Encyclopedia
of the
OPERA
BL CLRE CL CECE CECE DETERRENTEncyclopedia
of the
OPERA
DAVID EWEN
» A. WYN, INC., NEWPreface
DESL OER COCR CECE DEDEDE RE RE REE OOE
The ENCYCLOPEDIA OF THE OPERA is the first book of its kind in
any language. The Editor has attempted to make it a comprehensive
source book about opera and opera performance. It is not exclusively
a book of opera plots; or a book of biographies of composers and
performers; or a history of opera.
The opera lover will find within this volume the following ma-
terials:
Storms OF Operas. The most significant operas (over a hun-
dred) are treated in detail, act by act, scene by scene, with descrip-
tions of the principal arias and other important excerpts and informa-
tion about the composition and the performance history. Several
hundred other operas are treated more succinctly with brief capsule
plots and citations of the musical highlights,
The operas included in the encyclopedia embrace all works that
are frequently performed and most of the works that make an inter-
mittent appearance on the opera stages of the world; operas that have
special historic importance or interest; operas with unusual technical
approaches (atonal operas, quartertone operas, monodramas, and so
on); operas that were once highly successful and have gone into
discard, and operas that have been discarded but which have recently
been revived. The attempt, in short, has been to provide basic infor-
mation about any opera in which the operagoer might be interested
for one reason or another.
Some of the operas are listed in their original foreign titles; others
in titles translated into English. The general practice, in order to
make the encyclopedia more functional, has been to use the names
most familiar to Americans. Since The Jewels of the Madonna is
better known to Americans than I gioielli della Madonna that
viiPREPACE
opera is listed under the English title; and since /I trovatore is more
familiar than The Troubadour, the original Italian title is used,
The capitalization of foreign titles has been followed in the foreign
form. The music lover consulting this encyclopedia should, however,
have no difficulty in locating the opera he wants since there are ample
cross references to guide him.
CHARACTERS OF OPERAS. There will be found here an alphabetical
listing of all the characters of a hundred or so major operas, and of
the principal characters of several hundred other operas, This, the
Editor believes, is the most complete “who's who” of opera characters
to be found anywhere. Characters with titles are listed not under the
title but under their name: Count Ceprano or Don Basilio appears
not under “Count” or “Don” but under “Ceprano” and “Basilio.”
EXCERPTS FROM OPERAS. The most important excerpts from
particular operas—arias, duets, ensemble numbers, choruses, orches~
tral passages—are not only found in the discussion of the operas
themselves, but are listed separately, in the proper alphabetical order,
together with the source. An opera lover curious about the origin of
a favorite aria or duet can now easily trace its source,
Biocraputes. The major figures in every facet of operatic com-
position and performance are given succinct biographical treatment,
These figures embrace: composers; librettists; singers; conductors;
stage directors; impresarios; teachers; critics; musicologists; and so on,
History or Opera. The history of opera—its origin, evolution,
and development in all the major countries of the world—is discussed
in a special article, But there are also additional listings for, and
brief explanations of, every form of opera (Masque, Ballad Opera,
Singspiel, Opera Buffa, Music Drama, and so forth) together with
explanations of every major trend and style in opera.
OPERA IN PERFORMANCE, The history of every major opera house
of the world, and of every important festival emphasizing opera, is to
be found here, along with General articles on the history of opera
performances in Europe and America, and articles on opera over
tadio, television, and in the recordings.
viiia
PREFACE
LITERARY SouRcEs. Listings are made of all the major authors of
the world, from Aeschylus to Eugene O'Neill, whose writings have
been a source for opera texts; there are also listings of many of the
great classics of literature and the operas derived from them.
SPECIAL ARTICLES. Specific subjects of operatic interest are dis-
cussed in special articles. The varied material thus treated includes
the Aria, the Overture, Marionette Opera, Children’s Opera, Ballet
in Opera, Claque, Castrato, etc.
TERMS IN Opera. All the important technical terms found in
opera are defined.
PRONUNCIATION GUIDE. A special section in the back of the
volume is devoted to pronunciation of the names of operas, arias,
composers, and performers. Pronunciations are given for all of the
foreign names and titles which appear as main entries in the book,
and for English names as well when their Pronunciation is difficult
or doubtful.
It is hoped that the veteran operagoer and the musician will find
this volume a convenient source for any information they may seek
about the opera. But this volume has also been designed with an eye
on the new audience of opera lovers springing up throughout Amer-
ica. Through radio, television, motion Pictures, and recordings, opera
is now available to millions. Besides, grassroot opera companies are
springing up in all parts of the country, bringing live performances
to places where formerly opera had been only a word. It seemed to
this Editor that these new audiences, whose ranks are continually
swelling, required a reference book providing them with the basic
information needed for a maturer understanding of this great art form.
It is hoped that this book will answer all the questions which will
inevitably arise as these new audiences penetrate ever deeper into
the fabulous world of the opera.
The Editor would like to express his indebtedness to several per-
sons, the importance of whose co-operation would be difficult to
overestimate: to Leon Wilson, for his painstaking copy editing; to
Hedy D. Jellinek, for her meticulous proofreading; to Esther Gelatt
for rewarding advice, criticism, and suggestions; to Reason A. Good-
win, for the preparation of the Pronunciation Guide; and finally to
ixPARPACR
George Jellinek and Nicolas Slonimshy, whose scholarship combed
the pages of this book for inaccuracies, inconsistencies, and misstate-
ments. Nicolas Slonimsky often provided the Editor with care.
fully documented information which enabled him to correct some of
the errors in dates and place names that appear in many other refer.
ence books.
Davw EwenEncyclopedia
of the
OPERA
DERSLER CE CDEC CE DEDEDE OLE REOmanager, Leopolt Damronch Sone
years latey, Irom 189) to 1896, Atbey
thated the managoement of the Metec:
politan with Wabward Schwttel ated
Maurice Cirau, thie time with better re:
wulte Me died 4 momih betore the oper:
ing performance of the 1896 140?
eat
Abbott, Umea, de armatic wopeama torn
Chicago, Decomber 9, 1850, shied Salt
Lake City, lemuasy 9. 1691 After
studying with Achille erent ia New
York, aud Mathitde Marches, Antonio
Sangicovneed and Basico frethe Neskie iss
Varope, ahe mache her opoers chotest at
Covent Garden ta 1876 in The Dough:
tor ot the Regimens A your latet oho
mache bert feet appearance im America,
im the sate opera, af the Academy of
Min: im New York She enartied
Ragone Wethorstt in 1878 and hebpest
him organise the Kenma Abtwtt Bing:
feb Ceand Opers Company, whist he
managed and in which che appeared in
Principal serpean eoten Dwapite a lies:
André) Promitre Burgtheater, Vienna,
July 16, 1782 Anwrican promigre
German Opera Houw, Brooklyn, New
Yor, Petevary 16, 1860.
Chasactor: Constanza (ewoprane);
Blonde, her maid (oprane), Helmonte,
Spaniah noblemen temoe), Pedrille, his
servant (tomar). Seti Pasha (peaking
fale), Onin, hin overeer (baw); a
fete, clover, guarde
The action takes place in Turkey in
the atatewnth contury
Act 1 A square before the Paaha’s
palace There eo brwt overture is ey
Tutkiah otyhe Conetansa and Blonds
have been Ridsaped by pirates, hevght
to Turkey, anet wht to te Pasha Hel
monte, Comtansa’s hover, hae tottorwesd
het Ble eapeesnos the hanes of a terenine
("Hhiee eotl ich dish dens when”) MMe
some upon Ovmin. the tet overeer,
who eapdomes «cynical attitnte howard
all women ("Wer cin Lictchen hat
getumion”) and tofu to help fel.
monte The imminent arrival of the
Paha amd Contanse Billy Belmonte