List of Illustrations
Figure 1 |
shows the spectrogram of Tetrazzini’s 1908 recording of ‘Ah! Fors’è lui’ in Verdi’s La traviata. |
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Figure 2 |
shows the use of vibrato and portamento in Tetrazzini’s 1911 recording of ‘Ah non credea mirarti’. |
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Figure 3 |
shows Patti’s use of portamento in her 1906 recording of ‘Ah, non credea mirarti’. |
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Figure 4 |
shows the first four measures of Verdi’s ‘Ah, fors’è lui’ in La traviata as sung by Tetrazzini. |
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Figure 5 |
shows Tetrazzini’s use of portamento in the opening bars of Verdi’s ‘Ah, fors’è lui’, recorded in 1911. |
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Figure 6 |
shows Marcella Sembrich’s use of portamento in the opening bars of Verdi’s ‘Ah fors’è lui’, recorded in 1904. |
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Figure 7 |
shows Nellie Melba’s use of portamento in the opening measures of Verdi’s ‘Ah, fors’è lui’, recorded in 1904. |
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Figure 8 |
shows the two ornamented versions of ‘Ecco ridente il cielo’ in Rossini’s Barbiere which García suggests in his Scuola di Garcia, Ricordi, pp. 38–39. |
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Figure 9 |
shows the melodic material given to Rosina in the duet ‘Dunque io son’. |
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Figure 10 |
shows the concertato-like setting in the duet ‘Dunque io son’. |
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Figure 11 |
reproduces the variations to ‘Dunque io son’ from Barbiere, present in M. García’s method (1842). |
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Figure 12 |
reproduces the variations for mezzo soprano to ‘Dunque io son’ from Barbiere, present in M. García’s Hints (1894). |
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Figure 13 |
reproduces the variations for soprano to ‘Dunque io son’ from Barbiere, present in M. García’s Hints (1894). |
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Figure 14 |
presents the ornamented version sung by Maria Callas in 1956 and 1957. |
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Figure 15 |
the chart shows the cuts in Tetrazzini’s recordings of Rosina’s cavatina. |
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Figure 16 |
shows the cadenza at bar 28 of the Andante. |
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Figure 17 |
the closing cadenza of the Andante. |
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Figure 18 |
shows the cadenza traditionally sung before the repeat (B’) in the Moderato section. |
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Figure 19 |
shows the final measures of the aria, where Tetrazzini sings the variants Rossini wrote for Matilde Juva; in the 1911 recording she concludes with an accented trill leading to the top E. Her cadenza was transcribed by Ricci in his Variazioni-Cadenze. |
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Figure 20 |
illustrates how a trill could be executed according to the new, modern habits discussed in García’s Scuola. |
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Figure 21 |
the cadenza concluding ‘Io son Tatiana’, which Tetrazzini recorded in 1907. |
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Figure 22 |
Tetrazzini adds some modifications to Proch’s third variation. |
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Figure 23 |
the cadenza with which Proch’s Variations conclude. |
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Figure 24 |
Tetrazzini’s cadenza to Proch’s Variations. |
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Figure 25 |
shows the cuts present in Tetrazzini’s 1910 recording of ‘Bel raggio lusinghier’. |
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Figure 26 |
presents the cadenza reproduced by Ricci that concludes the Andante grazioso. |
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Figure 27 |
shows Sembrich’s and Tetrazzini’s recorded renditions of the initial measures of ‘Bel raggio lusinghier’. |
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Figure 28 |
shows Sembrich’s and Tetrazzini’s recorded renditions of ‘Bel raggio lusinghier’ (measures 4 to 9). |
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Figure 29 |
shows Sembrich’s and Tetrazzini’s recorded renditions of ‘Bel raggio lusinghier’ (measures 11–15). |
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Figure 30 |
shows Sembrich’s and Tetrazzini’s recorded renditions of ‘Bel raggio lusinghier’. |
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Figure 31 |
shows the traditional cadenzas before the reprise of ‘Dolce pensiero’. |
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Figure 32 |
shows Sembrich’s and Tetrazzini’s recorded renditions of the final cadenza of ‘Dolce pensiero’. |
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Figure 33 |
shows the motif as Lucia sings it the first time. |
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Figure 34 |
shows the flute passage inserted in the mad scene as a reminiscence of the meeting between Lucia and Edgardo. |
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Figure 35 |
shows the reminiscence motif from ‘Verranno a te sull’aure’ in Marchesi’s second cadenza for Lucia’s mad scene. |
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Figure 36 |
shows the last bars of ‘Quando rapito’, where Tetrazzini reaches the high D, as also noted by De Koven in 1908. |
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Figure 37 |
shows the change from pizzicato to legato with portamento in the strings at bar 3 in the Larghetto. |
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Figure 38 |
shows Tetrazzini’s small rhythmic modifications and portamentos in ‘Regnava nel silenzio’. |
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Figure 39 |
shows Tetrazzini’s rendition of the cadenza that concludes the Larghetto of ‘Regnava nel silenzio’. |
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Figure 40 |
shows Tetrazzini’s changes in the Moderato. |
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Figure 41 |
shows Tetrazzini’s coloratura in the closing measures of ‘Regnava nel silenzio’. |
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Figure 42 |
shows the changes made by Tetrazzini in the initial measures of ‘Ardon gl’incensi’. |
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Figure 43 |
shows Tetrazzini’s own changes in ‘Ardon gl’incensi’. |
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Figure 44 |
shows the arpeggio and the four-note figure echoed by the flute with which Tetrazzini opens the cadenza. |
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Figure 45 |
shows the closing cadenza sung by Tetrazzini: in 1911 Walter Osterreicher plays a longer arpeggio. |
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Figure 46 |
shows Tetrazzini’s use of appoggiaturas in the opening recitativo ‘Ah! Tardai troppo’. |
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Figure 47 |
shows the fermata with which the recitativo closes, as sung by Tetrazzini and her senior colleagues. |
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Figure 48 |
shows the fermata that concludes the first section: while Marchesi suggests two possible cadenzas, Tetrazzini does not sing any. |
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Figure 49 |
shows Tetrazzini’s small modifications in the reprise of the aria. |
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Figure 50 |
shows an example from García, Volume II, p. 16, regarding ‘Come per me sereno’ from Bellini’s La sonnambula. |
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Figure 51 |
shows an example from García, vol. II, p. 36, regarding the use of a half-breath before the reprise in La sonnambula. |
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Figure 52 |
shows the same example as that in Figure 51 from García (p. 36). Now the half-breath can be found placed on the ‘ah’ (penultimate measure). |
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Figure 53 |
shows an example from ‘Ah! Non credea mirarti’ on which García writes ‘variante della Malibran’ (vol. II, p. 39). |
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Figure 54 |
shows García’s suggestion as to how to prevent excess of ornament in a cadenza by dropping the fermata between the two dominant chords (vol. II, p. 51). |
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Figure 55 |
presents the variants sung by Maria Malibran as reported by Maria Merlin in 1840. |
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Figure 56 |
shows the modifications sung by Jenny Lind in Bellini’s ‘Vien diletto’ |
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Figure 57 |
shows Tetrazzini’s modifications in La sonnambula, ‘Ah! non credea mirarti’ (measures 119–20, p. 314, Ricordi, 2010) compared to Patti and Lind. |
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Figure 58 |
La sonnambula, ‘Ah! non credea mirarti’ (Ricordi, 2010, bb. 132–33, p. 315). |
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Figure 59 |
La sonnambula, ‘Ah! non credea mirarti’ (Ricordi, 2010, measures 134–135, pp. 315–16). |
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Figure 60 |
shows Tetrazzini’s rendition of the closing cadenza with cello obbligato in La sonnambula, ‘Ah! non credea mirarti’, (measures 144–145, p. 316 in Ricordi, 2010). |
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Figure 61 |
La sonnambula, ‘Ah non giunge’, Ricordi, 2010, b. 272, p. 334. |
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Figure 62 |
shows the closing measure of Heinrich Proch’s Variations ‘Deh torna mio bene’. |
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Figure 63 |
shows the final cadenza of ‘Charmant Oiseau’ from David’s La perle du Brésil (Paris: Launer, [n.d.]), p. 263. |
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Figure 64 |
shows the first variant sung by Emma Nevada in Paris, as was published by Heugel in 1885 (p. 311). |
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Figure 65 |
shows the second variant sung by Emma Nevada in Paris, as was published by Heugel in 1885 (p. 313–14). |
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Figure 66 |
shows the cuts present in Tetrazzini’s 1912 recording of ‘Sovra il sen’. |
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Figure 67 |
shows the fermata of ‘Come per me sereno’ as was sung by Tetrazzini, compared to those of García and Marchesi. |
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Figure 68 |
shows Tetrazzini’s rendition of the cadenza preceding the Allegretto brillante in La sonnambula, ‘Come per me sereno’, Ricordi, [1869], reprint 1971, p. 24, measure 11 after rehearsal mark number 21. For this example, the earlier edition was preferable, since the critical edition includes a different passage for the cadenza (Ricordi, 2010, b. 58, p. 29). |
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Figure 69 |
shows the different rendition of the central cadenza in La sonnambula, ‘Sovra il sen la man si posa’ (measures 119–20, pp. 35–36 in the Ricordi 2010 edition). |
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Figure 70 |
shows the modifications sung by Tetrazzini in La sonnambula, ‘Sovra il sen la man mi posa’, Ricordi, [1869], reprint 1971, p. 27, measure nine before rehearsal mark number 25. The critical edition differs from the one then published by Ricordi (Ricordi, 2010, bb. 98–106, pp. 33–34). |
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Figure 71 |
shows Tetrazzini’s variant in I puritani, ‘Vien diletto’ (Ricordi, 2015, vol. I, measures 222–23, pp. 420–21). |
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Figure 72 |
I puritani, ‘Vien diletto’, Ricordi, 2015, measures 276–77, p. 427. |
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Figure 73 |
shows Tetrazzini’s variants in the reprise of I puritani, ‘Vien diletto’ (Ricordi, measures 252–65, pp. 425–26). |
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Figure 74 |
shows Tetrazzini’s rendition of ‘È strano…’ compared to Regina Pacini’s. |
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Figure 75 |
shows the first measures of ‘Ah! Fors’è lui’ in Tetrazzini’s recordings compared to those of Melba, Sembrich and Pacini. |
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Figure 76 |
shows the small interventions in Tetrazzini’s rendition of ‘Ah! Fors’è lui’ compared to those of Melba, Pacini and Sembrich. |
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Figure 77 |
shows the different cadenzas sung by Tetrazzini, Melba, Sembrich and Pacini to ‘Ah! Fors’è lui’. |
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Figure 78 |
shows the descending chromatic passage before the reprise, that Tetrazzini used to sing in ‘Ah! Fors’è lui’. |
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Figure 79 |
shows the second descending chromatic passage typical of Tetrazzini, compared to those of Melba and Pacini. |
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Figure 80 |
shows the last chromatic passage Tetrazzini used to sing in ‘Ah! Fors’è lui’. |
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Figure 81 |
shows how Tetrazzini conveys Violetta’s sense of hysteria thanks to the repeated high Cs. |
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Figure 82 |
shows the final measures of ‘Ah! Fors’è lui’ featuring Tetrazzini’s top Es. |
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Figure 83 |
shows Tetrazzini’s modifications in the opening measures of ‘Caro nome’ in Verdi’s Rigoletto. |
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Figure 84 |
shows Tetrazzini’s cadenza to ‘Caro nome’ in Verdi’s Rigoletto. |
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Figure 85 |
shows Tetrazzini’s small modifications in the ‘Canzone di Oscar’ from Verdi’s Un ballo in maschera. |
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Figure 86 |
shows modifications sung by Tetrazzini in the repeat of the ‘Canzone di Oscar’. |
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Figure 87 |
shows the cadenza sung by Tetrazzini in the ‘Canzone di Oscar’. |
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Figure 88 |
shows the ascending scale which concludes ‘Tacea la notte placida’ as sung by Tetrazzini. |
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Figure 89 |
shows Tetrazzini’s modifications in the closing measures of ‘Mercé dilette amiche’ from I vespri siciliani. |