Genova, 2 aprile 1828
Mio caro Florimo
È la p‹ri›ma volta che posso scriverti qualche cosa sù le pruove dell’opera, la quale già è tutta compita. I pezzi della Tosi che si sono provati jersera, quanto la Cavatina che la scena ambedue nuovissimi fanno del grande effetto, e generalmente piacciono; le due Cavatine una di che \lo sapranno/ dalle lettere altrui. = La scena della Tosi è venuta sì breve, e sì d’effetto, che se questa sarà si manterrà in voce sino a quel punto non potrà fallire:
Il tuo Bellini
che t’ama –
Genova 2: Aprile 1828:
Al Sig:r D.n Francesco Flori =
= mo
nel real collegio di Musica
in
Napoli
t.p. Genova […] - […]
29
8.
Genoa, 2 April 1828
Vincenzo Bellini to Francesco Florimo. Letter.
Aut. I-Nc, Rari 1.9.10 (40). One bifolio, three sides plus address on the verso.
Ed. Florimo 1882, pp. 316-318; Cambi 1943, pp. 70-72; Neri 2005, pp. 58-60.
My dear Florimo
This is my first chance to tell you something about the rehearsals for the opera, which I've already finished. Yesterday evening Tosi went through the two pieces that are entirely new, the cavatina and the scena, which are both very impressive and generally appealing; then two other cavatinas, one for David with a new cabaletta, and the other for Tamburini where I only changed the allegro, are quite nice, especially the largo which [Tamburini] sings like an angel. The sinfonia, chorus ("Sgombra quel duol"), and [first] finale also work well, but this stays between us until the same effect is confirmed in performance, rather than proving us foolish should it be otherwise. In the second act, I'm not sure how well Tamburini's scena will do since it's not his genre, although everyone liked it during rehearsals; then the romanza, duetto, a chorus of conspirators that came out ever so well, and David's scena and the one for Tosi all seem to me to be absolutely solid pieces. But enough, let's wait for the results of the performance to be truly content. What I do know is that word has already spread around Genoa that my music is divine and that it will be as sensational a success as Il pirata, while David thinks it will be even more so. I won't believe anything until it opens; for now I'm happy enough to see that the singers are extremely satisfied, and that the orchestra plays it quite happily without the slightest hint of revulsion. The first violinist Sig. Serra, who knows his counterpoint inside out and is a hypercritical fellow with no patience for Rossini and other such composers, goes into ecstasy over my music, saying how it is so intelligently and thoughtfully conceived, and that his opinion, which was originally based on what he knew of Il pirata, has now grown even stronger with this opera. In Genoa they say I'm among the fortunate few to have measured up to his standards. Setting aside then whatever unexpected misfortune might occur, it would appear from all of these preliminary indications that we no longer need fear a fiasco, and my sense of inner peace seems itself to be the harbinger of a successful outcome. If we are granted this wish, Florimo, and the opera is indeed a hit, imagine just how many will be exploding with anger. Happiness is nigh: God will see to everything, I'm in his hands. Not a word of all this to anyone. I'm telling you alone, my friend, to reassure you, but everyone else must remain in the dark until they learn about the results in letters from others. - Tosi's scena is now so tight and effective that if she can manage to keep her voice up there's no way it can fail. Romani captured the dramatic situation quite nicely, and Tosi delivers it well. It begins with a brief recitativo, followed by a largo with two pertichini for Tamburini and David, both so substantial that it almost seems like a terzetto; then there's an agitato with the same music as "Salvini alle tue piante", and after her son is returned to her she sings such a joyful cabaletta, with such a lovely tune I devised, dear Florimo, that yesterday evening everyone was absolutely thrilled. I'll say it again, happiness is nigh: perhaps your dear Bellini will once again triumph over his jealous enemies. I was quite sad to learn of the latest misfortune to befall the poor Duca, and I imagine Luigino will have passed away by now. Your conduct toward this family is entirely typical of you, and even if I know you well, hearing of such actions makes me proud to have in you, my Florimo, a friend so rare; I always try to imitate you, hoping in this way that fortune might smile upon us both. I've not yet presented any of the letters apart the one from the Governor, but all of the introductions I brought from Milan and those you sent me have not been superfluous — though they nearly make little difference, since I've met all of those people through their own initiative, thanks to the success of Il pirata, without knowing I had been recommended to them. Ah! this Pirata has become the cornerstone of my reputation, which I'll continue to consolidate with my work. Meanwhile, if I have any time this week I will present some of [the letters]. I must leave you now, my dear Florimo; farewell until the next post or, according to what I have going on, the one after that. If the dress rehearsal is on Saturday as hoped, you'll hear from me on Monday, the day of decision, the one awaited by nearly all of Europe. - Accept my fond embrace, and please extend my greetings to the good Sig. Zingarelli, the headmaster, the Andreani family, and all of our friends. Farewell.
Your most affectionate
Bellini
Genoa 2 April 1828
To Sig. Don Francesco Florimo
in the Real Collegio di Musica
in
Naples
postmark GENOA [...] - [...]