Parigi, 21 novembre 1834
Parigi 21: Nov:e 34
Mio caro Florimo – Finalmente jeri ricevei le scritture accompagnate dalla più amabilissima lettera del
Il tuo
Bellini
P. S.
Io spero di venire in Napoli, se non in Gennajo nel Giugno o luglio dell’anno venturo, per provare e dirigere l’opera \prima/ mia nuova, se la Società la bramerà in quell’epoca. – Versace, come ti dico \di/ sopra ti consegnerà les pieces per rifletterla ec: Il
Manderò il libro quando sarà finito, che credo difficile esserlo, fra giorni; ma che stiino tranquilli. Non entra né religione, né amori nefandi, né politica alcuna. Se il titolo Puritani gli faccia ombra, che gli dia quello d’Elvira oppure Le teste rotonde ed i Cavalieri – quest’ultimo è troppo lungo, noi abbiamo scelto il primo perché è celebre pei Puritani di Valter – Scott – Addio dunque – Godo della sodisfazione che tu mi dici che si è provata in Napoli che io scriva: tale sentimento m’incoragerà più a scrivergli della musica, il migliore possibile che mi sarà dato. –
I saluti a tutti tutti gli amici ed i miei rispetti al Sig:r Prin‹ci›pe d’Ottajano – Addio –
Deux Siciles
à Monsieur François Florimo
à Naples
t.p. paris | 21 nov | 1834 - napoli | 7 dic
347
38.
Paris, 21 November 1834
Vincenzo Bellini to Francesco Florimo. Letter.
Aut. I-Nc, Rari 4.3.6 (42-58). One bifolio, eight sides plus address and partially preserved seal in red wax on the verso; one bifolio, eight sides for the post-scriptum.
Ed. Florimo 1882, pp. 463-465, 475-476; Cambi 1943, pp. 476-479; Neri 2005, pp. 348-350.
Paris 21 November 34
My dear Florimo - Yesterday I finally received the official commissions, along with the warmest possible letter from Principe d'Ottajano and Sig. Santorelli. - You'll certainly understand how I want to do whatever it takes to make these gentlemen happy, and particularly Sig. Principe, so I feel I should accept the contract; but as you saw in my letter dated the 18th of this month, I'm not sure I'll be able to come in January for two important reasons. First, there's my situation with the French Opéra (to whom I've given my word of honor although I've not yet signed anything); but the far more troublesome issue regards the period in which I puritani opens here. If it were to be postponed, what would I do? I couldn't attempt to force anything without putting my opera at risk; and if only one of the four singers I have should fall ill, what then would we all do? I emphasize this point because I want you to return to Principe d'Ottajano and convey my regret for this change of plan, which actually has the goal of ensuring that my opera will open there just before M.me Malibran's availability comes to an end. - I hope he'll have no problem granting me the option to be present to supervise the first new opera and the second one in Naples, without however abandoning the hope that I can still come in January if circumstances allow. Tell him again that I ask this change as a personal favor, not daring to make any further objection to the contract they've sent me, but that the pressing circumstances in which I now find myself, both with these people at the French Opéra and with the epoch of the opera's premiere, force me to foresee what would be an extremely serious setback for both me and the Society, which is that I'd arrive too late to be of any use in Naples. Therefore I'll begin tomorrow to make all of the necessary adjustments to the opera, transposing Tamburini's part for Pedrazzi and ordering a cavatina from Pepoli for Malibran — in short, I'll arrange my schedule to finish everything so that even if I can't come I can still consign the unbound score without glue or thread (so that it need not be purged) no later than 1 January to the person indicated by Principe d'Ottajano. I'll also send him the set designs, as well as those for the costumes if I can. Any eventual changes I make during the rehearsals here I'll send you as a letter rather than risk their belated arrival by steamship from Marseilles, writing whatever new phrase or piece I've composed in small notation on this kind of lightweight, pre-lined paper. - Finally, use your power of persuasion with Sig. Principe so that he understands this is a matter of grave necessity and not mere caprice, assuring him of my gratitude for his enormous courtesy. - I'll be sending you some potential libretti, which is to say dramas, with Versace for Principe d'Ottajano to read — but in secret, because I don't want other composers to get to them before I have a chance. - I'm also including a beautiful English scarf cravat which I hope Versace will bring you to keep as a token of my best wishes for 1835, when I'm certain we'll be able to embrace one another again — the very thought of which makes me eager for the arrival of what I hope will be a truly happy new year for us. - Farewell my dear friend - Do find a diplomatic way to persuade these Gentlemen that in my current position I have no other recourse. Let me know post haste and don't waste a single day. - My fond regards. Farewell
Your
Bellini
P.S. = I've just returned from the theatre, where I learned that Gabussi's opera will finally open on Tuesday this coming 25th, after which they'll have to prepare Semiramide and Anna Bolena, both for at least two weeks each. Consequently my rehearsals won't begin before 10 or 15 December, barring any eventual delays for illness, so you can see whether or not I was wrong to fear I wouldn't be able to come to Naples in time to adapt and mount the opera. - I'm certain Principe d'Ottajano will understand how unhappy I am about this new setback, but that it has to be blamed on the circumstances in which I now find myself. - Offer my most sincere apologies and make sure everyone finds my solution acceptable. - Be advised that I will sign the contract they've sent me because it corresponds to what I proposed in my letter of 14 October to Principe d'Ottajano.
P.S.
I hope to come to Naples if not in January, then in June or July of next year to rehearse and direct my first new opera if the Society wants it for that period. - As I mentioned earlier, Versace will bring you les pieces to review etc. Gustave III is interesting and sensational. It's a historical subject, and I believe it would be acceptable to the censors provided Gustave is not assassinated (if they so desire), but the dramatic situations are beautiful, absolutely beautiful and new. - Then there's also Un Duel sous Richelieu, which is dramatic and highly effective. I'd like to use them both, so think how best to win over even the ministry of the Police, who really aren't that peremptory in the end. - You can imagine how anxious I am to have your answers. - Go see Principe d'Ottajano and tell him I received the contract yesterday morning, and that I thank him very very much for his extremely kind letter, which I'll answer when I've received the response to mine of this past 18th. Tell him I intend to dedicate just as much effort to the two new operas as in the revisions to this opera I've written for Paris, and that if inspiration does not fail me I'll be able to demontrate just how much my heart has been touched by the noble manner with which he has managed this affair, one that Galeota and Lanari and others had left unresolved for more than a year. Tell him also that, circumstances permitting, I hope to come and supervise the production of both operas I will write for him. - Finally, tell him that hencefoth my devotion to him is forever steadfast and that I but eagerly await his slightest command to prove it to him. - Let Cottrau know that I received his letter and found everything in order. - Give him my everlasting thanks for what he has done to bring about a successful conclusion to that contract. - Farewell my dear Florimo. - I see how I'd correctly guessed that you want me to give Tamburini's part to Pedrazzi — but think about it, if the new young bass is fairly decent on stage and sings well, it's always better to have a bass in that part, mainly for the first-act finale. I'll be waiting to hear what you have to say after his debut.
As soon as the libretto is finished, which I imagine will take more than a few days, I'll send it along to you, but there's no reason for anyone to worry. The plot has nothing to do with religion, nor illicit romance, nor politics. If the title Puritani seems worrisome, they can call it Elvira or Le teste rotonde ed i Cavalieri [The Roundheads and the Cavaliers], although this last one is rather too long. We chose the first one because it's based on Walter Scott's famous novel about the Puritans. - Farewell then - It's good to know from you that Naples is pleased I'll be writing for them: such a sentiment only encourages me all the more to compose the best music I possibly can. -
Greetings to all of our friends, and my respects to Sig. Principe d'Ottajano. - Farewell -
Deux Siciles
à Monsieur François Florimo
à Naples
postmark paris | 21 nov | 1834 - napoli | 7 dic