tenor | Odoardo Caprotti |
| Mezio Fufezio (usually not performed) | tenor | Antonio Mangino |
| coro | ||
Sources and external links
Amadeus Almanac by Gherardo Casaglia, accessed on 31 gennaio 2009 Brief treatment of Gli Orazi e i Curiazi in Del Teatro Libretto de Gli Orazi e i Curiazi& Booklet enclosed to the first world recording of Gli Orazii e i Curiazii, Bongiovanni, 1983 (including an introductory essay by Rodolfo CellettiRodolfo Celletti
Rodolfo Celletti was an Italian musicologist, critic, voice teacher, and novelist. Considered one of the leading scholars of the operatic voice and the history of operatic performance, he published many books and articles on the subject as well as several novels.-Biography:Rodolfo Celletti was...
, which has been quoted directly from its English translation save few minor, but necessary, adaptations) Teatro dell’Opera’s Programme for the performances of Gli Orazi e i Curiazi, Roma, 1989, including, among others, these essays:
-
- Giovanni Morelli, «E voi pupille tenere», uno sguardo furtivo, errante, agli «Orazi» di Domenico Cimarosa e altri;
- Giovanni Morelli and Elvidio Surian, La revisione musicale;
- Giorgio Gualerzi, Una volta e poi più;
- Carlo Marinelli, Le edizioni in dischi;
- Silvia Toscano (ed.), Itinerario di un'avventura critica; Francesco Florimo, La Scuola Musicale di Napoli e i suoi Conservatori con uno sguardo sulla storia della musica in Italia, 4 volumes, Morano, Naples, 1880–82 (anastatic reprint: La Scuola Musicale di Napoli e i suoi Conservatori, Forni, Bologna, 2002. ISBN 8827104402)
- Giordana Lazarevich, "Oriazi e i Curiazi, Gli" in Stanley Sadie (ed.), The New Grove Dictionary of Opera, Grove (Oxford University Press), New York, 1997, III, pp. 717–718. ISBN 978-0-19-522186-2