Нессуно!
Это так у одного из ведущих специалистов по Верди (Джулиана Буддена) написано:

ERNANI

Opera in four acts by
FRANCESCO MARIA PIAVE
(after Victor Hugo's play, Hernani)

First performed at the
Teatro la Fenice, Venice,
9 March 1843

Ernani, the bandit - primo tenore - Carlo Guasco
Don Carlo, King of Spain - primo baritono - Antonio Superchi
Don Ruy Gomez de Silva, e Spanish grande - BASSO COMPRIMARIO* - Antonio Selva
Elvira, his niece - prima donna soprano - Sofia Loewe
Giovanna, her nurce - seconda donna - Laura Saini
Don Riccardo, the King's equerry - secondo tenore - Giovanni Lanner
Jago, equerry to Don Ruy - secondo basso - Andrea Bellini

* Nowadays primo basso by virtue of the added cabaletta in Act I

И далее в тексте:

- Surprisingly, in his eagerness to set Hernani at all costs Verdi promised to write for Vietti unconditionally, so that up till the end of October the agreed voice distribution was: Donna Sol ro Elvira (soprano), Ernani (contralto), Don Carlo (tenor), Don Ruy Gomez de Silva (baritone).
- Piave had already hinted to the management that Ernani would be more effective as a tenor, and Brenna had felt bound to remind the composer that Vietti had to be accomodated somehow and that if she was unsuitable for Ernani she would be even less so as Don Carlo, who was a considerably older man.
- Throughout the carnival-quaresima season the Fenice could be sure of two leading tenors. If VErdi was against using Vietti for dramatic reasons, why not cast both Ernani and Don Carlo as tenors? Alternatively he could give the part of Carlo the the baritone Superchi, making Silva a basso profondo. Unfortunately, Rosi, the only full bass on the theatre roster, was not sufficiently experienced to sustain a leading role. If Verdi knew of a suitable artist who could make himself available, they would try to engage him, thouth this might be expensive.
- and Rosi that of Gomez, since in this part there is noly the finale of Act I, a few pertichini, a duet in the second act (a very powerful one with corus); and in Act III he only has ensembles. m Act IV there's the terzetto finale, but if the poet will bear with me, we can centre all the interest on the two lovers....  think this will work out well, especially as everyone assures me that Superchi is a very fine singer; and in the part of Gomez we should be forced either to falsify the part or to ill-treat the singer.
- In terms of convenienze (sic!), therefore, Silva was to be a comprimario role - an important point to remember when we come to consider the first of the opera's later accretions.
- To solve the problem of Act I Verdi retained the idea of a short cantabile for Silva of the type that can always be given to a comprimario.
- Finally Meini, the bass who was to have sung Silva [...] found the part too low for him. At Verdi's own request he was replaced by a young bass from the chorus called Antonio Selva
- VIENNA, spring 1844(?) - MILAN, autumn 1844. At one or other of these productions was first added Silva's cabaletta Infin che un brando vindice. A certain air of mystery surrounds it. Its earliest musical appearance is in a vocal score of Ernani issued as a No. 9 in the series 'Standard Lyric Drama', published by Boosey in 1851, with an editorial note to the effect that it was not part of the original score. Ricordi first printed it in their 'Edizione Popolare', ca 1870. But its text can be found in a libretto published for a performance at La Scala, Milan, in the autumn of 1844. The reason for its inclusion is clear enough. Ernani as has been said was conceived as an opera for soprano, tenor and baritone principals with a large part for comprimario bass. When the great basso profondo Derivis, who had created Zaccaria, was engaged for a performance Genoa he aspired to the part of Carlo, much to Verdi's irritation when he heard about it. ('How will he managed to sing the delicate Vieni meco sol di rose with that great voice of his?' he said to Muzio.)
-Ignazio Marini, Verdi's first Oberto, chose more realistically to sing Silva, first in Vienna in April, later at La Scala in the autumn; but in token of his status as principal he had to be accommodated with a double aria. The simplest way of doing this was to add a cabaletta to the cantabile Infelice.

-PARMA, autumn 1844. At Rossini's request, Verdi wrote a grand aria for the tenor Nicola Ivanoff who was makin his first appearance in the title role.

Отредактировано Огненный ангел (2005-10-22 15:59:47)