Laughter between Two Revolutions: Opera Buffa in Italy, 1831-1848 (Eastman Studies in Music)

This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento — the period during which upheavals, revolutions, and wars ultimately led to the liberation and unification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while __opera buffa__ inexorably declined. __Laughter between Two Revolutions__ revises this widespread notion by viewing well-known masterpieces — such as Donizetti's__L'elisir d'amore__ (1832) and __Don Pasquale__ (1843) — as part of a still-thriving tradition. Also examined are __opere buffe__ by Luigi Ricci, Lauro Rossi, Verdi (__Un giorno di regno__), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedy was not an anachronistic intruder, but a significant and vital cultural presence.__Laughter between Revolutions:__Opera Buffa __in Italy, 1831-1848__ offers new insights into opera history and theories of humor in the arts. It will be of interest to opera lovers everywhere and to students in such fields as music, philosophy, comparative literature, and Italian cultural studies. This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known comic masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by LuigiRicci, Lauro Rossi, Verdi ( Un giorno di regno ), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedywas not an anachronistic intruder, but a significant and vital cultural presence. This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is senior lecturer in music at the University of Southampton. Table of Contents Introduction Opera Buffa in 1832: Il nuovo Figaro and L'elisir d'amore The Ricci Supremacy and the Celebration of Italian Un'avventura di Scaramuccia (1834) Old Librettos Gaetano Rossi and Luigi Ricci's Le nozze di Figaro (1838) and Other Remakes Genre in Gaetano Donizetti's Don Pasquale (1843) Genre in Giovanni Peruzzini and Lauro Rossi's Il borgomastro di Schiedam (1844) "Evviva la Francia"? Nationality, Censorship, and Donizetti's La figlia del reggimento (1840) The Ricci Legacy, Crispino e la comare (1850), and Post-1848 Opera Buffa Notes Selected Bibliography Index This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by Luigi Ricci,Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedy was not an anachronistic intruder, but a significant and vital cultural presence. Laughter between Revolutions: Opera Buffa in Italy, 1831-1848 offers new insights into opera history and theories of humor in the arts.It will be of interest to opera lovers everywhere and to students in such fields as music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is Senior Lecturer in Music at the Universityof Southampton, and has also taught at New York University, East Carolina University, and the University of Chicago. He is the editor of Un giorno di regno for the Works of Giuseppe Verdi (forthcoming) Tells the forgotten story of post-Rossinian opera buffa, with attention to masterpieces by Donizetti and fascinating comic works by Luigi Ricci, the young Verdi, and other composers.This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known comic masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by LuigiRicci, Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the'realm of seriousness'of mid-nineteenth-century Italy, comedywas not an anachronistic intruder, but a significant and vital cultural presence. This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is senior lecturer in music at the University of Southampton. Tells the forgotten story of post-Rossinian opera buffa, with attention to masterpieces by Donizetti and fascinating comic works by Luigi Ricci, the young Verdi, and other composers. This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento--the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. This book revises this widespread notion by viewing well-known comic masterpieces--such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843)--as part of a still-thriving tradition. Also examined are opere buffe by Luigi Ricci, Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. This pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedy was not an anachronistic intruder, but a significant and vital cultural presence. This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento — the period during which upheavals, revolutions, and wars ultimately led to the liberation and unification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known masterpieces — such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) — as part of a still-thriving tradition. Also examined are opere buffe by Luigi Ricci, Lauro Rossi, Verdi ( Un giorno di regno ), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedy was not an anachronistic intruder, but a significant and vital cultural presence. Laughter between Revolutions: Opera Buffa in Italy, 1831-1848 offers new insights into opera history and theories of humor in the arts. It will be of interest to opera lovers everywhere and to students in such fields as music, philosophy, comparative literature, and Italian cultural studies. Series Page 3 Title Page 4 Copyright 5 Dedication 6 Epigraph 7 Contents 8 List of Figures 10 Acknowledgments 12 Introduction: Comedy in an Age of Tragedy 16 1 Opera Buffa in 1832: Il nuovo Figaro and L’elisir d’amore 36 2 The Ricci Supremacy and the Celebration of Italian Comedy: Un’avventura di Scaramuccia (1834) 72 3 Old Librettos Revisited: Gaetano Rossi and Luigi Ricci’s Le nozze di Figaro (1838) and Other Remakes 104 4 Genre in Gaetano Donizetti’s Don Pasquale (1843) 154 5 Genre in Giovanni Peruzzini and Lauro Rossi’s Il borgomastro di Schiedam (1844) 180 6 “Evviva la Francia”? Nationality, Censorship, and Donizetti’s La figlia del reggimento (1840) 214 Conclusion: The Ricci Legacy, Crispino e la comare (1850), and Post-1848 Opera Buffa 246 Notes 256 Selected Bibliography 298 Index 312 Opera Buffa In 1832 : Il Nuovo Figaro And L'elisir D'amore -- The Ricci Supremacy And The Celebration Of Italian Comedy : Un'avventura Di Scaramuccia (1834) -- Old Librettos Revisited : Gaetano Rossi And Luigi Ricci's Le Nozze Di Figaro (1838) And Other Remakes -- Genre In Gaetano Donizetti's Don Pasquale (1843) -- Genre In Giovanni Peruzzini And Lauro Rossi's Il Borgomastro Di Schiedam (1844) -- Evviva La Francia? : Nationality, Censorship, And Donizetti's La Figlia Del Reggimento (1840) -- Conclusion : The Ricci Legacy, Crispino E La Comare (1850), And Post-1848 Opera Buffa. Francesco Izzo. Includes Bibliographical References And Index.