Genova, 24 marzo 1828
Mio caro Florimo =
Sabato sera è giunta la
Il tuo Bellini che
t’ama
Genova 24: Marzo 1828:
= ai 7: d’aprile si deve andare in scena senza fallo. =
Al Sig:r Francesco Florimo
nel real collegio di Musica in
Napoli
t.p. Genova […] - 31 mar
28
7.
Genoa, 24 March 1828
Vincenzo Bellini to Francesco Florimo. Letter.
Aut. I-Nc, Rari 1.9.10 (39). One bifolio, three sides plus address on the verso.
Ed. Florimo 1882, pp. 310 -313; Cambi 1943, pp. 67-70; Neri 2005, pp. 57-58.
My dear Florimo -
Tosi arrived Saturday evening and gave me the packet of letters [of introduction], but I don't know if I'll be able to present them all, given that walking in this city is so exhausting, and the multiplicity of streets so confusing to navigate, that not even half a day is enough to visit one person. What's more, I still haven't done the cavatina and the scena for Tosi, although I've drafted these two pieces and yesterday evening I worked out the few passi d'agilità with her; so all I have to do is put them together when Romani, that deuced Romani, gives me the stretta of the scena and writes the verses for the cavatina, which I'd already composed to another inferior text whose sentiment was poorly expressed. Perhaps this morning I'll dine at Tosi's together with Romani and she can cajole him into finishing everything by tomorrow. I do hope he gives me the stretta of the scena this morning. - Rehearsals begin this evening and I pray to God I have a decent orchestra, since I still don't know how strong it is; but if this goes well, my dear Florimo, it'll be the second bitter pill my enemies will have to swallow. Tosi has been affectionate beyond words with me: she insists I dine with her every day, and she's devoted herself heart and soul to doing her very best in my opera. According to what she told me in private, it was Pacini who said I spoke ill of her, showing her a letter from a gentleman in Milan, who I am certain is Don Gaetano Melzi, claiming that I had disparaged both [Pacini] and Tosi in Ricordi's shop. See what a despicable lie that individual, ostensibly my great patron, was able to invent! There I was, trusting his friendship and discussing the various results both good and bad of operas in Naples — while he, without saying I spoke to him directly and without ever imagining that rascal Pacini would show his letters to others, betrayed my confidence indirectly instead. But all I can do is to put it completely behind me and be more cautious in judging the sincerity of others in the future. Tosi also told me that Pacini was blustering on about me and fulminating threats, yet when the scoundrel first ran into me in Milan he embraced me without dropping even a hint of any such thing. - What's more, when Tamburini, who arrived yesterday with David, assured me that my enemies who attempted to spread false information from Vienna about Pirata belong to our profession, my suspicions logically fell on Pacini's father since he happens to be there. We also need to talk seriously about that business of staging Il pirata there [in Naples] with Comelli: if they should ever attempt such a colossal idiocy you must mobilize all of Naples to prevent it, because Tamburini told me they barely tolerated her in Vienna out of respect for her husband, and that in Milan or Naples they'd slaughter her to say the least. Barbaja is expected here and I'll try to convince him to give it to Tosi, who is eager to do it and for whom I'm happy to adjust the part, just as I'll write a new cavatina for Tamburini and whatever else he needs. That way I hope Barbaja will agree — but if not, you must do as much as you can, when I say so, to get Carignano involved and possibly work a miracle with Zingarelli, telling him that since the opera was written by an alumnus from the Collegio of Naples, as the Director he should urge that it be properly staged to ensure its success, knowing what prestige it will bring to the theatre as well, etc. etc., understood? You're more than capable of handling this delicately so that not a word of it gets back to Rubini. - It seems Tamburini is also happy with his part, and David even more so. Last night Tosi ran through the romanza, which she had not intended to sing, and she's already convinced her interpretation will bring the house down — but not a word of this to Crescentini, who's against it, and if she stays mum he'll find out only after it's been a success with the public. Since the secondary female singer is mediocre I'm removing her pertichino, and I'll trim down the first ritornello and the smaller intervening ones to make the piece shorter and the melodic line more cohesive so that it keeps the listener's attention. Yesterday the first violinist wanted to hear something so I played the sinfonia and the finale, which he liked a great deal; but the real proof is in the pudding, which doesn't worry me much because the singers are happy with their parts. - The avalanche couldn't be staged because there's a far more impressive one in the ballet between the two acts, including a fire, and mine would only make a bit of ruckus after that; so at the point where Bianca's son is returned to her the scene fills with 129 torches, 24 held by dancers rushing down the winding staircase and the remainder seen streaming in through the great entrance with the reflection of more torches in the distance, etc. I think this will make for a better effect because it's less common than an avalanche, which was done here during this past Carnival in Mercadante's Didone. - Farewell. I remain in good health. Give my many salutations to Zingarelli, the headmaster, the Andreani family, and Crescentini, along with all of our friends. The Pollinis have asked me from Milan to extend their greetings to you as well, which you can reciprocate through Zingarelli. A hearty embrace to you, and my copious thanks to the most excellent Duca and Duchessa, with my greetings to everyone in their family. -
Your most affectionate
Bellini
Genoa 24 March 1828
- The opera must open without fail on 7 April. -
To Sig. Francesco Florimo
in the Real Collegio di Musica in
Naples
postmark GENOA [...] -31 MARCH