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Published online by Cambridge University Press: 16 January 2025
1 For relevant publications by Izzo related to Rossini and Donizetti see Izzo, Francesco, Laughter Between Two Revolutions: Opera Buffa in Italy, 1831–1848 (Rochester: University of Rochester Press, 2013)CrossRefGoogle Scholar; ‘Ampollose e sgangherate poesie: Componimenti encomiastici per Rossini, 1829–1864’, in Alle più care immagini: Atti delle due giornate di studi rossiniani in memoria di Arrigo Quattrocchi, edited by Daniela Macchione (Milan: Il Saggiatore (Tascabili), 2016), 227–42; ‘The Cambridge Companion to Rossini’, Nineteenth-Century Music Review, 5/1 (2008), 91–9; ‘Donizetti's Don Pasquale and the Conventions of Mid-Nineteenth-Century Opera Buffa’’, Studi musicali 33/2 (2004), 387–431.
2 Caswell, Austin, ‘Mme Cinti-Damoreau and the Embellishment of Italian opera in Paris: 1820–1845’, Journal of American Musicological Society 28/3 (1975), 462CrossRefGoogle Scholar.
3 Pitou, Spire, The Paris Opéra: an Encyclopedia of Operas, Ballets, Composers, and Performers, vol. 3, pt 1 (Westport: Greenwood Press, 1990), 382Google Scholar.
4 Harris-Warrick, Rebecca, ‘Lucia Goes to Paris: A Tale of Three Theaters’, in Music, Theater, and Cultural Transfer: Paris, 1830–1914, ed. Everist, Mark (Chicago: University of Chicago Press, 2009), 198Google Scholar.
5 Laura Servidei, ‘Teatro dell'Opera di Roma 2023–24 Review: La Sonnambula’, Opera Wire, 23 April 2024, https://operawire.com/teatro-dellopera-di-roma-2023-24-review-la-sonnambula/ (accessed 8 August 2024).
6 Osborne, Charles, The Bel Canto Operas of Rossini, Donizetti, Bellini (Portland, OR: Amadeus Press, 1994), 123Google Scholar; Freeman, John W., The Metropolitan Opera: Stories of the Great Operas, vol. 2 (New York: Norton, 1997), xxGoogle Scholar.
7 Osborne, The Bel Canto Operas of Rossini, 274.
8 Mongrédien, Jean, French Music from the Enlightenment to Romanticism: 1789–1830, trans. Frémaux, Sylvain (Portland: Amadeus Press, 1996), 84–6Google Scholar.
9 Stendhal, La vie de Rossini. Project Gutenberg, 2010, www.gutenberg.org/cache/epub/30977/pg30977-images.html (accessed 24 July 2024); translated by the author.
10 Philip Gossett, ‘Compositional Methods’, in The Cambridge Companion to Rossini, ed. Emanuele Senici (Cambridge: Cambridge University Press, 2004), 81.
11 James H. Johnson, Listening in Paris (Oakland: University of California Press, 1995), 251.
12 William Ashbrook, Donizetti and His Operas (Cambridge: Cambridge University Press, 1982), 137.
13 Ashbrook, Donizetti and His Operas, 144.
14 Johnson, Listening in Paris, 252.
15 Osborne, The Bel Canto Operas of Rossini, 124; Herbert Weinstock, Rossini: A Biography (Toronto: Random House, 1968), 151.
16 Osborne, The Bel Canto Operas of Rossini, 337.
17 A full orchestral score of Acts 2 and 3, digitized by the Biblioteca Fondazione Rossini Pesaro, is accessible through The International Music Score Library Project (IMSLP)/Petrucci Music Library at https://imslp.org/wiki/Main_Page (accessed 12 October 2024).
18 Osborne, The Bel Canto Operas of Rossini, 129.
19 The theatre archive for international performances of Le comte Ory can be found at www.operabase.com/works/le-comte-ory-2505/en (accessed 12 August 2024). Operabase is an online database that presents the most comprehensive global listing of operatic productions since 1996.
20 Osborne, Bel Canto Operas of Rossini, 129.
21 Mongrédien, French Music, 87.
22 Weinstock, Rossini: A Biography, 165.
23 Benjamin Walton, ‘Looking for the Revolution in Rossini's Guillaume Tell’, Cambridge Opera Journal 15/2 (2003), 130; Johnson, Listening in Paris, 254.
24 Osborne, Bel Canto Operas of Rossini, 133.
25 Lisette Oropesa Interview, https://youtu.be/voACwJQUA3I, 5:07–5:31 (accessed 8 August 2024).
26 Ashbrook, Donizetti and His Operas, 149–50; see also the theatrical archive at www.operabase.com/works/les-martyrs-4118/en (accessed 24 July 2024).
27 In voice science, this is more accurately described as a thyroarytenoid-dominant mix. This laryngeal coordination allows for a thickening of the vocal folds, which can be more difficult to transition back into the cricothyroid-dominant mix typically used in operatic singing style. Oropesa navigates this coordination with ease. For an open access, interactive resource to learn more about laryngeal function and anatomy registration, see www.voicescienceworks.org/inside-the-larynx.html (accessed 12 October 2024).
28 Osborne, The Bel Canto Operas of Rossini, 273.
29 Ashbrook, Donizetti and His Operas, 436.
30 Ashbrook, Donizetti and His Operas, 437.
31 This phoneme symbol, indicating a pure single sound, is from the International Phonetic Alphabet and specifies the singer's tongue should be high in the back and close to the palette along with rounded lips. Maintaining the integrity of this vowel shape can be difficult to attain in the upper registers. Singers often let the tongue lower for more resonating space above the tongue as well as open the mouth wide enough that the lip-rounding is lost; however, this can unintentionally change the vowel to either [o] or [ɑ]. See www.internationalphoneticassociation.org/ for history about IPA as a tool since 1886 as well as the most recent chart of phonemes from 2020.
32 Lisette Oropesa's website may be seen at https://lisetteoropesa.com/roles/ (accessed 12 August 2024).