Parigi, [26 gennaio 1835]
Mio caro Florimo – Io non trovo parole per descriverti lo stato del mio cuore – Sabato è andata in scena finalmente l’opera mia, e l’effetto, sebbene corrispose \a quello/ della prova generale, pure mi si […] inaspettato – L’int‹roduzio›ne effetto, la Cav‹ati›na di palco \teatro/ e spero che scriveranno a
Domani, Martedì, 2da rap‹presentazio›ne – Ho accorciato qualche cosa ancora, poiché con le repliche dei due pezzi, cosa che sino all’ultima rap‹presentazio›ne succederà, l’opera finisce a mezza notte, e qui non sono avvezzi, e non vogliono stare in teatro a di là di 11: e ½ al più; quindi jeri ho tolto quanto d’indifferente vi era, e quasi ho accorciato l’opera di 35: a 40 minuti – Quanti giornali troverò questa mattina te l’acchiuderò io credo che mi saranno tutti favorevoli, essendo il mio incontro in tutte le bocche senza alcuno opposizione: tutti gridano, essere un opera che mi fà grande gloria. Oh mio caro florimo, che effetto che fà la strumentazione. Credo che il xxx sù il mio morale, e fisico. Sono in qualche momento come un stupido, tale è stata l’impressione. La Corte vuol fare eseguire i Cori della
Deux Siciles
à Monsieur François Florimo
à Naples
t.p. 26 | jan | 1835 - napoli | 10 | feb | 1835
370
43.
Paris [26 January 1835]
Vincenzo Bellini to Francesco Florimo. Letter.
Aut. I-Nc, Rari 4.3.6 (46). Two bifolia, eight sides plus address and partially preserved seal in red wax on the verso of the second bifolio.
Ed. Florimo 1882, pp. 488-490; Cambi 1943, pp. 501-503; Neri 2005, p. 368-370.
My dear Florimo - I can hardly find the words to describe how I feel. - Saturday my opera finally opened, and the impression it made, while corresponding to that of the dress rehearsal, still caught me [...] by surprise. - The introduzione worked quite well; Tamburini's cavatina was lovely and well received; the duetto for Lablache and Elvira caused quite a stir; Rubini's entrance aria was found most impressive and the duettino quite charming; the quartetto alla polacca created such a frenzy that it had to be repeated, which fanned the flames all the more; the terzetto was applauded only for Rubini's asolo; and a pandemonium broke out after the [first] finale. - In the second act (we divided the opera into three acts and put Grisi's aria before the duetto for the two basses, which now closes the second act because there's nothing more powerful than the dramatic effect of that duetto) the chorus was found pleasing, Lablache's romanza likewise; then came another tumultuous response to Grisi's scena, especially all of the primo tempo when she loses her mind as she drifts from thought to thought, which she sang and performed like an angel. The entire theatre was reduced to tears, particularly during the 6/8 section where she imagines the festive dancing after her marriage, which goes straight to the heart. Then too, there's no way to describe how effective the two basses were. It was as if the French had all gone insane, creating such bedlam with their noise and shouting that they astonished themselves at the extent of their reaction — but they say that the stretta of that piece is nerve-wracking, and it truly was, because it brought everyone in the hall to their feet, first shouting, then trying to calm themselves, then shouting again. In a word, my dear Florimo, it was something totally unprecedented, and it's had Paris all abuzz about it since Saturday evening. - The public roared like madmen [for me to appear] (breaking with custom, since it's not permitted even at the end of the opera to call the composer to the stage but rather to acclaim him in name only, given that neither Spontini nor all those who came after him have had the honor of a curtain call), and Lablache had to practically drag me out stumbling to the proscenium, with the women all waving their handkerchiefs and the men brandishing their hats in the air. - I hope that Donna Lina and Madame Cottrau, who were in the theatre, will inform Cottrau about everything that happened. - After the curtain fell (the duetto having been repeated by popular demand), I swear that the half hour intermission was not enough to calm things down, and the public was still visibly agitated when the curtain rose for the third act. Rubini's romanza was warmly applauded, although it was found to be rather long with the reprise and the extended [intervening] recitativo; the following duetto was enormously effective (I'd already eliminated the slower middle section by the last rehearsals because it was too long), and particularly when [Elvira's] consciousness returns, and then in the splendidly impressive cabaletta. The finale brought down the house and the public again thundered for Bellini and the singers, forcing us to present ourselves a second time.
Lablache sang like a god - Grisi like a darling little angel - Rubini and Tamburini were equally great.
Tomorrow, Tuesday, second performance. - I made some further cuts, because with the addition of the two encores (which are sure to happen right down to the last performance) the opera ends at midnight, but here they're not accustomed to it and want to leave the theatre by 11:00 or ll:30 at the latest; so yesterday I removed whatever was expendable and shortened the opera by nearly 35 to 40 minutes. - I'll enclose as many articles as I can find this morning for you. They should all be favorable, since the undisputed topic on everyone's lips right now is the success I've had, resounding with exclamations of how the opera has done me great honor. Oh my dear Florimo, how effective the orchestration has proven to be! I imagine the Conte di Galemberg will write to you, since he was witness to all this enthusiasm. He wrote me a note saying that if he composed operas rather than ballets he would have thrown his pen into the fire; but you'll see what he will have written to you. My good Florimo, oh how content I am!!! See just how far we've come, and with what results! I'm still trembling from the overwhelming effect so much success has had on my physical and mental well-being. There are moments when I feel absolutely dumbfounded, such has been the impact. The [Royal] Court wants to host a performance of the choruses from Norma, and I will do everything possible to see that it goes splendidly. They also requested selections from I puritani for the concert on Wednesday, but that's not possible because the orchestra would need to rehearse and there isn't enough time. I was officially informed that the Queen will be present for the second performance. - I'm planning to offer the dedication [of the opera] to her (and not a word about this) [...] ever so often and I will specify all of the details right away, as soon as Principe d'Ottajano tells me which subject to use and what the company of singers will be.
Deux Siciles
à Monsieur François Florimo
à Naples
postmark 26| jan | 1835 - napoli | 10 |feb | 1835