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  1. Home
  2. Books
  3. The Sounds of Paris in Verdi's La traviata
  • Cited by 6
Publisher:
Cambridge University Press
Online publication date:
May 2013
Print publication year:
2013
Online ISBN:
9780511920615
DOI:
https://doi.org/10.1017/CBO9780511920615
Subjects:
Music, Opera, Drama, Theatre, Performance Studies, European Theatre
Series:
Cambridge Studies in Opera
Information

Book description

How did Paris and its musical landscape influence Verdi's La traviata? In this book, Emilio Sala re-examines La traviata in the cultural context of the French capital in the mid-nineteenth century. Verdi arrived in Paris in 1847 and stayed for almost two years: there, he began his relationship with Giuseppina Strepponi and assiduously attended performances at the popular theatres, whose plays made frequent use of incidental music to intensify emotion and render certain dramatic moments memorable to the audience. It is in one of these popular theatres that Verdi probably witnessed one of the first performances of Dumas fils' La Dame aux camélias, which became hugely successful in 1852. Making use of primary source material, including unpublished musical works, journal articles and rare documents and images, Sala's close examination of the incidental music of La Dame aux camélias - and its musical context - offers an invaluable interpretation of La traviata's modernity.

Reviews

'An intriguing and well-written work of musical detection, [excellently] translated.'

Source: Classical Music

'Sala’s methodology draws on both ethnomusicology and musicology in his endeavours to consider the ‘contextualization of the text’ as much as the ‘textualization of the context’. In this finely controlled and often intriguing analysis, he undoubtedly succeeds in demonstrating La traviata not just as a product of Verdi’s imagination, but as a subtle refashioning of the sounds of Paris itself in the 1840s and 1850s.'

Susan Rutherford Source: Music and Letters

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Contents

Contents
References

Bibliography

Primary sources

Archival manuscript materials

Montaubry, Édouard, La Dame aux camélias (1852), oboe part, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (362).
[Nargeot, Julien], La Vie de bohème (1849), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Vma ms. 719 (‘Anonymes’).
Piccini, Alexandre, La Muette de la forêt (1828), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (205).
Pilati, Auguste, Le Chiffonnier de Paris (1847), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (312).
[Pilati, Auguste?; Vaillard, Adolphe?], Le Pasteur ou L’Évangile et le foyer (1849), full score and set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (326).
Robert Macaire (1848), incomplete set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (343).
La signora delle camelie, manuscript promptbook (c. 1865), Genoa, Museo Biblioteca dell’Attore, Fondo Tommaso Salvini, promptbook no. 17.
Varney, Alphonse, Le Chevalier de Maison-Rouge (1847), incomplete set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (279).
Varney, Robert-Auguste, Robert-Auguste Stoepel and Sylvain Mangeant, Monte-Cristo (1848), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (257).
Violetta, manuscript staging manual for the French version of La traviata (1864), Paris, Bibliothèque historique de la ville de Paris, ART collection, T 3 (I).

Published scores

Alkan, Maxime, Répertoire des cours Cellarius, dances for solo piano (Paris: Chabal, mid 1840s to late 1850s).
Auber, Daniel-François-Esprit, Le Domino noir (1837), full score (Paris: Troupenas, n.d., pl. no. T. 544).
Auber, Daniel-François-Esprit, Manon Lescaut (1856), piano-vocal score (Paris: Boieldieu, [1856], pl. no. 882).
Auber, Daniel-François-Esprit, La Muette de Portici (1828), full score (Paris: Troupenas, n.d., pl. no. T. 240).
Balfe, William, The Maid of Artois (1836), piano-vocal score (London: Cramer, Beale and Company, n.d., pl. no. 1753).
Béranger, Pierre-Jean de, ‘Ma grand’mère’ (c. 1814), in Musique de chansons de Béranger, vocal score, ed. Frédéric Bérat (Paris: Garnier frères, n.d.), p. 6.
Bérat, Frédéric, ‘Mademoiselle Mimi Pinson’, piano-vocal score, in Le Diable à Paris, 2 vols. (Paris: Hetzel, 1845–6), vol. i, pp. 339–42. See also the first separate edn of the piece (Paris: J. Meissonnier et fils, 1846).
Bizet, Georges, Carmen (1875), piano-vocal score based on the critical edn by Fritz Oeser (Kassel: Alkor-Edition, 1964).
Debussy, Claude, Pelléas et Mélisande (1902), full score (Paris: Durand et fils, n.d., pl. no. D. & F. 6577).
Depas, Ernest, and Alphonse Leduc, La Dame aux camélias: Fantaisie de salon pour piano et violon concertant (Paris: A. Leduc, n.d. [1853], pl. no. A.L. 3).
Donizetti, Gaetano, Linda di Chamounix (1842), critical edn by Gabriele Dotto (Milan: Ricordi, 2006).
Fauré, Gabriel, ‘Clair de lune’, op. 46 no. 2 (1887) (Paris: J. Hamelle, n.d., pl. no. J2854H).
Giorza, Paolo, La contessa d’Egmont, reduction for solo piano (Milan: F. Lucca, n.d. [1864], pl. no. 12576).
Giorza, Paolo, Les Lorettes: Polka, in La contessa d’Egmont, piano score (Milan: F. Lucca, n.d. [1864], pl. no. 12576), pp. 39–43.
Giorza, Paolo, Polka del bue grasso (1865), in Madamigella d’Heilly, piano score (Milan: Ricordi, n.d., pl. no. 39406).
Gounod, Charles, Faust, piano-vocal score transcribed by Léo Delibes (1859) (Paris: Choudens, n.d., pl. no. A.C. 17453).
Jaleo de Jerez, ed. Henry Verley (Paris: Cartereau, n.d. [1858], pl. no. C.P. 4).
Leoncavallo, Ruggero, La bohème (1897), piano-vocal score (Milan: Sonzogno, 1897, pl. no. E940S).
Meyerbeer, Giacomo, Les Huguenots (1836), piano-vocal score (Paris: Schlesinger, n.d., pl. no. M.S. 2136).
Meyerbeer, Giacomo, Robert le diable (1831), piano-vocal score (Paris: Schlesinger, n.d., pl. no. 1157).
Montaubry, Édouard, La Dame aux camélias: Ronde chantée par Mr. Réné Luguet au Th. du Vaudeville (Paris: A. Leduc, n.d. [1852], pl. no. A.L. 1064).
Musard, Alfred, Le Camélia, in Jardin d’hiver: Suite de valses (Paris: J. Meissonnier, n.d. [1843], pl. no. J.M. 2568), no. 1.
Perny, Pierre-Claude, Camélia: Polka sur ‘La traviata’ de Verdi, op. 49, in Album per il carnevale 1854 (Milan: Ricordi, n.d., pl. no. 26024).
Perny, Pierre-Claude, Camélia: Polka sur ‘La traviata’ de Verdi (1854) (Paris: Escudier, n.d. [1856], pl. no. L.E. 1544/2).
Petrella, Errico, I promessi sposi (1869), piano-vocal score (Milan: Lucca, n.d., pl. no. 18451).
Puccini, Giacomo, La bohème (1896), piano-vocal score, ed. Mario Parenti (1961) (Milan: Ricordi, n.d., pl. no. 99000).
Rosellen, Henri, Souvenir de bal, in Trois rêveries, op. 31 (Paris: H. Lemoine, n.d. [c. 1840], pl. no. 2447), no. 3.
Rosellen, Henri, Souvenir de bal, in Trois rêveries, op. 31, 4th edn (Paris: H. Lemoine, n.d. [c. 1868], pl. no. 3904), no. 3.
Rosellen, Henri, Souvenir de bal, La Taglioni: Polka (Paris: A. Meissonnier et Heugel, n.d. [1844], pl. no. H. 352; Milan: Ricordi, n.d., pl. no. 29076).
Rosellen, Henri, Souvenir de bal, La traviata, opéra de Verdi: Fantaisie pour le piano, op. 154 (Paris: L. Escudier, n.d. [1856], pl. no. L.E. 1590).
Rouget de Lisle, Joseph, ‘Roland à Roncevaux: Chant de guerre’ (1792), in Musique des fêtes et cérémonies de la révolution française, ed. Constant Pierre (Paris: Imprimerie nationale, 1889), pp. 461–2.
Varney, Alphonse, Le Chevalier de Maison-Rouge: Quadrille exécuté au Théâtre Historique (Paris: Mme Cendrier, [1847], pl. no. Mme C. 509).
Varney, Alphonse, Chœur des Girondins chanté dans le drame ‘Le Chevalier de Maison-Rouge’ (Paris: Mme Cendrier, [1847], pl. no. Mme C. 510 bis).
Verdi, Giuseppe, La battaglia di Legnano (1849), piano-vocal score, ed. Mario Parenti (1961) (Milan: Ricordi, n.d., pl. no. 53710).
Verdi, Giuseppe, Giovanna d’Arco (1849), critical edn by Alberto Rizzuti (University of Chicago Press and Milan: Ricordi, 2008).
Verdi, Giuseppe, Rigoletto (1851), piano-vocal score based on the critical edn by Martin Chusid (University of Chicago Press and Milan: Ricordi, 1985).
Verdi, Giuseppe, Stiffelio (1850), piano-vocal score based on the critical edn by Kathleen K. Hansell (University of Chicago Press and Milan: Ricordi, 2005).
Verdi, Giuseppe, La traviata (1853), critical edn by Fabrizio Della Seta (University of Chicago Press and Milan: Ricordi, 1997).
Verdi, Giuseppe, La traviata (1853), piano-vocal score based on the critical edn by Fabrizio Della Seta (University of Chicago Press and Milan: Ricordi, 2001).
Verdi, Giuseppe, La traviata: Schizzi e abbozzi autografi/Autograph Sketches and Drafts, ed. Fabrizio Della Seta (Parma: Istituto nazionale di studi verdiani and Comitato nazionale per le celebrazioni verdiane 2001, 2002).
Verdi, Giuseppe, La traviata: Schizzi e abbozzi autografi. Commento critico/Autograph Sketches and Drafts, critical commentary, ed. Fabrizio Della Seta (Parma: Istituto nazionale di studi verdiani and Comitato nazionale per le celebrazioni verdiane 2001, 2002).
‘Vive le vin: Chanson bachique’, in La Muse comique: Recueil de chansonnettes (Paris: Alfred Ikelmer, n.d. [c. 1870], pl. no. A.I. 2808), vol. iv, no. 15.
Weber, Carl Maria von, Aufforderung zum Tanz (1819), ed. Walter Georgii (Mainz: B. Schott’s Söhne, 1941).

Reviews, short articles and news reports

Le Corsaire, 6 August 1847: crushing review of I masnadieri.
Le Corsaire, 9 August 1847: article against Verdi and the Escudier brothers.
Le Corsaire, 7 September 1847: poisonous remark about Verdi.
Le Corsaire, 22 March 1848: article quoting the ‘Chœur des Girondins’.
Le Coureur des spectacles, 9 February 1848: sarcastic ditties attacking Verdi.
Le Figaro, 20 June 1834: review of Robert Macaire.
La France musicale, 1 August 1847: review of I masnadieri.
La France musicale, 14 December 1856: review of Parisian premiere of La traviata.
Gazzetta musicale di Milano, 11 December 1853: advertisement for Perny’s Camélia, op. 49.
Gazzetta musicale di Milano, 4 January 1857: review of La traviata at the Teatro Carcano, Milan.
Gazzetta musicale di Milano, 28 December 1859: ‘Il baccanale del Bue Grasso a Milano’ (‘the fatted ox bacchanal in Milan’).
Gazzetta privilegiata di Milano, 29 August 1847: news about Lo stracciaiuolo di Parigi at the Teatro Carcano, Milan.
Gazzetta privilegiata di Milano, 12 December 1847: news about Lo stracciaiuolo di Parigi at the Teatro Re, Milan.
Gazzetta ufficiale di Milano, 13 May 1852: news about La Dame aux camélias at the Teatro Re, Milan.
Gazzetta uffiziale di Venezia, late February–early March 1853: many items of news about La traviata at La Fenice and La signora delle camelie at the Teatro Apollo, Venice.
Gazzetta uffiziale di Venezia, 7 March 1853: review of La traviata.
Illustrated London News, 28 February 1852: description of the Parisian fatted ox cortege of 1852.
L’Illustration, 6 March 1847: article about the auction of Alphonsine Plessis’s wordly goods.
Le Ménestrel, 19 January 1834: ‘De la musique de mélodrame’.
Boniotti, Pietro, review of La Dame aux camélias at the Teatro Re, Milan, Appendice alla Gazzetta ufficiale di Milano, 16 May 1852.
Caraguel, Clément, article about La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Charivari, 8 February 1852.
Delord, Taxile, review of La traviata at the Théâtre Italien, Paris, 1856, Le Charivari, 8 December 1856.
[Escudier, Léon], ‘Comment on écrit l’histoire’, La France musicale, 8 August 1847.
[Escudier, Léon], ‘La vérité avant tout’, La France musicale, 15 August 1847.
Escudier, Léon and Marie, review of Violetta at the Théâtre Italien, Paris, 1864, L’Art musical, 3 November 1864.
Gautier, Théophile, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, La Presse, 10 February 1852.
Halévy, Léon, article protesting about the fatted ox cortege, Journal des débats, 7 March 1825.
Huart, Louis, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Charivari, 4 February 1852.
Lagarde, Paul, ‘Physiologie du mélodrame’, Le Corsaire, 1–2 September 1847.
Leroy, Alfred, and Raymond Deslandes, ‘Satan au bal de l’Opéra’, L’Argus des théâtres, 17 and 24 December 1846.
Lovy, Jules, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Ménestrel, 30 May 1852.
Mazzuccato, Alberto, review in five instalments of the Milanese premiere of La traviata, Gazzetta musicale di Milano, 28 September, 19 October, 30 November, 14 and 28 December 1856.
Ponsard, François, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Constitutionnel, 9 February 1852.

Literary sources (before 1900)

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L’anti-polkista ed i polkamani, libretto for the ballet by Arthur Saint-Léon (Venice: Tipografia Ricci, 1848).
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