Puteaux, 4 ottobre 1834
Puteaux 4: Ottobre
Mio caro Florimo – Ti prevengo che negli ultimi giorni di questo mese ritorno a Parigi, quindi tu, tutte le lettere che mi scriverai dal 17: o 18: in poi del cor:te dirigile aux Bais Chinois: hai capito? Aspettava altre tue lettere per scriverti: tu però ti lagni sempre che non ricevi mie lettere, e mi dici che passa alle volte più d’un mese; ciò è sicuro mancanze di posta: io mai e poi mai fò passare la settimana toltone che aspettando qualche novella postergo ma mai più di 15: giorni al più lungo –
Ieri il Sig:r Loraschi venne a rimettermi la tua lettera e 4:° libri di facea faceano malissimo i V‹ioli›ni acuti accompagnando il basso, e fra di noi sia detto, non lo corressi poiché fù consiglio di Micherù (silenzio) e per non piccarlo mentre era rivenuto a me, lo lasciai così: tu ora corrigilo come ti dico –
Sai che
Poi ho istrumentato con tale accuratezza che ne saresti sodisfatto, e lo sarai quando vedrai l’opera, che piacerà o nò. – Mi trovava a far vedere dei pezzi alla Grisi ed \a/ Lablache in casa della Grisi: Lablache venia di cantare quella preghiera d’introd‹uzio›ne a quartetto La luna il sol le stelle ec: Come sono bene disposte ed armonizzate le voci, Lablache lo trovò bello, e come
Ora io avendo istrumentato come mai ho fatto, spero anche che mi troverà con sua meraviglia anche avanzato in tale punto; e così se alla stima che vorrei ispirarci s’unisce la sua affezione, potrò restare a
La
Tante cose al caro
Bellini
Deux Siciles
à Monsieur François Florimo
à Naples
t.p. neuilly sur seine | 4 oct 1834 - napoli | 21 ott.
330
34.
Puteaux, 4 October 1834
Vincenzo Bellini to Francesco Florimo. Letter.
Aut. I-Nc, Rari 4.3.6 (37). Two bifolia, eight sides plus address and partially preserved seal in red wax on the verso of the first bifolio.
Ed. Florimo 1885, pp. 442-446; Cambi 1843, pp. 440-445; Neri 2005, pp. 323-325.
My dear Florimo - Be advised that I'll be returning to Paris at the end of this month, so all of your letters from the 17th or 18th onward should be directed to Bais Chinois, understood? I'd been waiting for others from you before writing, but you always complain that you never hear from me and that sometimes more than a month passes between mine. This is certainly a problem with the mail, because I would never, ever let a week go by unless I were waiting on some update to report, but never more than 15 days at the most. -
Yesterday Sig. Loraschi came to deliver your letter and the 4 libretti by Romani, which I'll consign as soon as I receive your instructions. I took the opportunity to read Parisina and found only the duetto and quartetto in the second act interesting, but hardly amazing. Whyever would you have wanted Romani to pick such a subject when we had Pasta, whose age now obliges her to portray the noble matron? Where was the bass in Venice? Cartagenova only came through in the end thanks to my pleas and promises! And then Curioni! My God! I couldn't have been handed more of a dog. Therefore it wasn't possible, dear Florimo, to use Parisina or any other such subject — plus I had so little time, thanks to Romani. Donizetti, on the other hand, wrote Parisina with music from Il furioso as it was produced in Milan and then perhaps changed for Naples, so he only had to focus on adjusting some of the dramatic situations, and with the vocal acrobatics of Unger, Duprez, and Coselli, it was a hit - Amen!!! I fervently hope that Malibran will be doing Beatrice [there]. You'll see how effective the duetto and the finale in the second act are, not to mention the quintetto and the last scena of the second act. - In the event the opera is staged, do me this favor: go to the stretta of the [first-act] finale, and after [Beatrice's] short cabaletta you'll find a melodic line that begins with the words "ite iniqui all'impossente ira vostra io v'abbandono" etc., the orchestration of which I want you to adjust as follows: have the first violins play in mid register rather than the higher octave, and continue in this manner as if you were orchestrating a crescendo, beginning possibly with mf for the violins, then the oboes and clarinets, balancing things judiciously. This is necessary for the beginning of the crescendo, which then swells ever more sonorously to reach full instrumental strength by the third and fourth repetitions. I only remember that the violins in the upper register accompanied by the bass made for a very poor effect which, just between us, I didn't correct because it had been suggested by Micherù (no comment), and since I was reluctant to offend him when he came to me I left it as it was. Correct it now as I've told you.
Rubini, Grisi, Lablache, and Tamburini are all happy, you know, with what they've seen up to now. I've gone on with the orchestration and consequently composed nothing new, but there are only two pieces left to do, plus I've prepared the principal thematic material for two pieces that still need to be properly assembled and orchestrated, and I'm waiting on Pepoli to finish a duetto for which I have high hopes. - So far, in the first act the introduzione is quite effective and the remainder seems to be most promising as well; and in the second act there's the scena in the form of a romanza (foreshadowed by Grisi off stage) for Rubini, interrupted after the first part by a chorus of soldiers stalking the condemned fugitive, which begins pp and grows to ff and then vice versa, after which he resumes another stanza followed immediately by the duetto. Both the poetic text and the dramatic action here are solidly conceived. Indeed, while the libretto may not be capable of stirring deep emotions, I can assure you it's full of colorful theatrical effects in the same genre as Sonnambula or Paisiello's Nina, with the addition of a robust military presence and a touch of Puritan severity. - Then too, I've been so meticulous with the orchestration that you're bound to be pleased with what I've done when you see the opera and can judge for yourself whether it works or not. - During a visit to Grisi's home I showed some of the pieces to her and Lablache. Lablache had just finished singing that quartetto in the introduzione, the prayer "La luna, il sol, le stelle" etc. which he found beautifully set and harmonized, when Rossini arrived to see Grisi, and Lablache told me to have the maestro hear it as well; so we went through it again, and Rossini offered his compliments. I should tell you I've asked Rossini if he would be kind enough to take a look at my opera and let me know what he thinks (by way of courting his favor but also because I believe he's capable of giving me invaluable advice), which he agreed to do. A mutual friend of ours told him not to refuse me this favor he knew I'd requested because it was an honorable gesture of modest deference to his own illustrious stature. Rossini responded that he would treat me with all due delicacy, but that he was encouraged by having already seen some of the music (he was referring to the prayer) where he could tell how I am continually honing my craft, observing that the voices were managed well and that he might therefore have something useful to say about the orchestration. This was good to hear, because if I'm able to secure Rossini's support I'll be in good shape, given that he's only spoken quite poorly of me up to now, saying that Pacini is the most talented composer in Italy and Donizetti the most skillful — and these stupid journalists always take him for an oracle, heeding his abuse of anyone who upstages him while he praises his disciples to the high heavens, shameless plagiarists though they may be. -
Having now worked on my orchestration as never before, I'm hoping he'll be amazed to see how far I've progressed there as well; and if I were to inspire his affection along with his respect, I'll feel confident enough to remain in Paris should promising opportunities come my way. It would also appear that the Duca Visconti di Milano seeks my services. If he offers me 50000 francs for three operas with either Malibran or Pasta, I've told Giuditta that I would accept. - Romani sent me a warm response, saying he was glad to revive a friendship he had never abandoned in his heart, and that even though he's been decorated by his King and awarded a remunerative position in Turin with no further need to work for the theatre, he would still consider it a pleasure to write the libretti I'll need for Naples (in Milan they thought I was already under contract with Naples for three operas). I'll respond now with my heartfelt thanks and the promise that as soon as I start my next Italian opera I'll go to Turin and remain there with him until it's finished. You can be sure that this reconciliation gives me more than enough courage to claim that Italy is still mine if things don't work out here in Paris. - The bass Inchindi sparked no enthusiasm whatsoever at the Opéra Comique, where they thought he was pleasing enough but totally uninspiring. If the tenor who is coming makes this same impression, I can only thank God I didn't sign the contract. - I'll tell you all about the interesting conversations I'll have with Rossini after I take him some pieces to examine, which I will do with great pleasure because I believe that whether he gives me advice or praise, it will always be to my artistic benefit: advice improves me, praise encourages me. - In other news, I hope to recuperate the money I lost in the Spanish funds, possibly even earning 30000 rather than 12000. This is how things stand at the moment - I'll let you know soon what happens next, but after that transaction I'll be sure to put my money in nothing but the most secure funds and never again risk that kind of considerable loss so that I can regain some peace of mind. -
Giuditta always writes to me from Milan and I can tell you she's doing well. Apparently she still thinks she'll be able to get me back, but now that I've escaped that fire, my dear, I have no desire to return. I could no longer be happy with her and it's something I feel deep down inside, knowing that I'd be even more jealous than before — and when a woman is born a coquette, my dear, she'll never change. Much as I value our friendship, I now most painfully realize that I must do without her love in order to safeguard my serenity and my future prospects. - As soon as Loraschi gives me the printed editions I'll send them to you together with the busts you want for the Duchessa: incidentally, does this mean she's no longer coming to pass the winter in Paris?
Many greetings to dear Cottrau. It's been a century since I last saw his sister, but I'll make up for it when I return to Paris. A warm embrace from your affectionate
Bellini
Deaux Siciles
à Monsieur François Florimo
à Naples
postmark neuilly sur seine | 4 oct 1834 - napoli | 21 ott.