The myth of venice in nineteenth-century opera

Journal of Interdisciplinary History

Volumn 36, Issue 3, 2006, Pages 533-554

  Johnson, James H ^a  

^a USA   (United States)

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[No Author keywords available]

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EID: 33750970578     PISSN: 00221953     EISSN: None     Source Type: Journal    
DOI: 10.1162/002219506774929872     Document Type: Review

References (64)

1. This article owes much in inspiration and emphasis to Margaret Plant, Venice: Fragile City, 1797-1997 (New Haven, 2002).
2. Plant's comprehensive survey of changing views of the city in the arts, literature, and scholarship cites many of the operas and nonmusical works discussed in this article. Amilcare Ponchielli [and Arrigo Boito], Le Giomida (New York, n.d.), 154-155.
3. [Giovanni Battista Casti,] Il Re Teodora in Venizia (Padova, 1801).
4. Gaetano Cozzi, La socictà c il suo diritto (Venice, 2000), 150-155;
5. David W. Carrithers, "Not So Virtuous Republics: Montesquieu, Venice, and the Theory of Aristocratic Republicanism," Journal of the History of Ideas, LII (1991), 245-268.
6. Amelot de la Houssaie, Histoire du gouvernement de Venise (Paris, 1677), 3, 316.
7. John Hinckley (trans.), An Accurate Account of the Fall of the Republic of Venice (London, 1804), 184.
8. th Century (New York, 2003), 11.
9. The pamphlets denounced the Inquisitori as, among other things,"barbaric," "bloody," "bestial," and "Neronic," See Paolo Preto, I servizi segreti di Venizia. Spionaggio e controspionaggio: cifrari, intercettazioni, delazioni, tra mito e realtà (Milan, 1994), 589.
10. Paolo Mariuz, "Francesco Gallimberti: Dai 'Fasti Veneziani' alle 'Carceri Sotterracquee,'" in Europa delle corti alla fine dell'antico regime (Rome, 1991), 229.
11. Gazzetta Privilegiata di Venezia, 21 Feb. 1816, 4.
12. Stendhal's erroneous claim in Vie de Rossini that the source for the opera was Alessandro Manzoni's play Il Conte di Carmgnola has led several modern biographers astray. See Stendhal, Vie de Rossini (Paris, 1992; orig. pub. 1824), 417;
13. Herbert Weinstock, Rossini: A Biography (New York, 1968), 98;
14. Jean-Louis Caussou, Gioachino Rossini (Paris, 1967), 114;
15. Luigi Rognoni, Gioacchino Rossini (Turin, 1968), 162.
16. Antione-Vincent C. Amault, Blanche et Montcassin (Paris, 1797), iii, ix.
17. Stendhal, Vie de Rossini, 417.
18. Arnault underscored his Napoleonic message at the end of the play, where a sole Venetian dares to hope for a liberator "to annihilate the crimes of this arbitrary power" (Blanche et Montcassin, 80).
19. Rossini [and Felice Romani] (ed. Gabriele Dotto), Bianca c Falliera o sia Il Camiglio dci Tre (Milan, 1985), 406-409.
20. Richard Osborne, Rossini (London, 1986), 228.
21. Donizetti and Giovanni Emanuele Bidera, Marino Faliero (Milan, 1837);
22. George Gordon [Lord] Byron, "So late into the night," in Leslie A. Marchand (ed.), Byron's Letters and Journals (London, 1976), V, 174.
23. Byron, Marino Faliero, in Jerome J. McGann (ed.), The Complete Poetical Works (New York, 1986), IV, 361.
24. Idem Byron, (ed. Leslie A. Marchand), The Selected Poetry of Lord Byron (New York, 2001), 114, 141;
25. Lucien Cattan, "La Venise de Byron et la Venise des romantiques français," in Revue de literature compare, V (1925), 89-102;
26. Plant, Venice, 48.
27. Von Platen quoted in Giuseppe Pavanello, "L'lmmagine di Venezia da Canova a Byron," in Gino Benzoni (ed.), Le Metatnorfose di Venezia. Da capitale di stato a città del monda (Florence, 2001), 186;
28. Carducci quoted in Guy Dumas, La Fin de la République de Venise. Aspects et reflets littéraires (Rennes, 1964), 31;
29. Plant, Venice, 122.
30. Bernard Bergerot, Dam, intendant général de la Grande Année (Paris, 1991);
31. Pierre Daru, Histoire de la République de Venise (Paris, 1821), VI, 173.
32. Verdi quoted in David R. Kimball, Verdi in the Age of Italian Romanticism (New York, 1981), 139.
33. Byron, The Two Foscari, An Historical Tragedy, in Paul Baines and Edward Bums (eds.), Five Romantic Plays, 1768-1821 (New York, 2000), 267-268.
34. Byron, Five Romantic Plays, 1768-1821, Ibid., 279.
35. Verdi [and Francesco-Maria Piave], I Due Foscari (Milan, n.d.), 131-132.
36. Mazzini quoted in Kimball, Verdi, 486.
37. Piave and Achille Peri, Vittore Pisani (Rome, 1859).
38. Cantú quoted in Maria Cristina Gozzoli and Fernando Mazzocca (eds.), Hayez (Milan, 1983), 176.
39. James Fenimore Cooper, The Bravo (New Haven, 1963; orig. pub. 1831). 17.
40. James Fenimore Cooper, The Bravo Ibid., 226.
41. Italian Opera, 1810-1840. XXI [Saverio Mercadante, Gaetano Rossi, et al.], Il Bravo (New York, 1989).
42. Gossett, "Introduction," Il Bravo, n.p.
43. Heinrich Zschokke (trans. M. G. Lewis), The Bravo of Venice (New York. 1972).
44. See also Plant, Venice, 95.
45. J. R. Herbert and Thomas Roscoe, Legends of Venice (London, 1871), 23.
46. Alfred de Musset, "Venise, " in Poésies complète (Paris, 1957), 80-82.
47. See also Plant, Venice, 113-114.
48. Ponchielli [and Boito], Le Giaconda, 154-155;
49. Victor Hugo, Théâtre complet. II. Angela, Tyran de Padoue (Paris, 1964), 555.
50. Ponchielli, La Giacanda, 542-543;
51. Sand quoted in Cattan, La Venice de Byron, 98.
52. Jacques Cazotte (trans. Stephen Sartarelli), The Devil in Love (New York, 1993).
53. Friedrich Schiller's unfinished novella The Ghost-Seer from 1784, which recounts the slow descent of a prince on holiday in Venice, who joins a society of libertines and gambles away his immense wealth and reputation, was another forerunner of Offenbach's Venice in its haunting evocation of dangerous pleasures
54. (Schiller [trans. Henry G. Bonn], The Ghost-Seer [Columbia, S.C. 1992]).
55. Heather Hadlock, Mad Loves: Women and Music in Offenbach's 'Les Contes d'Hoffmann' (Princeton, 2000).
56. Wilkie Collins, The Haunted Hotel; A Mystery of Modem Venice (New York, 1982), 93.
57. Franz Liszt's two piano works entitled Lugubrious Gondola
58. were inspired by the sight of a gondola-hearse that he glimpsed from the Palazzo Vendramin-Calergi, where he stayed during a visit. Friedrich Nietzsche wrote that the city was a projection of human melancholy: "All now is motionless, flat, dejected, gloomy, like the lagoon of Venice." Richard Wagner found his inspiration for the "long-drawn-out lament for the shepherd's horn" at the beginning of the third act of Tristan und Isolde in the "strange, melancholy dialogue" of the gondoliers' midnight cries. See Plant, Venice, 184, 195-197.
59. John Penible, Venice Rediscovered (New York, 1995), 94-95, 98. Much of this discussion is drawn from Pemble's book.
60. Strauss, Eine Nacht in Venedig, in Gesampausgabe (Vienna, 1969), IX.
61. Simmel and Hofmannsthal quoted in Anna Giuberti, "Venezia nella litteratura austriaca moderns," in Giandomenico Romanelli (ed.), Venezia Vienna. Il mito delta cultura veneziana nell'Europa asbuigica (Milan, 1983), 117.
62. Giacomo Casanova, Chevalier de Seingalt (trans. Williard R. Trask), History of My Life (New York, 1969; orig. pub. 1833), VIII, 35, 140.
63. Zweig (trans. Eden and Cedar Paul), Adepts in Self-Portraiture Casanova, Stendhal, Tolstoy (London, 1952), 67, 87, 40
64. Zweig, Adepts in Self-portraiture Casanova, Stendhal, Tolstoy Ibid., 42.