Il viaggio a Reims

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Work data
Title: The trip to Reims
Original title: Il viaggio a Reims
Title page of the libretto, Paris 1825

Title page of the libretto, Paris 1825

Shape: Dramma giocoso in one act
Original language: Italian
Music: Gioachino Rossini
Libretto : Giuseppe Luigi Balocchi
Premiere: June 19, 1825
Place of premiere: Théâtre-Italy , Paris
Playing time: approx. 2 ¼ hours
Place and time of the action: a bathing hotel in Plombières-les-Bains , 1824
people

Leading roles

  • Corinna, famous Roman improvisation artist ( soprano )
  • Marchesa Melibea, Polish noblewoman, widow of an Italian general who died in a hostile surprise attack on the wedding day ( old )
  • Contessa di Folleville, young widow, full of grace and temperament, fashionable (soprano)
  • Madama Cortese, spirited, lovable lady from Tyrol, wife of a French traveling merchant and owner of the bathing hotel (soprano)
  • Cavaliere Belfiore, young, cheerful and elegant French officer who courted all women, especially the Contessa di Folleville, and worked as an amateur painter ( tenor )
  • Conte di Libenskof, Russian general of impetuous disposition, in love with the Marchesa Melibea and extremely jealous (tenor)
  • Lord Sidney, English colonel, secretly in love with Corinna ( bass )
  • Don Profondo, man of letters, friend of Corinna, member of various academies and obsessed collector of antiquities (bass)
  • Barone di Trombonok, German major, music fanatic (bass)
  • Don Alvaro, Spanish grande, admiral, in love with the Marchesa Melibea (bass)

Supporting roles

  • Don Prudenzio, doctor of the bathing hotel (bass)
  • Don Luigino, cousin of the Contessa di Folleville (tenor)
  • Delia, young Greek orphan in the care of Corinna, her travel companion ( mezzo-soprano )
  • Maddalena, a native of Caux, Normandy, housekeeper of the bathing hotel (soprano)
  • Modestina, absent-minded girl, shy and slow, maid of the Contessa di Folleville (mezzo-soprano)
  • Zefirino, messenger (tenor)
  • Antonio, steward (bass)
  • Gelsomino, house servant (tenor)
  • Four traveling artists (2 sopranos, 2 tenors - possibly with the singers from Modestina, Delia, Zefirino and Don Luigino)
  • Farmers, gardeners ( choir )

Il viaggio a Reims, ossia L'albergo del giglio d'oro (German: The Journey to Reims or The Hotel to the Golden Lily ) is an opera buffa (original name: "Dramma giocoso") in one act and two pictures by Gioachino Rossini (Music) and Giuseppe Luigi Balocchi (libretto). Rossini composed his last Italian-language opera for the coronation of the French king Charles X. It was premiered on June 19, 1825 at the Théâtre-Italien in Paris. Rossini later used the music for his last comic opera Le comte Ory .

action

A colorful crowd of idiosyncratic guests from all over the world is on their way to the coronation celebrations of Charles X, which are to take place in Reims the following day . The company stays in Plombières in Madama Cortese's bathing hotel "To the golden lily", where the different characters meet, desire, and eye each other, but above all use every conceivable occasion for a musical virtuoso expression of emotion. In the middle of the preparations for the onward journey, the news bursts that there are no more horses to be had in all of Plombières. Everyone is hit by a blow. Madama Cortese, however, has received a letter from her traveling husband, which reports that on the occasion of the king's return a big festival is to be celebrated in Paris, which comforts everyone. A festival is celebrated in which each of the guests performs a musical sample from their homeland. At the end, Karl X is chosen as the theme, on which the improvisation artist Corinna performs an impromptu aria for the lyre. Praise and praise for France and its new king end the evening.

The following table of contents is based on the libretto from 1825.

Only act

Salon with access to different rooms on either side and a table on the right in the background

Scene 1. It is May 28, 1825, the day before Charles X's coronation. On the way to the festivities, an international group has arrived at the “Zurolden Lilie” bathing hotel in Plombières. The housekeeper, Maddalena, encourages the clumsy and careless employees to work (introduction: “Presto, presto… su, coraggio!”).

Scene 2. Don Prudenzio, the hotel doctor, appears with some of the female bathroom workers and the steward Antonio. They shouldn't worry about their usual tasks, but only about the distinguished guests who are about to leave. Don Prudenzio checks whether the dishes have been prepared exactly according to his instructions.

Scene 3. Madama Cortese, the owner of the house from Tyrol, would be only too happy to attend the coronation with her guests (aria: “Di vaghi raggi adorno”). Since that is not possible, she at least wants to make sure that everyone has fond memories of her hotel. Your employees should therefore talk to the guests about their respective interests: with Don Profondo about antiquities, with Cavaliere Belfiore about beautiful women, with the Marchesa Melibea about fantastic ideas, with the Moscow Conte di Libenskof about the Empire, etc.

Scene 4. The first guest to appear is Contessa di Folleville, a young widow, looking for her maid Modestina. She worries that her clothes, tailored according to the latest fashions, have not yet arrived. Her admirer, Cavaliere Belfiore, doesn't seem to be of much help, and Modestina complains of migraines.

Scene 5. Don Luigino, the Contessa's cousin, arrives with the news that the carriage with the clothes has overturned and the boxes have been damaged. The Contessa faints from shock. Don Luigino calls the others to give their comfort.

Scene 6. The Barone di Trombonok (a German major and music lover), Maddalena, Antonio and the doctor Don Prudenzio rush over and try to get the Contessa. Nothing seems to help. Don Prudenzio even fears a heart attack (Accompagnato: "Ahimè! Sta in gran pericolo"). Only when he wants to feel her pulse does the Contessa regain consciousness and can complain about her loss (aria: “Partir, o ciel! Desio”).

Scene 7. The Contessa is deeply relieved when Modestina brings a box with a hat in the latest Parisian fashion that she was able to save from the carriage. All guests except the baron withdraw.

Scene 8. Barone di Trombonok has been elected cashier by the group. He assigns Antonio to the final preparations for his departure and thinks about what is going to happen. He thinks the whole world is a cage full of fools (beginning of the sextet: "Sì, di matti una gran gabbia").

Scene 9. The man of letters Don Profondo and the Spanish admiral Don Alvaro and the widowed Polish Marchesa Melibea join them. Don Profondo gives Barone di Trombonok his travel money. Don Alvaro introduces the two of them to the Marchesa, whom he admires and who wants to join the group.

Scene 10. Conte di Libenskof, a Russian general who is also in love with the Marchesa, interrupts the conversation. He is literally glowing with jealousy, and Don Alvaro takes his rival very seriously too. Everyone is now waiting for the horses to be ready for departure.

Scene 11. Madama Cortese cannot explain the delay. Meanwhile, the dispute between Conte di Libenskof and Don Alvaro escalates. A duel seems inevitable (Andante: “Non pavento alcun periglio”). Fortunately, the situation calms down when singing with harp accompaniment can be heard from the next room. It is the Roman improvisation artist Corinna. Everyone listens to her song about joy and love (Andantino: “Arpa gentil, che fida”).

In the case of a division into three acts, the second act could begin at this point.

Scene 12. Gradually Madama Cortese worries why the traveling car still hasn't arrived. Her messenger Zefirino has not returned either. The English Colonel Lord Sidney has fallen in love with Corinna, but doesn't know how to reveal his feelings to her - although Madama Cortese has long since noticed that Corinna is reciprocating his love. Gardeners come in and, on behalf of Lord Sidney, place flowers in front of Corinna's door (scene and aria: "Ah! Perché la conobbi?" - "Invan strappar dal core").

Scene 13. Don Profondo tries to engage Lord Sidney in a conversation about various English antiques. Lord Sidney has no interest in it and brusquely rejects him. Don Profondo doesn't hold it against him, knowing about Lord Sidney's feelings for Corinna. Lord Sidney leaves.

Scene 14. Don Profondo greets Corinna and her companion Delia. He hands Corinna a letter with good news about Delia's homeland Greece. She assures Delia that she will take her to Reims and sends her away to pack her things. Corinna then notices Lord Sidney's arrangement with delight - his daily token of love. She lights one of the flowers.

Scene 15. Cavaliere Belfiore meets Corinna alone and uses this opportunity to try to win her love (Accompagnato: “Sola ritrovo alfin la bella dea” - duet: “Nel suo divin sembiante”). Although Corinna rejects him with clear words, Belfiore believes to have conquered her. Don Profondo watches the scene with a smile from afar.

Scene 16 (15bis). After Belfiore and Corinna have left, two servants bring a table with writing materials. Don Profondo compiles a list of the travelers' valuables and makes fun of the national characteristics of each individual (aria: "Medaglie incomparabili").

Scene 17 (16). Contessa di Folleville wanted to know from Don Profondo whether he had seen Cavaliere Belfiore and whether he was alone. Don Profondo hesitates at first to answer, as he knows about the Contessa's relationship with the Cavaliere and does not want to worry her with his attempt to approach Corinna. When she finds out, she gets angry.

Scene 18 (17). Don Alvaro and Conte di Libenskof join them. You wonder why the journey doesn't start. Barone Trombonok informs them that the messenger has returned with bad news. He calls the other travelers.

Scene 19 (18). After everyone has arrived, the messenger Zefirino tells them that there are no more horses to be found anywhere. So the trip cannot take place. Everyone is horrified (beginning of the Gran pezzo concertato a 14 voci : "Ah! A tal colpo inaspettato").

Scene 20 (19). Madama brings a letter from Paris, which Don Profondo reads aloud: The King is also planning big celebrations in Paris for all those who cannot come to Reims. Contessa di Folleville then invites everyone to her house in Paris. Everyone is excited. They decide to take the public stagecoach there the next day. The money saved will be used for a farewell banquet in the hotel. What is left then should be given to the poor.

Scene 21 (20). Madama Cortese instructs Antonio and the house servant Gelsomino to prepare for a garden banquet. All except Marchesa Melibea, Conte di Libenskof and Barone Trombonok leave.

In the case of a division into three acts, the third act could begin at this point.

Scene 22 (21). Barone Trombonok mediates between Marquise Melibea and Conte di Libenskof.

Scene 23 (22). Conte di Libenskof declares his love to Marquise Melibea and apologizes for his jealousy (scene: “Di che son reo?”). After some hesitation, her anger disappears and she extends him “her hand and her heart” (duet: “D'alma celeste, oh dio!”).

Brightly lit garden with a festive table

Scene 24 (23). Antonio, Gelsomino, and the other servants have finished preparing for the banquet. Gelsomino goes to fetch the guests.

Scene 25 (24). Maddalena was sent by Madama Cortese to inquire about the state of affairs. She can hardly believe that everything is actually already finished. She informs Antonio that Barone Trombonok has invited a traveling troupe of musicians and dancers to the banquet.

Scene 26 (25). The banquet begins with the appearance of the hiking group (finale: "L'allegria è un sommo bene"). The guests sit at the table. Barone Trombonok asks everyone present to offer a toast from their respective homeland in the interests of harmony among the European countries. He himself begins with the melody to Haydn's God keep Franz the Kaiser . Marchesa Melibea will perform a polonaise, Conte di Libenskof a Russian hymn and Don Alvaro a Spanish song. Lord Sidney, who says he is not musical, only knows God Save the King . Then the two French Contessa di Folleville and Cavaliere Belfiore unite to a common French song. Finally, Madama Cortese offers a tune from Tyrol that Don Profondo joins. Barone di Trombonok asks Corrina to make the final contribution. In order to determine the theme of their improvisation, those present make various proposals, some of which come from the history of France, such as Joan of Arc or the Battle of Tolbiac . Finally, the French King Karl X. Corinna is chosen by lot, improvised by the lyre, accompanied by a hymn of praise to France and the new king, to which everyone else joins in.

layout

Instrumentation

The orchestral line-up for the opera includes the following instruments:

  • Woodwinds: three flutes (including “flauto obbligato” and piccolo), two oboes, two clarinets, two bassoons
  • Brass: four horns, two trumpets, three trombones, serpent
  • Timpani, banda turca (bass drum, cymbals, triangle)
  • harp
  • Strings
  • Basso continuo

Characters

The opera has ten main roles. In addition to the improvisation artist Corinna, these are:

  • Madama Cortese: first "prima donna soprano"
  • Contessa di Folleville: second "prima donna soprano"
  • Marchesa Melibea: "prima donna contralto"
  • Cavaliere Belfiore: first "primo tenore"
  • Conte di Libenskof: second "primo tenore"
  • Don Profondo: "primo buffo cantante e basso"
  • Lord Sidney: "primo basso cantante"
  • Don Alvaro: "secondo basso cantante"
  • Barone di Trombonok: "primo basso comico"

Music numbers

The opera contains the following musical numbers:

Although the opera consists of only one large act, it is occasionally divided into three acts.

First picture

First act of the three-act version

  • No. 1. Introduction (Maddalena and choir): “Presto, presto… su, coraggio!” (Scene 1)
    • Aria (Madama Cortese): "Di vaghi raggi adorno" (scene 3)
  • No. 2. Accompagnato recitative and aria (Contessa di Folleville): “Ahimè! sta in gran pericolo "-" Il mio male capir voi non potete "(scene 6)
  • No. 3. Sextet (Barone di Trombonok, Antonio, Don Profondo, Don Alvaro, Marchesa Melibea, Conte di Libenskof): "Sì, di matti una gran gabbia" (scene 8)
    • Andante A flat major / A flat minor (Conte di Libenskof, Don Alvaro): "Non pavento alcun periglio" (scene 11)
    • Andantino in F major (Corinna): "Arpa gentil, che fida" (scene 11)

Second act of the three-act version

  • No. 4. Scene and aria (Lord Sidney and choir): “Ah! perché la conobbi? "-" Invan strappar dal core "(scene 12)
  • No. 5. Accompagnato recitative and duet (Cavaliere Belfiore, Corinna): “Sola ritrovo alfin la bella dea” - “Nel suo divin sembiante” (scene 15)
  • No. 6. Aria (Don Profondo): "Medaglie incomparabili" (scene 16)
  • No. 7. Gran pezzo concertato a 14 voci: “Ah! A tal colpo inaspettato "(scene 19)

Third act of the three-act version

  • No. 8. Scene and duet (Conte di Libenskof, Marchesa Melibea): "Di che son reo?" - "D'alma celeste, oh dio!" (Scene 23)

Second picture

  • No. 9. Finale (scene 26)
    • Ritornello
    • Choir: "L'allegria è un sommo bene"
    • German anthem: "Or che regna fra le gente" (Barone di Trombonok)
    • Polacca: "Ai prodi guerrieri" (Marchesa Melibea)
    • Russian anthem: "Onore, gloria ed alto omaggio" (Conte di Libenskof)
    • Spanish song: "Omaggio all'augusto duce" (Don Alvaro)
    • English song: "Del grand'Enrico" (Lord Sidney)
    • French song: "Madre del nuovo Enrico" (Cavaliere Belfiore, Contessa di Folleville)
    • Tirolese: "Più vivace e più fecondo" (Madama Cortese, Don Profondo)
    • Improvised verse song: "All'ombra amena" (Corinna)
    • Choir: "Viva il diletto augusto regnator"

music

The Rossini biographer Richard Osborne described Il viaggio a Reims as "one of the craziest and most exhilarating pieces of entertainment that ever flowed from the pen of an opera composer." It consists of nine song numbers that are connected by secco recitatives. Rossini made full use of the abilities of his large ensemble and wrote highly virtuoso arias and ensembles for the virtuoso singers. Various types of arias from Rossini's comic operas will be heard.

The opera does not have its own overture. In Rossini's estate, a work entitled Gran Sinfonia scritta per l'Opera Reale, nel Melodramma Un Voyage à Reims has survived, but it is not by Rossini's own hand. This is a potpourri written later that is more connected to Le siège de Corinthe .

Richard Osborne considered sextet no. 3 to be one of “Rossini's best late operatic ideas”. It begins with a majestic first part, followed by an Andante in A flat major / A flat minor (“Non pavento alcun periglio”).

It follows as No. 4 a scene and aria with an obbligato flute in which Lord Sidney praises Corinna, whom he adores , in the style of the opera seria .

The second aria is dedicated to Don Profondo. In No. 6 he makes fun of the national characters of the guests. It is a “verse song in a descending key spiral over minor or major thirds”. At the same time it corresponds to an "aria di catalogo" of the old form of the opera buffa .

At the end of the first picture, a high point is a “Gran pezzo concertato a 14 voci” (No. 7), a piece for 14 voices that begins with a long a cappella introduction.

The finale (No. 9) draws its charm from the different origins of the characters, all of whom start a short song; In addition to a Tyrolienne , Russian and Spanish songs, Haydn's hymn Gott get Franz, the Kaiser (as a hymn to harmony) and God Save The King are quoted here.

Work history

The specific reason for the composition of the opera was the coronation of the French king Charles X in the cathedral of Reims in June 1825. Rossini was artistic director of the Théâtre-Italien since the end of 1824 . Therefore, a corresponding work was expected from him, which should serve as a serious offer alongside the many other events that took place from the end of May to mid-June. For his opera Rossini used a thematically appropriate libretto by Luigi Balocchi, the stage manager of the Théâtre-Italien. It was not a typical action opera, but rather a scenic cantata. Rossini did not accept an additional fee for this, but received a porcelain service from the king as a token of gratitude.

Il viaggio a Reims is the first opera Rossini wrote for a French audience. He knew he would face difficulties and adversaries in Paris, so he proceeded cautiously. For this reason he initially used a libretto in Italian. In addition to a tribute to the new king, the opera had two other functions. On the one hand, it served as an entertaining showpiece for the stars of the Théâtre-Italy, among whom Giuditta Pasta , Laure Cinti-Damoreau , Domenico Donzelli , Felice Pellegrini and Nicholas-Prosper Levasseur should be mentioned. There are a total of ten main roles: three sopranos, an alto, two tenors and four baritones and basses. The orchestra was also reinforced by soloists from the opera. There was also a ballet with forty dancers. On the other hand, the opera is a partly satirical examination of the novel Corinne ou l'Italie (1807) by Madame de Staël , in which its "romantic-decadent, pseudo-heroic elements" are targeted. The figure of Corinna as well as some other personal caricatures such as Lord Sidney (Oswald Lord Nevil), Chevalier Belfiores (Graf d'Erfeuil) and Don Profondo (Prince Castel-Forte) come from this.

The premiere took place on June 19, 1825 as part of a royal gala as a private event in the presence of the king in the Salle Louvois des Théâtre-Italien. Giuditta Pasta (Corinna), Adelaide Schiasetti (Marchesa Melibea), Laure Cinti-Damoreau (Contessa di Folleville), Maria Ester Mombelli (Madama Cortese), Domenico Donzelli (Cavaliere Belfiore), Giulio Marco Bordogni (Conte di Libenskof), Carlo Zucchelli (Lord Sydney), Felice Pellegrini (Don Profondo), Francesco (?) Graziani (Barone di Trombonok), Nicholas-Prosper Levasseur (Don Alvaro), Luigi Profeti (Don Prudenzio), Pierre Scudo (Don Luigino), Maria Amigo ( Delia), Caterina (?) Rossi (Maddalena), sig. Dotty (Modestina), Alessandro (?) Giovanola (Zefirino), Ferdinando (?) Auletta (Antonio) and sig. Trevaux (Gelsomino). Castil-Blaze, a critic who was quite friendly to Rossini, then wrote in the Journal des débats: “One must not judge Rossini by this first work; it's a casual piece that was written in a few days. The text has no plot and is uninteresting. We are waiting for his French opera […] Il Viaggio a Reims is an opera in one act that lasts three hours, and the lack of plot makes it appear even longer than it actually is. ”Another critic only praised the 14th -party piece and said that "the rest was just noise, crescendos and the other forms of climax that are now often needed and abused ad nauseam". The king was bored too. However, individual pieces in particular were well received by the audience. This included a ballet with variations for two clarinets, the end of a hunting scene and the grand finale with its potpourri of national anthems and songs from European countries.

Overall, the opera was viewed as a success. All three performances were sold out and were enthusiastically celebrated. But then Rossini withdrew the piece - presumably because he viewed it as purely casual work and wanted to use the music for other purposes. But he still allowed a benefit performance in September for the benefit of the victims of a fire in east-central France. Three years later he used a large part of the music in Le comte Ory .

In 1848 Jean-Henri Dupin created an unauthorized two-act “opera comica” from the opera with the title Andremo a Parigi? (German: Are we going to Paris? ) It was no longer a question of a visit to a royal coronation, but rather some inn-keepers decided to watch the street fights of the February Revolution in Paris in 1848 . This work was performed a few times in the Théâtre-Italien from October 26, 1848. Another unauthorized adaptation appeared in Vienna in 1854 under the title Il viaggio a Vienna on the occasion of the wedding of Emperor Franz Joseph I with Elisabeth .

Subsequently, the work was thought to be lost for a long time. Parts of the manuscript were bequeathed to his doctor Vio Bonato by Rossini's widow Olympe Pélissier. Then they ended up in the Conservatorio di Santa Cecilia in Rome, but were not correctly cataloged there. They weren't identified until the mid-1970s. With the help of the music from the aforementioned arrangements from Paris and Vienna, Philip Gossett was able to reconstruct the opera. A critical edition by Janet L. Johnson was finally published by the Fondazione Rossini Pesaro. The work was performed again for the first time at the Rossini Opera Festival Pesaro in 1984 under the baton of Claudio Abbado in a production by Luca Ronconi , which was transferred to La Scala in Milan a year later and to Vienna in 1988. The German premiere took place on June 20, 1992 in Saarbrücken. In time for the first performance at the Royal Opera House Covent Garden in London on July 4, 1992, a previously missing choir (“L'allegria è un sommo bene” at the beginning of scene 25) was rediscovered. The work then became known very quickly and secured a place in the international repertoire. The opera was also performed at the coronation celebrations of Prince Albert II of Monaco in 2007.

expenditure

  • Janet L. Johnson (Ed.): Il Viaggio a Reims, Ossia L'Albergo del Giglio D'Oro (Edizione critica delle opere di Gioachino Rossini, Sezione I: Opere teatrali, Vol. 35. Fondazione Rossini, Pesaro 1999, ISBN 0 -226-72860-9 , distributed by Ricordi Musikverlag, no. RICMI02934 [score])

Recordings

literature

  • Janet Johnson: A lost Rossini Opera recovered: Il viaggio a Reims. In: Bollettino del Centro rossiniano di studi. 1983, pp. 55 ff. And 110 ff.

Web links

Commons : Il viaggio a Reims  - Collection of images, videos and audio files

Remarks

  1. ↑ In the printed libretto from 1825, scene 16 is incorrectly referred to as scene 15. The following scene numbers are therefore shifted forward by one.

Individual evidence

  1. ^ A b c d e f g Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0 .
  2. ↑ a b c d Il viaggio a Reims, ossia L'albergo del Giglio d'oro. Notes on the Critical Edition by Janet L. Johnson , accessed April 12, 2016.
  3. ↑ a b c d e f Sabine Henze-Döhring: Il viaggio a Reims. In: Piper's Encyclopedia of Musical Theater. Vol. 5. Works. Piccinni - Spontini. Piper, Munich and Zurich 1994, ISBN 3-492-02415-7 .
  4. ↑ a b c d e f g h i j k l Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9 .
  5. ^ Il viaggio a Reims. Music numbers on librettidopera.it , accessed April 12, 2016.
  6. ↑ a b c d e Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
  7. ↑ a b c d e f Il viaggio a Reims. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , p. 785 f.
  8. ^ Richard Osborne:  Viaggio a Reims, Il. In: Grove Music Online (English; subscription required).
  9. ^ Wilhelm Keitel , Dominik Neuner : Gioachino Rossini. Albrecht Knaus, Munich 1992, ISBN 3-8135-0364-X .
  10. ^ Record of the performance on June 19, 1825 in the Théâtre-Italien in the Corago information system of the University of Bologna .
  11. ^ Il viaggio a Reims ossia L'albergo del giglio d'oro. In: Reclam's Opernlexikon. Philipp Reclam jun., 2001. Digital Library, Volume 52, p. 2659.
  12. ↑ Albert II is Monaco's new regent. Report from November 16, 2005 on vienna.at , accessed on April 14, 2016.
  13. ↑ a b c d e f g h i j k l m n Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  14. ↑ Recording by Stephen Lord (1996) in the discography for Il viaggio a Reims at Operadis.
  15. ↑ Inclusion by George Manahan (2005) in the discography for Il viaggio a Reims at Operadis.
  16. ↑ Inclusion by Ottavio Dantone (2009) in the discography for Il viaggio a Reims at Operadis.
  17. ^ Entry by Kent Nagano (2009) in the discography for Il viaggio a Reims at Operadis.
  18. ↑ Product information on CD Naxos 8.660382-84 , accessed on June 23, 2016.