[1865-1870]. 2 volumes. Quarto (28 x 22 cm). Brown cloth-backed light blue paper boards, paper title label within decorative border to upper. Notated in black ink on lined 20-stave paper in at least two unidentified hands.
Vol. 1: Atto 1º. 195 ff.
Vol. 2: Atto 2º e 3º. 199 ff. With three incomplete measures of "Deh con te" from Bellini's Norma to recto of final page.
From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Earlier owned by Italian soprano Concetta Rubini (ca. 1844-1871), her signature to the first page of music.
Binding slightly worn, rubbed, and foxed. Light soiling to first and last leaves of both volumes, otherwise clean throughout; final two leaves of Vol. 2 detached.
Five manuscript copies known in addition to the autograph in Bergamo (four in Italy, one in Belgium).
Not published in full score until 2004, by the Fondazione Donizetti. Inzaghi IN. 45, pp. 160-2.
First performed, to a libretto by Felice Romani after Byron (1816), in Florence at the Teatro alla Pergola on March 17, 1833.
"The score of Parisina testifies to Donizetti’s efforts to deal more flexibly with conventional forms. Evidence is found in the canonic quartet in Act 1, in the romanza for Parisina at the opening of Act 2, where the chorus and extended ritornello form a novel compound structure, and in the powerful duet for Parisina and Azzo in which he impels her confession. Her final cabaletta, ‘Ugo è spento!’, conveys vividly her hysteria at the sight of her lover’s corpse." William Ashbrook in Grove Music Online.
The Italian soprano Concetta Rubini was a rising opera star in 1870, with her leading roles in Naples, Pavia, and Turin receiving great acclaim. While performing Trovatore in Havana, however, she succumbed to yellow fever, cutting her life and career short, and falling into obscurity. Rubini stared in the title role in Donizetti's Parisina, first at the Teatro Vittorio Emanuele in Turin in 1869, and then at the Teatro Fraschini in Pavia in 1870; the manuscript full score may have been prepared for her at this time.
With some differences from the contemporary published edition of the printed piano-vocal score, including an abbreviated Prelude containing only the first 50 measures of the full Sinfonia, beginning a half-step lower, in G-flat.
Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni (1831-1918), whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia, where he taught (amongst many others) Sesto Bruscantini, Anna Moffo, Rosalind Elias, Ezio Flagello, Peter Lindroos, and Martti Wallén. Item #31267
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