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Track Orders. Change Language. Arabic English. Important Links. Follow Us. App Download. US UK. Thank you for subscribing! Giovanni Tebaldini's essay, quoted above, stood apart from the other two works, since it was originally intended as a celebratory homage to Persiani on the centennial of his birth.
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A digital reproduction of the letter is available online: see gallica. Lorenzo Bianconi and Giorgio Pestelli, trans. Lydia G. Cochrane Chicago, , Tintori , Giampiero Milan , , Most of her discussion of Tacchinardi-Persiani's seasons in Vienna is based on second-hand accounts published in Italian newspapers.
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For the season, she also relies on the few passages from Donizetti's correspondence from Vienna that mention the prima donna. For a discussion of how Tacchinardi-Persiani's abilities affected the vocal writing in the role of Rosmonda, see Ciarlantini, Giuseppe Persiani , 73—6.
I will discuss Rosmonda's cavatina in relation to Lucia di Lammermoor later in this article.
All the quotations in this paragraph are taken from Kaufmann's essay. In the online catalogue of the library, the former is erroneously dated 17 July. Fanny overtly complains about Merelli's unresponsiveness in her first letter to Balocchino, transcribed in Appendix, section B. The last sentence, which was later crossed out, warned Tacchinardi-Persiani that Beatrice di Tenda would not have been a wise choice, since the opera had been unsuccessfully produced in German. Allgemeine Theater-Zeitung on 4, 7 and 10 April , the beginning of the season was delayed due to the illness of several singers, including the primi tenori of the company.
Nonetheless, Tacchinardi-Persiani could have refused to take part in the production, since, as her letters reveal, her contract established that she had the right to choose her debut opera.
The first article credits Giuseppe Persiani as the author of the substitution aria. No trace of this piece seems to survive.