I gioielli della Madonna
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| Title: | The Madonna's jewelry |
| Original title: | I gioielli della Madonna |
Title page of the piano reduction from 1912 |
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| Shape: | Opera in three acts |
| Original language: | Italian (original language), German (world premiere) |
| Music: | Ermanno Wolf-Ferrari |
| Libretto : | Enrico Golisciani , Carlo Zangarini , Ermanno Wolf-Ferrari, Hans Liebstöckl |
| Premiere: | 1) December 23, 1911 2) December 25, 1933 |
| Place of premiere: | 1) Berlin Elector's Opera 2) Hanover Opera House |
| Playing time: | approx. 2 ¼ hours |
| Place and time of the action: | Naples, around 1911 |
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I gioielli della Madonna (German title: Der Schmuck der Madonna ) is an opera in three acts "from the Neapolitan folk life" by Ermanno Wolf-Ferrari (music) with a libretto by Enrico Golisciani and Carlo Zangarini based on a scenario by the composer. The premiere of the first version took place on December 23, 1911 in the Kurfürstenoper Berlin in a German translation by Hans Liebstöckl , the second version on December 25, 1933 in the Hanover Opera House .
action
First act. At a happy folk festival in honor of the Madonna, her jeweled statue is carried past. The blacksmith Gennaro loves his wild adoptive sister Maliella. However, she is fascinated by the Camorristi Rafaele, who promises to steal the jewelry of the Madonna and lay it at her feet. Gennaro warns them about his rival's character.
Act two . Maliella is determined to leave home to find her freedom. Gennaro declares his love for her, but can only prevent her moving out by force. Before she scornfully retreats to her room, she calls out to him that she can only love the one who wants to steal her jewels. Gennaro gets burglar tools and sneaks out of the house. Rafaele arrives shortly afterwards. He and Maliella swear their love. She promises to follow him the next day. When Maliella is alone again, Gennaro returns with the stolen jewelry. Maliella is so fascinated by it that she surrenders to Gennaro as if in a trance.
Third act. The Camorristi celebrate a wild orgy in their cave. Desperate Maliella appears with the jewelry and confesses that Gennaro has stolen her innocence. Rafaele disregards them ruthlessly. When Gennaro arrives, Maliella accuses him of theft. Desperate, she drowns herself in the sea. The Camorristi flee from the approaching angry crowd. Gennaro ruefully stabs a knife into his heart.
The following table of contents is essentially a translation from Gustav Kobbé's The Complete Opera Book from 1919. The scene descriptions and the Italian and German quotations come from the piano reduction of the opera.
first act
A piazzetta by the sea in Naples
On the left, next to a little house, the Carmela house with a balcony and a door to which a few steps lead. Further back, but more towards the stage, is the workshop of the blacksmith Gennaro. An anvil in front of the entrance. In the foreground on the right is the dilapidated house of the scribe Biaso. More back, next to an archway, the shop of a macaroni, cheese and fruit dealer. Then the osteria with tables in front of the door. […] It is Madonna's Day, a wonderfully bright afternoon. The piazzetta is filled with a noisy crowd that is happy about the beautiful day and celebrates it with that festive joy that is half carnival-like, half religious and characteristic of southern Italy [...]
A large part of the crowd follows the musicians who have previously crossed the square. Gennaro puts the finishing touches on a self-made candelabra in his forge. He lays it on the anvil like an altar, kneels down in front of it and sings a prayer to the Madonna ("Madonna, con sospiri").
Maliella rushes out of the house, followed by Gennaro's mother, Carmela. Maliella is a restless and headstrong girl, obsessed with the desire to escape the confines of the household and throw herself into city life. She is wild - a possible Carmen who has only lacked the opportunity so far. With a bravado attitude and despite Gennaro's protests, she proclaims her rebellious thoughts in the “Canzone di Cannetella” (“Diceva Cannetella vedendosi inserata”).
A crowd gathers to listen to Maliella. The choir of the approaching Camorristi can be heard from the direction of the sea. Maliella and the crowd dance wildly. When Carmela returns with a bucket of water on her head, the exuberant girl chases along the quay, screaming and laughing.
Carmela tells her son the short story of Maliellas: When Gennaro suffered from a serious illness as a child, Carmela swore to the Madonna to look for and adopt a sick girl conceived in sin: "I found her on the street when you were recovering." In a moving duet for mother and son, Carmela urges him to go and pray to the Madonna, and Gennaro asks for her blessing before leaving to do so. Carmela then goes into the house.
Maliella rushes in, followed by the Camorristi with their leader Rafaele in the car. He's a handsome, garishly dressed bully. When he tries to grab her and kiss her, she pulls out a dagger-like hatpin. Laughing like a duelist, he throws off his coat, grabs it and holds it tight. She pricks his hand, which is starting to bleed, then tosses the needle away. At first he's upset, then he laughs contemptuously and passionately kisses the wound. While the other Camorristi buy flowers from a passing flower girl and make a carpet out of them, Rafaele picks up the hat pin, kneels down in front of Maliella and hands them over to her. Maliella slowly puts it in her hair. Then Rafaele sticks a flower that she had previously rejected on her breast, which she now allows. A few moments later she pulls them out and throws them away. Rafaele picks up the flower and carefully sticks it into his buttonhole. A little later he goes into the tavern, looks at her and lifts his full glass in her direction. At the same moment she turns to him due to some inexplicable influence.
Bells, gunshots and hooting herald the approach of the Madonna procession. As hymns to the Virgin are sung, Rafaele whispers passionate words in Maliella's ears. The jeweled image of the Virgin is carried by. Rafaele assures Maliella that out of love for her he will steal the jewels of the Madonna and adorn her with them. The superstitious girl is appalled.
Gennaro, who is returning at this moment, warns Maliella about Rafaele: he is "the saddest fellow in the whole district". He orders her back into the house. Rafaele's sneering laugh makes him angry. Apparently the men are about to fight. Right now the procession is returning and everyone has to kneel. Rafaele's eyes, however, follow Maliella, who walks very consciously towards the house, her eyes constantly turned in his direction. He tosses her the flower that she had previously spurned. She picks it up, puts it between her lips and runs into the house.
Second act
The garden in the Carmelas house; in the left wall a wooden staircase; below a barred gate; late evening
Carmela enters the house after clearing the table. Gennaro comes to speak to Maliella. She replies that she wants her freedom and retreats down the stairs to her room. There she packs her things and hums the popular song “E ndringhete, ndranghete” (“I want to go far”).
Maliella comes down with her bundle to leave the house. Gennaro pleadingly reminds her of her happy childhood and confesses his love to her. But they laughed at him only from - he was her brother, and they could only one love, "everything would do to please me alone." “Lost in memory, dreaming, her eyes half closed,” she remembers Rafaele's offer to steal the jewels of the Madonna for her. Gennaro is initially shocked by the sacrilege. Then he gradually seems to come to a desperate decision. He angrily blocks Maliella's path, locks the gate and stares at her with wide eyes. Laughing scornfully, she climbs the stairs again.
With her laughter still in his ears, Gennaro can no longer control himself. He goes to the cupboard under the steps, takes out a box, opens it by the light of the table lamp and takes out some lock picks and files, which he wraps in a piece of leather and keeps on his chest. After looking at Maliella's window, he crosses himself and sneaks out.
The scene is now brightly lit by the moon, and the sea shines in the distance. Male voices sounding from the seashore with Neapolitan folk tunes. Shortly afterwards, Rafaele appears at the gate with his friends Camorristi. Musically accompanied by her mandolins and guitars, he serenades Maliella in a lively waltz-like serenade. The girl comes out. She wears a white petticoat with a light red scarf. The two sing a passionate love duet: Maliella: "T'amo, sì, t'amo" ("I love you unspeakably") - Rafaele: "Stringimi forte" ("press me tight") - both: "Oh strette ardenti! ”(“ Glowing! ”). She promises to come to him the following day. Then Rafaele's companions give a sign that someone is approaching.
Alone again, Maliella sees Gennaro's open toolbox in the moonlight and awakens a foreboding in her. Then Gennaro appears, like a nightwalker, with a bundle of red church damask. He is too focused on what he is doing to question her presence in the garden - at this late hour and so lightly dressed. He puts the bundle at Maliella's feet and opens it. Inside are the Madonna's jewelry.
Maliella is deeply shocked. Gennaro describes the theft with "a kind of mystical passion, with heroic madness". He assures her that the Madonna knows his pious mind and has forgiven him the serious outrage. Maliella is completely captured by the sheen of the jewelry. “In an almost devout attitude” she kisses a necklace and “closes her eyes full of lust”. Then she puts on the jewelry. She now sees in Gennaro the image of Rafaeles, the man who promised her the jewels and aroused her passion, and no longer offers any resistance. When Gennaro grabs her under a blooming orange tree, she lets himself be embraced. "Their lips find each other and they both fall to the ground on the grass carpet under the old tree."
Third act
The cave of the Camorristi in the Naples area
A wide and bare room with a ceiling made of beams […] On the left wall […] a rough fresco depicting “the Madonna of Monte Vergine”, which the people call “Mamma Schiavona”. In front of the picture a kind of altar [...]
The Camorristi gather. They are men and women, the latter all of a dubious character. You sing and dance - the "Apache", the "Tarantella". The most important women are Stella, Concetta, Serena and Grazia, the dancers. They do not look forward to Maliella's expected arrival with great joy. When Rafaele walks in, they ask him what he admires about her. He compares Maliella with a “hardly blooming rose” - “Non sapete… di maliella… la preziosa qualità?” (“Do you want to know what Maliella has ahead of you?”).
In the midst of an orgy dance, which Rafaele cheers on with a whip while standing on a table, and in which the dancers take off their clothes, Maliella rushes in - pale and with disheveled hair. She calls for help and summons Rafaele to avenge her. After he left, she was “like drunk” from him. Gennaro found her in this state and took her innocence. The women laugh at Rafaele scornfully. Rafaele no longer shows any trace of his enchantment. He is not interested in the fact that they mistook Gennaro for him and only therefore wanted to give themselves to the young blacksmith. For him it is just a picked rose that can be left to wither. He angrily rejects her and throws her to the ground. The jewels of the Madonna fall from her cloak. They are easy to recognize as they are shown in the wall fresco.
Gennaro followed Maliella to the Camorristi's lair. He arrives in a semi-insane state. Maliella laughs hysterically, throws the jewels at his feet and screams that he stole them for her. The crowd, which is as superstitious as it is criminal, backs away from the two intruders. The women fall to their knees. Rafaele curses Maliella. She flees with a desperate cry and drowns herself in the sea. The Camorristi now furiously turn against Gennaro. But now morning has broken. The church bells are ringing, and an angry crowd is on their way to the cave. Rafaele orders the gang to disperse in order not to be accused of theft themselves. Gennaro is left alone. He humbly lays the jewelry on the altar and prays: “Madonna dei dolor! Miserere! ”(“ Madonna, painful! Have mercy! ”). Suddenly rays of the sun fall on the jewelry on the altar. Gennaro sees this as a sign of forgiveness. His thoughts wander to his mother: "Deh non piangere, O mamma mia!" ("Oh, don't cry, O my mother"). He finds a knife between the objects that fell from the table during the dances and stabs it in his heart. His pursuers are too late.
layout
The libretto contains extremely detailed descriptions of the folk scenes, which could only be reproduced in abbreviated form in the table of contents above. In it, the characters of the characters and of the many secondary characters are similar to a psychogram: Gennaro is a religious fanatic with mystical features, Maliella is hysterical and vicious, Rafaele is a seducer who is particularly interested in Maliella's virginity. All of these descriptions are typical of the fin de siècle era, also known as “decadentism” . Particularly expressive scenes are assigned to the blacksmith Gennaro. The duet with his mother Carmela in the first act stands out as "an oasis of profoundly Wolf-Ferrarian lyricism" ("oasis of profoundly Wolf-Ferrarian lyricism").
This opera was often disparaged by the critics. John CG Waterhouse considered them in comparison with Wolf-Ferrari's best comic operas for "disappointingly thin and vulgar" ("disappointingly thin and vulgar"). Only in the duet Gennaro / Carmela and in the orchestral interlude after the first act does the innermost essence of Wolf-Ferrari's personality emerge. Ulrich Schreiber described the work as "in a veristic sense [...] an unpleasant mixture of blood, semen and incense". The verismo expert Alan Mallach found it “veristic almost to the point of parody” (“veristic almost to the point of parody”), but nevertheless “beautifully crafted” like all of Wolf-Ferrari's most mature works and “not without memorable music ”(“ not without some memorable music ”). The opera consists of three roughly equal parts: the self-confident evocation of popular Neapolitan music, Pietro Mascagni's vocal rhetoric and an orchestral treatment following on from Richard Strauss ' operas Salome and Elektra .
The conductor Friedrich Haider , who performed the work in Bratislava in 2015 and then recorded it on CD, pointed out that, on closer inspection , I gioielli della Madonna is much more than a simple verismo work. The psychological aspects of the characters are inspired by the incipient practice of psychoanalysis , which is also evident in the sublime orchestral treatment. The tumultuous genre scene at the beginning is a clever sequence of miniatures, overlapping scenes and events in which about two dozen different genre characters emerge like cameo appearances.
According to Wolf-Ferrari, the “refined” Neapolitan pieces form the “basic musical idea” of his composition. These folkloric melodies are often interrupted by narrative sections. In addition, the opera contains some number-like self-contained pieces of music such as arias and duets that go beyond what is usual in verismo. The composer achieved additional realism through the integration of real sounds in the sense of the later musique concrète such as gunshots and church bells, "come da lontano" effects (remote music) and the extensive incidental music. There are sharp dramatic contrasts, for example in the first act between the celebrating crowd and the passing procession.
Wolf-Ferrari uses evolving leitmotifs to tie the musical material and plot together. For the Marian hymn “Beatam me dicent” at the end of the first act, he combined the modified chorale “Nun have thanks and bring honor” by Johann Crüger with a bar of a chanson by Jakob Arcadelt . The first three notes of the chorale form one of the main motifs of the opera. Since they are repeated throughout the work, the Madonna is “musically omnipresent”. The music combines the simplicity of the Neapolitan sages with a largely tonal, more modern tonal language. However, there are also cluster formations, and some harmonies in the third act are already reminiscent of the works of Dmitri Shostakovich .
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : two flutes , two oboes , English horn , two clarinets , bass clarinet , three bassoons , contrabassoon
- Brass : four horns , three trumpets , three trombones , bass tuba
- Timpani , percussion : bass drum , snare drum , triangle , pool , tenor drum, tambourine, fanfare , glockenspiel , little hissing instrument (two contiguous grated covered with rough paper Holzbrettchen)
- a harp or two
- Piano (strings covered with tissue paper), celesta
- xylophone
- at least four guitars , at least six mandolins
- Strings (as large as possible)
- Stage music : piccolo , flute, E-flat clarinet , two horns, cornet , three trumpets, bass trumpet, three trombones, bass tuba, several wooden or cardboard trumpets (carnival trumpets) in different pitches (especially in F sharp, C sharp, C, B and D), Percussion (bass drum, cymbals, beater drum, several drums, Zerre-Zerre (wooden ratchet), Scietta-vajasse (Neapolitan), Putipù (Neapolitan), bells in C, A, G and other tones, thunder and wind machine ), six mandolins , Accordion , harmonium , piano, guitar, organ , viola , cello , double bass
Work history
After several successful comic operas, Ermanno Wolf-Ferrari made a first attempt at a tragic opera based on the genre of verismo with I gioielli della Madonna . Perhaps he was hoping to finally achieve success in his native Italy, too. However, that did not come true. The work achieved greater popularity, particularly in German and English-speaking countries.
The composer himself determined the course of action. His librettist Enrico Golisciani completed a first version of the Italian libretto on October 5, 1907. Wolf-Ferrari began with the setting and completed the sketch of the first act in late 1907. However, since problems arose with the second act, he stopped work and decided to change the plot. In contrast to the original version, Gennaro was no longer supposed to rape and kill Maliella in the third act. Golisciani adapted the libretto accordingly, and Wolf-Ferrari went back to work. Nevertheless, he decided one more time to revise the text, which Carlo Zangarini now also contributed to. Apart from the instrumentation, he completed the composition - as well as that of his opera Il segreto di Susanna , which was written at the same time - in February 1909. Because of new doubts about the libretto and the “forced” looking “highly dramatic tone” of his composition, he put the work aside again in April and asked Golisciani the following year to write suitable texts for the existing music. The Italian libretto was completed on December 15, 1910. The German translation was done by Hans Liebstöckl . In contrast to the original, it is in prose. At the same time, Wolf-Ferrari set about the instrumentation, which he completed on October 20 in Berlin - after the rehearsal phase had started. On October 30, the censors allowed the performance with the proviso that the rape scene at the end of the second and the "orgy-like" dance at the beginning of the third act were costumed and depicted with restraint.
The premiere took place on December 23, 1911 in the newly opened Kurfürstenoper Berlin under the direction of Maximilian Moris and the musical direction of Selmar Meyrowitz . The leading roles were sung by Ida Salden (Maliella), Kurt Frederich (Gennaro), Konrad von Zawilowski (Rafaele) and Paula Weber (Carmela). Supporting roles were played by Otakar Mařák (Biaso), Hermann Wiedemann (Ciccillo), Richard Wissiak (Totonno) and Reimar Poppe (Rocco). The production was a great success. By May 1912 the opera had been performed a total of 70 times.
The original Italian version was first performed in Chicago on January 16, 1912, under the baton of Cleofonte Campanini . Carolina White (Maliella), Amedeo Bassi (Gennaro) and Mario Sammarco (Rafaele) sang. The work was played here over and over again until 1940. There was also a guest performance at the Metropolitan Opera New York in March 1912 . The British premiere took place on May 30, 1912 in Covent Garden , London.
The Paris Opera first showed the work on September 12, 1913 in a French version by René Lara entitled Les joyaux de la Madone. The conductor Carmelo Preite led the orchestra of the Opéra for the first time. The production was by Paul Stuart, the choreography by Yvan Clustine, the sets by Ronsin, Marc-Henri Laverdot (first act), Georges Mouveau (second act) and Rochette (third act) and the costumes by R. Pinchon. The main roles were sung by Andrée Vally (Maliella), Léon Campagnola (Gennaro) and Vanni Marcoux (Raphael). By July 1, 1914, the work was played 17 times in Paris with moderate success. Also in 1913 there were parallel performances in the French and Flemish opera houses of Antwerp.
After the end of the First World War, interest decreased. In 1925 there was a production in New York (conductor: Gennaro Papi, Maliella: Maria Jeritza , Gennaro: Giovanni Martinelli , Rafaele: Giuseppe Danise) and in 1926 in London (conductor: Vincenzo Bellezza, Maliella: Maria Jeritza, Gennaro: Francesco Merli , Rafaele : Giuseppe Noto).
Apparently because of protests from the ecclesiastical milieu, the work received little attention in Italy. There it was only played in Genoa in 1913 and in Rome in 1953 without lasting success. There were other performances in Prague, Vienna, Copenhagen and Stockholm.
Wolf-Ferrari later revised the text of the opera again, removing above all the historical references and stylistic elements and the elements that were perceived as objectionable, including many descriptions of scenes with derogatory descriptions of people that might offend religious feelings. The opera was now playing at the beginning of the 17th century. The Camorra , which officially no longer existed , was replaced by a "movement of the Bravi Party" directed against Spanish rule. The character of Maliella has also been defused. She is no longer raped and does not put on the stolen jewelry. In the end, she and Rafaele strive for atonement. Gennaro is fatally injured by his opponents and dies in his mother's arms. This second version was first performed on December 25, 1933 in the Hanover Opera House in a production by Claus-Dietrich Koch (conductor: Arno Grau, Maliella: Maria Engel, Gennaro: Gustav Wünsche, Rafaele: Karl Giebel , Carmela: Else Schürhoff ). This version was also played in 1937 at the Vienna State Opera in a production by Erich von Wymetal under the direction of Hans Knappertsbusch .
Individual pieces of the opera were edited for piano or other instruments in the year of their premiere. The best known was the intermezzo after the second act, which apart from the ending consists of the music of Rafaele's serenade and was also played separately in the concert hall.
An internationally acclaimed scenic revival took place in May 2015 at the Slovak National Theater in Bratislava under the musical direction of Friedrich Haider in a production by Manfred Schweigkofler (stage: Michele Olcese, costumes: Concetta Nappi, choreography: Jaroslav Moravcik, Maliella: Natalia Ushakova , Gennaro: Kyungho Kim, Rafaele: Daniel Capkovic).
A production by the Freiburg Theater (conductor: Fabrice Bollon , staging: Kirsten Harms , set design: Bernd Damovsky , Maliella: Elena Stikhina , Gennaro: Hector Lopez-Mendoza, Rafaele: Kartal Karagedik ) was named "Rediscovery of the Year" in the critics' survey by Opernwelt magazine “Elected in 2015/2016.
Recordings
- Nov. 01, 1976 - Alberto Erede (conductor), BBC Symphony Orchestra , BBC Singers.
André Turp (Gennaro), Valerie Cockx (Carmela), Pauline Tinsley (Maliella), Peter Glossop (Rafaele), John Winfield (Biaso), Stuart Kale (Ciccillo), Malcolm King (Rocco), Janet Gail (Stella), Anne Pashley (Concetta), Joan Davies (Serena), Henry Howell (Totonno).
Live, in concert from London.
UORC 315 (2 LPs); MRF 138 (3 LPs) / BLV 107.242 (2 CDs). - November 29 and December 2, 2015 - Friedrich Haider (conductor), Slovak Radio Symphony Orchestra, Choir of the Slovak National Theater , Pressburg Singers, Bratislava Boys Choir.
Kyungho Kim (Gennaro), Susanne Bernhard (Carmela), Natalia Ushakova (Maliella), Daniel Čapkovič (Rafaele), Igor Pasek (Biaso), Peter Malý (Ciccillo), František Ďuriač (Rocco), Andrea Vizvári (Stella), Mária Rychlová (Concetta), Katarína Flórová (Serena), Maksym Kutsenko (Totonno).
Live from the great concert hall of the Slovak Radio in Bratislava.
Naxos 8.660386-87 (2 CDs).
literature
- Walter Hirschberg: Guide through Ermanno Wolf-Ferrari's "The Madonna's Jewelry". J. Weinberger, Leipzig 1912.
- Max Chop , Ermanno Wolf-Ferrari : "The Madonna's Jewelery", analyzed historically, scenically and musically (= explanations of masterpieces of musical art. Volume 28). Reclam, Leipzig 1913.
- Ermanno Wolf-Ferrari : On the new version of the "Madonna's Jewelry". In: Ph. Opera. Hanover 1933.
Web links
- I gioielli della Madonna : Sheet music and audio files in the International Music Score Library Project
- Action by I gioielli della Madonna on Opera-Guide landing page due to URL change currently unavailable
Individual evidence
- ↑ a b c d e f g h i j k l Thomas Weitzel: The jewelry of the Madonna. In: Piper's Encyclopedia of Musical Theater . Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , pp. 758-760.
- ^ Gustav Kobbé : The Complete Opera Book. 1919 ( online in Project Gutenberg ).
- ↑ a b c d I Gioielli della Madonna. In: Harenberg opera guide. 4th edition. fd sneaks out. Kurz dMeyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , p. 1069.
- ↑ a b c d Amanda Holden (Ed.): I gioielli della Madonna. In: The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , p. 1241.
- ^ John CG Waterhouse: Gioielli della Madonna, I [The Jewels of the Madonna] ('The Jewels of the Madonna'). In: Grove Music Online (English; subscription required).
- ^ Ulrich Schreiber : Opera guide for advanced learners. The 20th Century I. From Verdi and Wagner to Fascism. Bärenreiter, Kassel 2000, ISBN 3-7618-1436-4 , pp. 662-663.
- ^ A b Alan Mallach: The Autumn of Italian Opera. From Verismo to Modernism, 1890–1915. Northeastern University Press, Boston 2007, ISBN 978-1-55553-683-1 , pp. 291-292.
- ↑ a b c d Friedrich Haider (conductor): Ermanno Wolf-Ferrari (1876-1948): I gioielli della Madonna. In: Supplement to CD Naxos 8.660386-87, pp. 6–8.
- ↑ a b Gerhard Persché: Lost Innocence. Review of the performance in Bratislava 2015. In: Opernwelt , July 2015, p. 34.
- ↑ December 23, 1911: "The Madonna's Jewelry". In: L'Almanacco di Gherardo Casaglia ..
- ↑ Spire Pitou: Les Joyaux de la Madone. In: The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers - Growth and Grandeur, 1815-1914 AN. Greenwood Press: Westport / London 1990 ISBN 0-313-27782-6 , pp. 700-702.
- ↑ Peter Czerny : The jewelry of the Madonna. In: Opera book. Henschelverlag Art and Society, Berlin 1981, pp. 232–234.
- ^ Stephan Mösch : Eclecticism and Elegance. Review of the performance in Freiburg 2016. In: Opernwelt , May 2016, p. 16.
- ↑ Diversity or: What remains of 2015/16. In: Opernwelt Jahrbuch 2016, p. 104.
- ↑ Ermanno Wolf-Ferrari. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 24135.
- ↑ Supplement to CD Naxos 8.660386-87, pp. 6–8.