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Printed by T. Brettell, Rupert Street, London, monographic, Coccia, C. Brettell, Rupert Street, London, monographic. Coccia, Carlo, et al. Skip to main content. Enlarge View 52 images in sequence.

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Brettell, Rupert Street, London, , monographic. Walter ; as represented for the first time at the King's Theatre, Haymarket, June 7, Madame Cornega--p.

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Washington, D. Imprint repeated no date --p. Added title page in Italian; libretto in Italian and English on facing pages. Performance: London, King's Theatre, More about Copyright and other Restrictions For guidance about compiling full citations consult Citing Primary Sources.

Maria Stuarda : Italian-English libretto

Cite This Item Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate. The title page of the opera reads as follows:. For Coccia, the project was full of novelty. In the city where Shakespearean tragedy was a yardstick for dramatic integrity something more than facile diversion was mandatory, especially if his hard-won operatic sobriety was not be crucified unmercifully by the critics.

And then too he had the great star at his disposal.

ISBN 13: 9788806544294

Music and text would be obliged to bridge a credibility gap between the perception of Italian Opera as mere vocal entertainment and a relatively sophisticated audience. That discretion was paramount is obvious by the text. In no case are the verses quite the same, but they are similar. The irony of course, is that the King of Naples could have found little to complain-of on this particular account[ 7 ].

It was not the parting triumph he might have hoped for. All sorts of clumsy hitches seem to have afflicted the staging in London. It was far too long. Its structure, sequence, content and dramatic flow are very much the same. It was still in his possession at his death in Apart from Giuditta Pasta in the title-role there was an unconventional Elisabetta - a role scarcely less important. As such, she too would be a potent link between the two maestri. Giacinta Toso, the piemontese wife of the celebrated horn player Giovanni Puzzi, was something of an enigma [8] , she had been taking lessons from Coccia in London, or so it would seem, and had established herself there.

Together with her part-time impresario of a husband they had rented a large house in Piccadilly where they gave fashionable concerts for almost a half century, only shaking off the London murk after his death in when she also returned home. Among the famous singers whose concerts the Puzzi couple hosted and which brought them a considerable fortune were Pasta herself, Giulia Grisi, Rubini, Mario, Lablache, Tamburini, Duprez, Jenny Lind, Fraschini, and significantly - the charismatic Maria Malibran, and later her sister Pauline Viardot.

All these artists with the exception of the three last had substantial music to sing, Coccia was as generous with his music as Giannone with his text.

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This was new. There were those who considered he had surrendered too much to romantic ardour.

Ambitious, fascinating, full of energy, its best features did not quite dispel the impression that the composer was yet only half-way to something new. Nine pieces were published in vocal score in London, but nothing in full score. They are as follows:. That these were the most immediately attractive pieces in the score will be clear, but nearly half of them were brutally dropped during the bloodbath of performance. Ebben, si goda. E ver la Francia or vanno! Siate voi di Maria la messaggiere. Oh, nube!

Donizetti first achieved international fame in with Anna Bolena , an opera about the downfall and beheading of the queen.

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Such a meeting never took place but it makes for riveting drama, particularly when Mary can restrain herself no longer and calls Elizabeth a vil bastarda. She was indeed a bastard, from a Roman Catholic point of view, because Henry VIII never obtained an annulment from the pope before he married her mother, but the onstage spat caused emotions to run high, and at rehearsals in Naples the two sopranos came to blows from which one of them is said to have taken two weeks to recover. Then, after a successful dress rehearsal, the king of Naples cancelled all performances — no one quite knows why — and Donizetti gave up on the city.

A new attempt to stage the show in Milan the following year brought further trouble with censors and singers, including a prima donna who insisted on singing the original words. Despite revivals in the midth century, new types of operatic drama by Verdi and others caused Donizetti to fall out of favour.


He had written in the bel canto style, which mostly disappeared until its revival in the second half of the 20th century. His work was barely heard for half a century at Covent Garden before Joan Sutherland sang the title role in that masterpiece set in Scotland, Lucia di Lammermoor.