| LC control no. | no2003111149 |
|---|---|
| Descriptive conventions | rda |
| Personal name heading | Donizetti, Gaetano, 1797-1848. Otto mesi in due ore |
| Variant(s) | Donizetti, Gaetano, 1797-1848. Esiliati in Siberia Donizetti, Gaetano, 1797-1848. Exilés de Sibérie |
| See also | Derivative (work): Donizetti, Gaetano, 1797-1848. Otto mesi in due ore (Élisabeth) |
| Form of work | Operas |
| Beginning date | 1827 |
| Found in | Donizetti, G. Esiliati in Siberia, p2001: label (Gli esiliati in Siberia = Les exilés de Sibérie) Grove music online, Oct. 28, 2003 (operas: Otto mesi in due ore, ossia Gli esiliati in Siberia, opera romantica in 3 acts; libretto, D. Gilardoni, after Pixérécourt: La fille de l'exilé; Teatro nuovo, Naples, May 13, 1827; rev. (A. Alcozer), Naples, 1833; revised by U. Fontana as Elisabeth, ou, La fille du proscrit (A. de Leuven and Brunswick (L. Lhérie)), unperf., MS London, Royal Opera House (partly autograph), vs (Paris, ?1854)) Ashbrook, William. Donizetti, 1965: page 419 (Otto mesi in due ore was revised after Donizetti's death by Ugo Fontana as "rifacimento" Elisabeth ou la fille du proscrit; he added some new music to the first two acts and an entirely new last act; Théâtre-lyrique, Paris, December 31, 1853; some months later this composite work was sung in Milan with an Italian translation) Donizetti Society WWW site, June 29, 2020: Donizetti's Élisabeth, ou la fille de l'exilé, by Will Crutchfield (Donizetti composed the opera in Paris, 1839-1840, basing the work in part on a Neapolitan opera [Otto mesi] from his apprentice years. The surviving sources for the opera consist of French "short-score" adaptations in Donizetti's hand for sections of Otto mesi that he intended to retain; copyist's transcriptions of the vocal parts from these; full orchestral scores of the new or substantially revised pieces in Donizetti's hand; the De Leuven and Brunswick libretto prepared for Donizetti, which comes down to us only in the form used by Uranio Fontana after Donizetti's death and published in connection with Fontana's score. "Uranio Fontana's effort to wed the De Leuven and Brunswick libretto to the Otto mesi score, premiered in 1853 at the Théâtre-lyrique, has also generated confusion .... Several commentators have assumed that it was a completion of Donizetti's unfinished Parisian efforts. It was in fact exactly the contrary: an attempt to use the new libretto without benefit of those efforts, to which Fontana lacked access. He worked from an old Italian score; everything by Donizetti in his version comes from the parent opera, and for the texts that Donizetti had set in Paris--well over half the opera--Fontana was obliged to invent his own music from scratch. ... the only hints of Donizetti's Élisabeth in Fontana's [score] consist of three brief and vague melodic resemblances. These suggest that he may have seen the score or heard rehearsals of it while Donizetti was at work .... But their pure-Fontana continuations, in contrast with Fontana's generally faithful transcription of the Otto mesi music, confirm that he did not have a score of Élisabeth in hand.") <http://www.donizettisociety.com/Articles/articleelisabeth.htm> |
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