Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Books
  3. The Sounds of Paris in Verdi's La traviata
  • Cited by 7
Publisher:
Cambridge University Press
Online publication date:
May 2013
Print publication year:
2013
Online ISBN:
9780511920615
DOI:
https://doi.org/10.1017/CBO9780511920615
Subjects:
Music, Opera, Drama, Theatre, Performance Studies, European Theatre
Series:
Cambridge Studies in Opera
Information

Book description

How did Paris and its musical landscape influence Verdi's La traviata? In this book, Emilio Sala re-examines La traviata in the cultural context of the French capital in the mid-nineteenth century. Verdi arrived in Paris in 1847 and stayed for almost two years: there, he began his relationship with Giuseppina Strepponi and assiduously attended performances at the popular theatres, whose plays made frequent use of incidental music to intensify emotion and render certain dramatic moments memorable to the audience. It is in one of these popular theatres that Verdi probably witnessed one of the first performances of Dumas fils' La Dame aux camélias, which became hugely successful in 1852. Making use of primary source material, including unpublished musical works, journal articles and rare documents and images, Sala's close examination of the incidental music of La Dame aux camélias - and its musical context - offers an invaluable interpretation of La traviata's modernity.

Reviews

'An intriguing and well-written work of musical detection, [excellently] translated.'

Source: Classical Music

'Sala’s methodology draws on both ethnomusicology and musicology in his endeavours to consider the ‘contextualization of the text’ as much as the ‘textualization of the context’. In this finely controlled and often intriguing analysis, he undoubtedly succeeds in demonstrating La traviata not just as a product of Verdi’s imagination, but as a subtle refashioning of the sounds of Paris itself in the 1840s and 1850s.'

Susan Rutherford Source: Music and Letters

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

Contents

Contents
References

Bibliography

Primary sources

Archival manuscript materials

Montaubry, Édouard, La Dame aux camélias (1852), oboe part, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (362).
[Nargeot, Julien], La Vie de bohème (1849), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Vma ms. 719 (‘Anonymes’).
Piccini, Alexandre, La Muette de la forêt (1828), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (205).
Pilati, Auguste, Le Chiffonnier de Paris (1847), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (312).
[Pilati, Auguste?; Vaillard, Adolphe?], Le Pasteur ou L’Évangile et le foyer (1849), full score and set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (326).
Robert Macaire (1848), incomplete set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (343).
La signora delle camelie, manuscript promptbook (c. 1865), Genoa, Museo Biblioteca dell’Attore, Fondo Tommaso Salvini, promptbook no. 17.
Varney, Alphonse, Le Chevalier de Maison-Rouge (1847), incomplete set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (279).
Varney, Robert-Auguste, Robert-Auguste Stoepel and Sylvain Mangeant, Monte-Cristo (1848), set of orchestral parts, Paris, Bibliothèque Nationale de France, Département de la Musique, Mat. Th (257).
Violetta, manuscript staging manual for the French version of La traviata (1864), Paris, Bibliothèque historique de la ville de Paris, ART collection, T 3 (I).

Published scores

Alkan, Maxime, Répertoire des cours Cellarius, dances for solo piano (Paris: Chabal, mid 1840s to late 1850s).
Auber, Daniel-François-Esprit, Le Domino noir (1837), full score (Paris: Troupenas, n.d., pl. no. T. 544).
Auber, Daniel-François-Esprit, Manon Lescaut (1856), piano-vocal score (Paris: Boieldieu, [1856], pl. no. 882).
Auber, Daniel-François-Esprit, La Muette de Portici (1828), full score (Paris: Troupenas, n.d., pl. no. T. 240).
Balfe, William, The Maid of Artois (1836), piano-vocal score (London: Cramer, Beale and Company, n.d., pl. no. 1753).
Béranger, Pierre-Jean de, ‘Ma grand’mère’ (c. 1814), in Musique de chansons de Béranger, vocal score, ed. Frédéric Bérat (Paris: Garnier frères, n.d.), p. 6.
Bérat, Frédéric, ‘Mademoiselle Mimi Pinson’, piano-vocal score, in Le Diable à Paris, 2 vols. (Paris: Hetzel, 1845–6), vol. i, pp. 339–42. See also the first separate edn of the piece (Paris: J. Meissonnier et fils, 1846).
Bizet, Georges, Carmen (1875), piano-vocal score based on the critical edn by Fritz Oeser (Kassel: Alkor-Edition, 1964).
Debussy, Claude, Pelléas et Mélisande (1902), full score (Paris: Durand et fils, n.d., pl. no. D. & F. 6577).
Depas, Ernest, and Alphonse Leduc, La Dame aux camélias: Fantaisie de salon pour piano et violon concertant (Paris: A. Leduc, n.d. [1853], pl. no. A.L. 3).
Donizetti, Gaetano, Linda di Chamounix (1842), critical edn by Gabriele Dotto (Milan: Ricordi, 2006).
Fauré, Gabriel, ‘Clair de lune’, op. 46 no. 2 (1887) (Paris: J. Hamelle, n.d., pl. no. J2854H).
Giorza, Paolo, La contessa d’Egmont, reduction for solo piano (Milan: F. Lucca, n.d. [1864], pl. no. 12576).
Giorza, Paolo, Les Lorettes: Polka, in La contessa d’Egmont, piano score (Milan: F. Lucca, n.d. [1864], pl. no. 12576), pp. 39–43.
Giorza, Paolo, Polka del bue grasso (1865), in Madamigella d’Heilly, piano score (Milan: Ricordi, n.d., pl. no. 39406).
Gounod, Charles, Faust, piano-vocal score transcribed by Léo Delibes (1859) (Paris: Choudens, n.d., pl. no. A.C. 17453).
Jaleo de Jerez, ed. Henry Verley (Paris: Cartereau, n.d. [1858], pl. no. C.P. 4).
Leoncavallo, Ruggero, La bohème (1897), piano-vocal score (Milan: Sonzogno, 1897, pl. no. E940S).
Meyerbeer, Giacomo, Les Huguenots (1836), piano-vocal score (Paris: Schlesinger, n.d., pl. no. M.S. 2136).
Meyerbeer, Giacomo, Robert le diable (1831), piano-vocal score (Paris: Schlesinger, n.d., pl. no. 1157).
Montaubry, Édouard, La Dame aux camélias: Ronde chantée par Mr. Réné Luguet au Th. du Vaudeville (Paris: A. Leduc, n.d. [1852], pl. no. A.L. 1064).
Musard, Alfred, Le Camélia, in Jardin d’hiver: Suite de valses (Paris: J. Meissonnier, n.d. [1843], pl. no. J.M. 2568), no. 1.
Perny, Pierre-Claude, Camélia: Polka sur ‘La traviata’ de Verdi, op. 49, in Album per il carnevale 1854 (Milan: Ricordi, n.d., pl. no. 26024).
Perny, Pierre-Claude, Camélia: Polka sur ‘La traviata’ de Verdi (1854) (Paris: Escudier, n.d. [1856], pl. no. L.E. 1544/2).
Petrella, Errico, I promessi sposi (1869), piano-vocal score (Milan: Lucca, n.d., pl. no. 18451).
Puccini, Giacomo, La bohème (1896), piano-vocal score, ed. Mario Parenti (1961) (Milan: Ricordi, n.d., pl. no. 99000).
Rosellen, Henri, Souvenir de bal, in Trois rêveries, op. 31 (Paris: H. Lemoine, n.d. [c. 1840], pl. no. 2447), no. 3.
Rosellen, Henri, Souvenir de bal, in Trois rêveries, op. 31, 4th edn (Paris: H. Lemoine, n.d. [c. 1868], pl. no. 3904), no. 3.
Rosellen, Henri, Souvenir de bal, La Taglioni: Polka (Paris: A. Meissonnier et Heugel, n.d. [1844], pl. no. H. 352; Milan: Ricordi, n.d., pl. no. 29076).
Rosellen, Henri, Souvenir de bal, La traviata, opéra de Verdi: Fantaisie pour le piano, op. 154 (Paris: L. Escudier, n.d. [1856], pl. no. L.E. 1590).
Rouget de Lisle, Joseph, ‘Roland à Roncevaux: Chant de guerre’ (1792), in Musique des fêtes et cérémonies de la révolution française, ed. Constant Pierre (Paris: Imprimerie nationale, 1889), pp. 461–2.
Varney, Alphonse, Le Chevalier de Maison-Rouge: Quadrille exécuté au Théâtre Historique (Paris: Mme Cendrier, [1847], pl. no. Mme C. 509).
Varney, Alphonse, Chœur des Girondins chanté dans le drame ‘Le Chevalier de Maison-Rouge’ (Paris: Mme Cendrier, [1847], pl. no. Mme C. 510 bis).
Verdi, Giuseppe, La battaglia di Legnano (1849), piano-vocal score, ed. Mario Parenti (1961) (Milan: Ricordi, n.d., pl. no. 53710).
Verdi, Giuseppe, Giovanna d’Arco (1849), critical edn by Alberto Rizzuti (University of Chicago Press and Milan: Ricordi, 2008).
Verdi, Giuseppe, Rigoletto (1851), piano-vocal score based on the critical edn by Martin Chusid (University of Chicago Press and Milan: Ricordi, 1985).
Verdi, Giuseppe, Stiffelio (1850), piano-vocal score based on the critical edn by Kathleen K. Hansell (University of Chicago Press and Milan: Ricordi, 2005).
Verdi, Giuseppe, La traviata (1853), critical edn by Fabrizio Della Seta (University of Chicago Press and Milan: Ricordi, 1997).
Verdi, Giuseppe, La traviata (1853), piano-vocal score based on the critical edn by Fabrizio Della Seta (University of Chicago Press and Milan: Ricordi, 2001).
Verdi, Giuseppe, La traviata: Schizzi e abbozzi autografi/Autograph Sketches and Drafts, ed. Fabrizio Della Seta (Parma: Istituto nazionale di studi verdiani and Comitato nazionale per le celebrazioni verdiane 2001, 2002).
Verdi, Giuseppe, La traviata: Schizzi e abbozzi autografi. Commento critico/Autograph Sketches and Drafts, critical commentary, ed. Fabrizio Della Seta (Parma: Istituto nazionale di studi verdiani and Comitato nazionale per le celebrazioni verdiane 2001, 2002).
‘Vive le vin: Chanson bachique’, in La Muse comique: Recueil de chansonnettes (Paris: Alfred Ikelmer, n.d. [c. 1870], pl. no. A.I. 2808), vol. iv, no. 15.
Weber, Carl Maria von, Aufforderung zum Tanz (1819), ed. Walter Georgii (Mainz: B. Schott’s Söhne, 1941).

Reviews, short articles and news reports

Le Corsaire, 6 August 1847: crushing review of I masnadieri.
Le Corsaire, 9 August 1847: article against Verdi and the Escudier brothers.
Le Corsaire, 7 September 1847: poisonous remark about Verdi.
Le Corsaire, 22 March 1848: article quoting the ‘Chœur des Girondins’.
Le Coureur des spectacles, 9 February 1848: sarcastic ditties attacking Verdi.
Le Figaro, 20 June 1834: review of Robert Macaire.
La France musicale, 1 August 1847: review of I masnadieri.
La France musicale, 14 December 1856: review of Parisian premiere of La traviata.
Gazzetta musicale di Milano, 11 December 1853: advertisement for Perny’s Camélia, op. 49.
Gazzetta musicale di Milano, 4 January 1857: review of La traviata at the Teatro Carcano, Milan.
Gazzetta musicale di Milano, 28 December 1859: ‘Il baccanale del Bue Grasso a Milano’ (‘the fatted ox bacchanal in Milan’).
Gazzetta privilegiata di Milano, 29 August 1847: news about Lo stracciaiuolo di Parigi at the Teatro Carcano, Milan.
Gazzetta privilegiata di Milano, 12 December 1847: news about Lo stracciaiuolo di Parigi at the Teatro Re, Milan.
Gazzetta ufficiale di Milano, 13 May 1852: news about La Dame aux camélias at the Teatro Re, Milan.
Gazzetta uffiziale di Venezia, late February–early March 1853: many items of news about La traviata at La Fenice and La signora delle camelie at the Teatro Apollo, Venice.
Gazzetta uffiziale di Venezia, 7 March 1853: review of La traviata.
Illustrated London News, 28 February 1852: description of the Parisian fatted ox cortege of 1852.
L’Illustration, 6 March 1847: article about the auction of Alphonsine Plessis’s wordly goods.
Le Ménestrel, 19 January 1834: ‘De la musique de mélodrame’.
Boniotti, Pietro, review of La Dame aux camélias at the Teatro Re, Milan, Appendice alla Gazzetta ufficiale di Milano, 16 May 1852.
Caraguel, Clément, article about La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Charivari, 8 February 1852.
Delord, Taxile, review of La traviata at the Théâtre Italien, Paris, 1856, Le Charivari, 8 December 1856.
[Escudier, Léon], ‘Comment on écrit l’histoire’, La France musicale, 8 August 1847.
[Escudier, Léon], ‘La vérité avant tout’, La France musicale, 15 August 1847.
Escudier, Léon and Marie, review of Violetta at the Théâtre Italien, Paris, 1864, L’Art musical, 3 November 1864.
Gautier, Théophile, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, La Presse, 10 February 1852.
Halévy, Léon, article protesting about the fatted ox cortege, Journal des débats, 7 March 1825.
Huart, Louis, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Charivari, 4 February 1852.
Lagarde, Paul, ‘Physiologie du mélodrame’, Le Corsaire, 1–2 September 1847.
Leroy, Alfred, and Raymond Deslandes, ‘Satan au bal de l’Opéra’, L’Argus des théâtres, 17 and 24 December 1846.
Lovy, Jules, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Ménestrel, 30 May 1852.
Mazzuccato, Alberto, review in five instalments of the Milanese premiere of La traviata, Gazzetta musicale di Milano, 28 September, 19 October, 30 November, 14 and 28 December 1856.
Ponsard, François, review of La Dame aux camélias at the Théâtre du Vaudeville, Paris, Le Constitutionnel, 9 February 1852.

Literary sources (before 1900)

Alhoy, Maurice, Physiologie de la lorette (Paris: Aubert, 1841).
L’anti-polkista ed i polkamani, libretto for the ballet by Arthur Saint-Léon (Venice: Tipografia Ricci, 1848).
Arcioli, Sergio, La traviata: Racconto popolare (Milan: Angelo Bietti, 1897).
Aulard, Alphonse, Paris sous le Premier Empire: Recueil de documents pour l’histoire de l’esprit public à Paris, 3 vols. (Paris: Librairie Noblet, 1912–23; repr. New York: AMS Press, 1974).
Balzac, Honoré de, La Comédie humaine (1829–50), 12 vols. (Paris: Gallimard, 1976–81).
Balzac, Honoré de, La Cousine Bette (1846), in La Comédie humaine, vol. vii, pp. 4–451.
Balzac, Honoré de, Le Cousin Pons (1847), in La Comédie humaine, vol. vii, pp. 453–765.
Balzac, Honoré de, Les Illusions perdues (1843), in La Comédie humaine, vol. v, pp. 123–732.
Balzac, Honoré de, Splendeurs et misères des courtisanes (1846), in La Comédie humaine, vol. vi, pp. 393–933 and 1315–1507 (‘Notes et variantes’).
Balzac, Honoré de, Vautrin: Drame en 5 actes, en prose (Paris: Delloye, 1840).
Barbier, Jules, and Michel Carré, Graziella: Drame en 1 acte, tiré des ‘Confidences’ de M. de Lamartine (Paris: Michel Lévy, 1849).
Barrière, Théodore, and Marc Fournier, Manon Lescaut: Drame en cinq actes mêlé de chant (Paris: Michel Lévy, 1851).
Barrière, Théodore, and Henry Murger, La Vie de bohème: Pièce en cinq actes mêlée de chants (Paris: Michel Lévy, 1849).
Barrière, Théodore, and Lambert Thiboust, Les Filles de marbre (Paris: Michel Lévy, 1853).
Basevi, Abramo, Studio sulle opere di Giuseppe Verdi (1859), ed. Ugo Piovano (Milan: Rugginenti, 2001).
Baudelaire, Charles, ‘L’Invitation au voyage’, in Le Spleen de Paris, 18 (1857), in Œuvres complètes, vol. ii, pp. 275–363.
Baudelaire, Charles, Œuvres complètes, ed. Claude Pichois, 2 vols. (Paris: Gallimard, 1975–6).
Baudelaire, Charles, Le Peintre de la vie moderne (1863), in Œuvres complètes, vol. ii, pp. 683–724.
Baudelaire, Charles, Quelques caricaturistes français (1857), in Œuvres complètes, vol. ii, pp. 544–74.
Béraud, Antony, Jean-Toussaint Merle and Charles Nodier, Faust: Drame en 3 actes (Paris: Barba, 1828).
Berlioz, Hector, Mémoires (1865) (Paris: Flammarion, 1991).
Berlioz, Hector, ‘Le Bœuf gras et le budget de 1847’, anonymous song (text only) (Paris: Lacour, 1847).
Bouilly, Jean-Nicolas, and Joseph Pain, Fanchon la vielleuse: Comédie en 3 acts, mêlée de vaudevilles (Paris: Barba, 1803).
Casati, Giovanni, Madamigella d’Heilly, libretto of the ballet (Milan: Pirola, 1865).
Cellarius, Henry, La Danse des salons (Paris: Hetzel, 1847); 2nd edn, illustrated by Gavarni (1849); republished, ed. Rémi Hess (Grenoble: J. Millon, 1994).
Curti, Adele, ‘Una camelia’, in Poesie di illustri italiani contemporanei, ed. Ferdinando Bosio, 2 vols. (Milan: Topigrafia di Maurizio Guigoni, 1865); repr. ed. Luana Salvarani with an essay by Marzio Piero (Trento: La Finestra, 2002).
Dennery, Adolphe, and Gustave Lemoine, La Grâce de Dieu ou La nouvelle Fanchon: Drame en 5 actes, mêlé de chants (Paris: Tresse, 1841).
Diderot, Denis, Le Père de famille: Comédie en 5 actes (Amsterdam: n.pub. [Paris: Michel Lambert], 1758).
Drouïn, Félix, Le Jardin d’hiver (Paris: Mme Lacombe, 1848).
Dumas, Alexandre, fils, La Dame aux camélias (novel), 1st edn (Paris: A. Cadot, 1848).
Dumas, Alexandre, La Dame aux camélias (novel), 2nd edn (Paris: A. Cadot, 1851).
Dumas, Alexandre, La Dame aux camélias (novel), trans. David Coward (Oxford University Press, 2000).
Dumas, Alexandre, La Dame aux camélias: Pièce mêlée de chant (Paris: D. Giraud and J. Dagneau, 1852).
Dumas, Alexandre, La Dame aux camélias: Le roman, le drame, ‘La traviata’, ed. Hans-Jörg Neuschäfer and Gilbert Sigaux (Paris: Flammarion, 1981).
Dumas, Alexandre, preface to Dumas fils, La Dame aux camélias: Pièce mêlée de chant, 2nd edn (Paris: D. Giraud and J. Dagneau, 1852), pp. 5–8 (dated 3 February 1852).
Dumas, Alexandre, La signora delle camelie: Dramma in cinque atti, trans. Luigi Enrico Tettoni, in Florilegio drammatico ovvero scelto repertorio moderno di componimenti teatrali italiani e stranieri, series 3, vol. xi (Milan: Borroni e Scotti, 1852).
Dumas, Alexandre, père, Le Comte de Monte-Cristo (novel) (1846), ed. Gilbert Sigaux (Paris: Gallimard, 1981).
Dumas, Alexandre, père, Fernande (Paris: Dumont, 1844).
Dumas, Alexandre, père, Intrigue et amour, trans. and adaptation of Schiller’s Kabale und Liebe (Paris: Michel Lévy, 1847).
Dumas, Alexandre, père, Monte-Cristo (play) (Paris: Tresse, 1848).
Dumas, Alexandre, père, and Auguste Maquet, Le Chevalier de Maison-Rouge (play) (Paris: Michel Lévy, 1847).
Dumas, Alexandre, père, and Gérard de Nerval, Piquillo, libretto (Paris: Marchant, 1837).
Elenco delle opere stampate e pubblicate in Milano e nelle provincie lombarde nell’anno 1848 (Milan: Tipografia Bernardoni, 1848).
Flaubert, Gustave, ‘Le Dictionnaire des idées reçues’, in Œuvres, ed. Albert Thibaudet and Réné Dumesnil, 2 vols. (Paris: Gallimard, 1951–2),vol. ii, pp. 999–1023.
Flaubert, Gustave, L’Éducation sentimentale (1869), in Œuvres, ed. Albert Thibaudet and Réné Dumesnil, 2 vols. (Paris: Gallimard, 1951–2), vol. ii, pp. 31–457.
Fournel, Victor, Les Cris de Paris: Types et physionomies d’autrefois (Paris: Firmin-Didot, 1887; repr. Paris: Les Éditions de Paris, 2003).
Fournier, Édouard, Chroniques et légendes des rues de Paris (Paris: E. Dentu, 1864).
Gastineau, Benjamin, Le Carnival (Paris: Havard, 1855).
Gautier, Théophile, ‘Camélia et pâquerette’, in Émaux et camées: Édition définitive (Paris: Charpentier, 1872), pp. 189–91 (not in the 1st edn of 1852).
Gautier, Théophile, Histoire de l’art dramatique en France depuis vingt-cinq ans, 6 vols. (Paris: Hetzel, 1858–9; repr. Geneva: Slatkine, 1968).
Goethe, Johann Wolfgang, Die Leiden des jungen Werthers / The Sorrows of Young Werther: A Dual-Language Book (1774), ed. and trans. Stanley Appelbaum (Dover: Mineola, 2004).
Goncourt, Édmond and Jules de, Journal: Mémoires de la vie littéraire (1851–1896), ed. Robert Ricatte, 4 vols. (Paris: Fasquelle-Flammarion, 1956).
Goncourt, Édmond and Jules de, La Lorette (1853); ed. Alain Barbier Sainte Marie (Tusson [Charente]: Du Lérot, 2002).
Grandville [pseud. of Jean-Ignace-Isidore Gérard], Un autre monde (Paris: H. Fournier, 1844; repr. Paris: Les libraires associés, 1963).
Heine, Heinrich, ‘The Romantic School’ (1836), in The Romantic School and Other Essays, ed. Jost Hermand and Robert C. Holub (New York: Continuum, 1985), pp. 1–128.
Heinse, Wilhelm, Hildegard von Hohenthal, 3 vols. (Berlin: Voss, 1795–6).
Huart, Louis, Physiologie de la grisette (Paris: Aubert, n.d. [c. 1842]; repr. Geneva: Slatkine, 1979).
Janin, Jules, Histoire de la littérature dramatique, 6 vols. (Paris: Michel Lévy, 1855–8; repr. Geneva: Slatkine, 1970).
Janin, Jules, ‘Mademoiselle Marie Duplessis’, preface to Alexandre Dumas fils, La Dame aux camélias (novel), 2nd edn (Paris: A. Cadot, 1851); in A. Dumas fils, La Dame aux camélias: Le roman, le drame, ‘La traviata’, ed. Neuschäfer and Sigaux, pp. 481–94.
Kock, Paul de, Le Bœuf gras, vaudeville in two acts (Paris: Tresse, 1845).
Kock, Paul de, ‘Les Grisettes’, in Nouveau tableau de Paris au XIXe siècle, 7 vols. (Paris: Librairie de Mme Charles-Béchet, 1834–5), vol. i, pp. 169–79.
La Bédollière, Émile de, Le Nouveau Paris: Histoire de ses 20 arrondissements (Paris: Gustave Barba, 1860).
Lafargue, Paul, Religion du capital (Paris: Bibliothèque socialiste de l’agglomération parisienne du parti ouvrier, 1887).
Lamartine, Alphonse de, Graziella (1852), ed. Jean-Michel Gardair (Paris: Gallimard, 1979).
Lemaître, Frédérick, Souvenirs (Paris: Ollendorf, 1880).
Lemaître, Frédérick, Benjamin Antier and Saint-Amand [Jean-Amand Lacoste], Robert Macaire: Pièce en 4 actes (Paris: J. N. Barba, 1835).
Lurine, Louis, Le treizième arrondissement de Paris (Paris: F. Lamiche, 1850).
Mariani, Mario, La traviata: Romanzo popolare (Milan: Natale Tommasi, 1891).
Mélesville [pseud. of Anne-Honoré-Joseph Duveyrier], Pierre-Frédéric-Adolphe Carmouche and Frédéric de Courcy, Le Jardin d’hiver: Folie-vaudeville en un acte (Paris: Michel Lévy, 1846).
Monselet, Charles, La Lorgnette littéraire: Dictionnaire des grands et des petits auteurs de mon temps (Paris: Poulet-Malassis et de Broise, 1857).
Montandon, Alain (ed.), Paris au bal: Treize physiologies sur la danse, anthology of several Parisian physiologies of the 1840s (Paris: H. Champion, 2000).
Muret, Théodore, L’Histoire par le théâtre, 1789–1851, 3 vols. (Paris: Aymot, 1865).
Murger, Henry, Scènes de la vie de bohème (1845–9), ed. Loïc Chotard and Graham Robb (Paris: Gallimard, 1988).
Musset, Alfred de, Confession of a Child of the Century (1836), trans. Henri de Bornier (New York: Howard Fertig, 1977).
Musset, Alfred de, Frédéric et Bernerette (1838), in Œuvres complètes en prose, ed. Maurice Allem and Paul Courant (Paris: Gallimard, 1960), pp. 454–98.
Nietzsche, Friedrich, The Will to Power (1888), ed. Walter Kaufmann (New York: Vintage Books, 1968).
Perrin, Maximilien, Mémoires d’une lorette, 4 vols. (Paris: Charles Le Clère, 1843).
Perrin, Maximilien, Physiologie de l’Opéra, du carnaval, du cancan et de la cachucha par un vilain masque, illustrated by Henri Emy (Paris: Raymond Bocquet, 1842); in Montandon (ed.), Paris au bal, pp. 443–9.
Piave, Francesco Maria, La traviata (1853), 1st edn of the libretto (Venezia: coi tipi di Teresa Gattei, n.d.).
Pierre, Constant (ed.), Musique des fêtes et cérémonies de la révolution française (Paris: Imprimerie nationale, 1889).
Polkmall, Nick [pseud. of Paul-Émile Daurand Forgues], Les Polkeuses: Poème étique sur les célébrités de la polka (Paris: Paul Masgana, 1844).
Pougin, Arthur, Dictionnaire historique et pittoresque du théâtre (Paris: Firmin-Didot, 1885).
Pyat, Félix, Le Chiffonnier de Paris (Paris: Michel Lévy, 1847).
Pyat, Félix, ‘Il cienciajuolo di Parigi’, trans. Luigi Tettoni, in Florilegio drammatico ovvero scelto repertorio moderno di componimenti teatrali italiani e stranieri, series 3, vol. iv (Milan: Borroni e Scotti, 1847 [rectius 1848]).
Roqueplan, Nestor, Nouvelles à la main (Paris: Lacombe, [ 1840–4]).
Roqueplan, Nestor, Parisine (Paris: J. Hetzel, 1869).
Rossi, Gaetano, Cecchina suonatrice di ghironda, libretto (Venice: Rizzi, 1810).
Rota, Giuseppe, La contessa d’Egmont: Ballo in cinque atti (Milan: Regio stabilimento nazionale di Paolo Ripamonti Carpano, 1861).
Rota, Giuseppe, La contessa d’Egmont: Ballo storico-romantico in cinque parti e sei quadri (Milan: Giacomo Pirola, 1864).
Rozier, Victor, Les Bals publiques (Paris: Gustave Havard, 1855).
Schopenhauer, Arthur, ‘On Women’, in Parerga and Paralipomena: Short Philosophical Essays (1851), trans. E. F. J. Payne, 2 vols. (Oxford: Clarendon Press, 1974), vol. ii, pp. 615–26.
Souvestre, Émile, and Eugène Bourgeois, Le Pasteur ou L’Évangile et le foyer (Paris: Michel Lévy, 1849).
Staines, Théodore, Les Oiseaux de nuit et les polkeuses des scènes publiques (Paris: J. Bréauté, 1845).
Sue, Eugène, Les Mystères de Paris (1842–3), ed. Francis Lacassin and Armand Lanoux (Paris: Robert Laffont, 1989).
Sue, Eugène, and Prosper Dinaux, Les Mystères de Paris (play) (Paris: Tresse, 1845).
Verdi, Giuseppe, I copialettere di Giuseppe Verdi, ed. Gaetano Cesari and Alessandro Luzio (Milan: Stucchi Ceretti, 1913; repr. Bologna: Forni, 1968).
Vienne, Romain, La Vérité sur la dame aux camélias (Marie Duplessis) (Paris: Paul Ollendorff, 1888).
Villard, Nina de, Les Feuillets parisiens (Paris: H. Messager, 1885).
Vitu, Auguste, and Paul Farnèse, Physiologie de la polka d’après Cellarius (Paris: Chez l’éditeur, 1844); in Montandon (ed.), Paris au bal, pp. 235–95.
Vitu, Auguste, and Jules Frey, Physiologie du Bal Mabille (Paris: Carrier, 1844).
Wohl, Janka, François Liszt: Souvenirs d’une compatriote (Paris: Paul Ollendorff, 1887).
Zola, Émile, Nana (1880), trans. Douglas Parmée (Oxford University Press, 1998).

Secondary sources

Abbiati, Franco, Giuseppe Verdi, 4 vols. (Milan: Ricordi, 1959).
Adorno, Theodor W., Mahler: Eine musikalische Physiognomik (Frankfurt: Suhrkamp, 1960).
Alberti, Annibale (ed.), Verdi intimo: Carteggio di Giuseppe Verdi con il conte Opprandino Arrivabene (1861–1886), preface by Alessandro Luzio (Milan: Mondadori, 1931).
Allévy, Marie-Antoinette, La Mise en scène en France dans la première moitié du dix-neuvième siècle (Paris: E. Droz, 1938; repr. Geneva: Slatkine, 1976).
Baia Curioni, Stefano, Mercanti dell’opera: Storie di Casa Ricordi (Milan: Il Saggiatore, 2011).
Baldini, Gabriele, The Story of Giuseppe Verdi: ‘Oberto’ to ‘Un ballo in maschera’ (1970), trans. Roger Parker (Cambridge University Press, 1980).
Barbiera, Raffaello, Vite ardenti nel teatro (1700–1900) da archivi e memorie (Milan: Treves, 1931).
Barilli, Bruno, ‘Il paese del melodramma’ (1930), ‘Verdi’ (1946) and ‘Parigi’ (1938), in Il paese del melodramma, ed. Luisa Viola and Luisa Avellini (Turin: Einaudi, 1985), pp. 5–76, 79–101, 105–61.
Beghelli, Marco, La retorica del rituale nel melodramma ottocentesco (Parma: Istituto nazionale di studi verdiani, 2003).
Bellaigue, Camille, Verdi: Biographie critique (Paris: Henri Laurens, n.d. [1911]).
Benjamin, Walter, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 1999).
Berlin, Isaiah, ‘The Naïveté of Verdi’, in Atti del I congresso internazionale di studi verdiani: Venezia, 31 luglio–2 agosto 1966 (Parma: Istituto nazionale di studi verdiani, 1969), pp. 27–35.
Bianconi, Lorenzo, ‘Introduzione’, in Bianconi (ed.), La drammaturgia musicale (Bologna: Il Mulino, 1986), pp. 7–49.
Billiet, Frédéric, ‘Pouvoir et culture sonore dans les rues d’Amiens au XVIe siècle’, in Laure Gauthier and Mélanie Traversier (eds.), Mélodies urbaines: La musique dans les villes d’Europe (XVIe–XIXe siècles) (Paris: PUPS, 2008), pp. 25–44.
Blacking, John, ‘The Ethnography of Musical Performance’ (summaries of the papers presented), in Daniel Heartz and Bonnie Wade (eds.), International Musicological Society: Report of the Twelfth Congress, Berkeley 1977 (Kassel: Bärenreiter, 1981), pp. 383–5.
Bloch, Marc, Critique historique et critique du témoignage’ (1914), in Histoire et historiens, ed. Étienne Bloch (Paris: Colin, 1995), pp. 11–20.
Bonaccorsi, Alfredo, ‘Danze e melodie di danza nell’opera di Verdi’, La rassegna musicale, 21/3 (1951), 246–51.
Boudet, Micheline, La Fleur du mal: La véritable histoire de la dame aux camélias (Paris: France Loisirs, 1993).
Bourdieu, Pierre, The Rules of Art: Genesis and Structure of the Literary Field (1992), trans. Susan Emanuel (Stanford University Press, 1996).
Brooks, Peter, ‘Il corpo melodrammatico’, in Bruno Gallo (ed.), Forme del melodrammatico: Parole e musica (1700–1800). Contributi per la storia di un genere (Milan: Guerini e associati, 1988), pp. 177–95.
Brooks, Peter, The Melodramatic Imagination: Balzac, Henry James and the Mode of Excess (New Haven: Yale University Press, 1976); with new preface (1995).
Brunel, Pierre (ed.), Dictionnaire des mythes féminins (Paris: Éditions du Rocher, 2002).
Brunetti, Simona, ‘La “Signora delle camelie” sulla scena italiana: Sistema dei ruoli e drammaturgia d’attore a fondamento di una straordinaria fortuna’, in Umberto Artioli (ed.), Il teatro dei ruoli (Padua: Esedra, 2000), pp. 125–66.
Budden, Julian, The Operas of Verdi, 3 vols. (London: Cassell, 1973).
Bull, Michael, and Les Beck (eds.), The Auditory Culture Reader (Oxford: Berg, 2003).
Burke, Peter, Eyewitnessing: The Uses of Images as Historical Evidence (London: Reaktion Books, 2001).
Carré, Albert, Souvenirs de théâtre (Paris: Plon, 1950; repr. Paris: Éditions d’aujourd’hui, 1976).
Cherubini, Arnaldo, Una malattia fra romanticismo e decadenza (Siena: Nuovo Aminta, 1975).
Chion, Michel, L’Audio-vision: Son et image au cinéma (Paris: Nathan, 1990); trans. and ed. Claudia Gorbman as Audio-Vision: Sound on Screen, foreword by Walter Murch (New York: Columbia University Press, 1994).
Conati, Marcello, La bottega della musica: Verdi e la Fenice (Milano: Il Saggiatore, 1983).
Conati, Marcello, ‘“E quasi si direbbe prosa strumentata” (l’aria “a due” nello Stiffelio)’, in Morelli (ed.), Tornando a ‘Stiffelio’, pp. 243–63.
Conati, Marcello, Rigoletto: Un’analisi drammatico-musicale (Venice: Marsilio, 1992)
Conati, Marcello, ‘Verdi et la culture parisienne des années 1830’, in Peter Bloom (ed.), Music in Paris in the Eighteen-Thirties (New York: Pendragon, 1987), pp. 209–25.
Corbin, Alain, Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (1994), trans. Martin Thom (New York: Columbia University Press, 1998).
Culler, Jonathan, On Deconstruction (Ithaca, NY: Cornell University Press, 1982).
Debussy, Claude, Correspondance (1872–1918), ed. François Lesure and Denis Herlin (Paris: Gallimard, 2005).
Della Seta, Fabrizio, Italia e Francia nell’Ottocento (Turin: EDT, 1993).
Della Seta, Fabrizio, ‘Il tempo della festa: Su due scene della “Traviata” e su altri luoghi verdiani’, Studi verdiani, 2 (1983), 108–46.
Della Seta, Fabrizio, Roberta Montemorra Marvin and Marco Marica (eds.), Verdi 2001: Proceedings of the International Conference, Parma, New York, New Haven, 24 January–1 February 2001, 2 vols. (Florence: Olschki, 2003).
Deutsches Universalwörterbuch (Mannheim: Duden, 1996).
De Van, Gilles, Verdi’s Theater: Creating Drama through Music (1992), trans. Gilda Roberts (Chicago University Press, 1998).
Eggebrecht, Hans Heinrich, Musikalisches Denken: Aufsätze zur Theorie und Ästhetik der Musik (Wilhelmshaven: Heinrichshofen, 1977).
El Nouty, Hassan, Théâtre et pré-cinéma: Essai sur la problematique du spectacle au XIXe siècle (Paris: Nizet, 1978).
Faure, Alain, Paris carême-prenant: Du carnival à Paris aux XIXe siècle (1800–1914) (Paris: Hachette, 1978).
Feld, Steven, ‘A Rainforest Acoustemology’, in Bull and Beck (eds.), The Auditory Culture Reader, pp. 223–39.
Follain, Jean, ‘Le mélodrame’, in Noël Arnaud, Francis Lacassin and Jean Tortel (eds.), Entretiens sur la paralittérature (Paris: Plon, 1970), pp. 33–53.
Foucault, Michel, The Archaeology of Knowledge (1969), trans. A. M. Sheridan Smith (London: Tavistock Publications, 1972).
France, Hector, Dictionnaire de la langue verte: Archaïsmes, néologismes, locutions étrangères, patois (Paris: Libraire du Progrès, 1907; repr. Étoile-sur-Rhône: N. Gauvin, 1990).
Gallarati, Paolo, ‘Il preludio della Traviata’, in Francesco Cotticelli, Roberto Puggioni and Laura Sannia Nowé (eds.), Sentir e meditar: Omaggio a Elena Sala di Felice (Rome: Aracne, 2005), pp. 285–93.
Gallico, Claudio, ‘Struttura e funzione dei pezzi sacri nell’opera e radici del linguaggio verdiano’, in Morelli (ed.), Tornando a ‘Stiffelio’, pp. 265–71; in Gallico, Verdi e altri scritti (Florence: Olschki, 2000), pp. 81–7.
Gardair, Jean-Michel, ‘Préface’ to Alphonse de Lamartine, Graziella (1852), ed. Gardair (Paris: Gallimard, 1979), pp. 7–26.
Gascar, Pierre, Le Boulevard du Crime (Paris: Hachette, 1980).
Gasnault, François, Guinguettes et lorettes: Bals publics à Paris au XIXe siècle (Paris: Aubier, 1986).
Genette, Gérard, Narrative Discourse: An Essay in Method (1972), trans. Jane E. Lewin (Ithaca, NY: Cornell University Press, 1983).
Genette, Gérard, Palimpsestes: La littérature au second dégré (Paris: Seuil, 1982), trans. Channa Newman and Claude Doubinsky as Palimpsests: Literature in the Second Degree (Lincoln, ne: University of Nebraska Press, 1997).
Gerhard, Anselm, The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century (1992), trans. Mary Whittall (Chicago University Press, 1998).
Gervasoni, Marco, ‘Verdi politico: Il musicista come “bourgeois” e “citoyen”’, in Gli argomenti umani: Sinistra e innovazione, 12 (2000), 77–96.
Ginzburg, Carlo, ‘Clues: Roots of an Evidential Paradigm’, in Clues, Myths and the Historical Method, trans. John and Anne C. Tedeschi (London: Hutchison Radius, 1990), pp. 96–125.
Ginzburg, Carlo, The Judge and the Historian: Marginal Notes and a Late-Twentieth-Century Miscarriage of Justice (1991), trans. Anthony Shugaar (London and New York: Verso, 1999).
Girard, Pauline, ‘Les Fonds de matériels de musique de scène du XIXe siècle à la Bibliothèque Nationale de France’, Revue d’histoire du théâtre, 249 (2011), 7–30.
Girard, René, The Scapegoat (1982), trans. Yvonne Freccero (Baltimore, MD: Johns Hopkins University Press, 1989).
Girardi, Michele, ‘Un aspetto del realismo nella drammaturgia di “Stiffelio”: La musica da fuori scena’, in Morelli (ed.), Tornando a ‘Stiffelio’, pp. 223–41.
Gorbman, Claudia, Unheard Melodies: Narrative Film Music (Bloomington: Indiana University Press, 1987).
Gramsci, Antonio, Lettere dal carcere, ed. Sergio Caprioglio and Elsa Fubini (Turin: Einaudi, 1965).
Groos, Arthur, ‘“TB sheets”: Love and Disease in “La traviata”’, Cambridge Opera Journal, 7/3 (1995), 233–60.
Guest, Ivor, Le Ballet de l’Opéra de Paris (Paris: Flammarion, 2001).
Guichardet, Jeannine, Balzac ‘archéologue de Paris’ (1986, repr. Geneva: Slatkine, 1999).
Gutton, Pierre, Bruits et sons dans notre histoire: Essai sur la reconstitution du paysage sonore (Paris: PUF, 2000).
Hansell, Kathleen Kuzmick, ‘Compositional Technique in “Stiffelio”: Reading the Autograph Sources’, in Martin Chusid (ed.), Verdi’s Middle Period (1849–1859): Source Studies, Analysis, and Performance Practice (University of Chicago Press, 1997), pp. 45–97.
Hepokoski, James A., ‘Genre and Content in Mid-Century Verdi: “Addio del passato” (La traviata, Act iii)’, Cambridge Opera Journal, 1/3 (1989), 249–76.
Hess, Rémi, La Valse: Révolution du couple en Europe (Paris: A. M. Métailié, 1989).
Howes, David (ed.), The Variety of Sensory Experience (Toronto University Press, 1991).
Hutcheon, Linda and Michael, Opera: Desire, Disease, Death (Lincoln, NE: University of Nebraska Press, 1996).
Issartel, Christiane, Les Dames aux camélias: De l’histoire à la légende (Paris: Hachette, 1981).
Jay, Martin, ‘Scopic Regimes of Modernity’, in Hal Foster (ed.), Vision and Visuality (Seattle: Bay Press, 1988), pp. 3–23.
John, Nicholas (ed.), Violetta and her Sisters: The Lady of the Camellias. Responses to the Myth (London: Faber and Faber, 1994).
Jürgensen, Knud Arne, The Verdi Ballets (Parma: Istituto nazionale di studi verdiani, 1995).
Keil, Werner and Charis Goer (eds.), ‘Seelenaccente’ – ‘Ohrenphysiognomik’: Zur Musikanschauung E. T. A. Hoffmanns, Heinses und Wackenroders (Hildesheim: G. Olms, 2000).
Kerman, Joseph, Musicology (London: Fontana, 1985).
Kerman, Joseph, ‘Verdi’s Use of Recurring Themes’, in Harold S. Powers (ed.), Studies in Music History: Essays for Oliver Strunk (Princeton University Press, 1968), pp. 495–510.
Kowzan, Tadeusz, ‘Le mythe de la “Dame aux camélias”: Du mélodrame au mélodramatisme’, Revue des sciences humaines, 162 (1976), 219–30.
Lacombe, Hervé, ‘L’Espagne à Paris au milieu du XIXe siècle (1847–1857)’, Revue de musicologie, 88/2 (2002), 389–431.
Lecarme-Tabone, Éliane, ‘Manon, Marguerite, Sapho et les autres’, Romantisme, 22/76 (1992), 23–41.
Lecomte, Louis-Henri, Histoire des théâtres de Paris: Le Théâtre Historique (Paris: H. Daragon, 1906; repr. Geneva: Slatkine, 1973).
Lévi-Strauss, Claude, ‘The Structural Study of Myth’, in Structural Anthropology (1958), trans. Claire Jacobson and Brooke Grundfest Schoepf, 2 vols. (New York and London: Basic Books, 1963), vol. i, pp. 206–31.
Leydi, Roberto, L’altra musica: Etnomusicologia: Come abbiamo incontrato e creduto di conoscere le musiche della tradizioni popolari ed etniche (Milan: Ricordi and Lucca: LIM, 2008).
Lotman, Jurij, Universe of the Mind: A Semiotic Theory of Culture (New York: Tauris, 2001).
Ludwig, Hellmut, ‘La fonte letteraria del libretto’, in Stiffelio, Quaderni dell’Istituto nazionale di studi verdiani (Parma: Istituto nazionale di studi verdiani, 1968), pp. 9–18.
Luzio, Alessandro (ed.), Carteggi verdiani, 4 vols. (Rome: Reale Accademia d’Italia/Accademia nazionale dei Lincei, 1935–47).
Macchia, Giovanni, L’angelo della notte: Saggio su Proust (Milan: Rizzoli, 1990).
Maehder, Jürgen, ‘Immagini di Parigi: La trasformazione del romanzo “Scènes de la vie de bohème” di Henry Murger nelle opere di Puccini e Leoncavallo’, Nuova rivista musicale italiana, 3/4 (1990), 403–55.
Mann, Thomas, Tonio Kröger (1903), in Die Erzählungen, 2 vols. (Frankfurt: Fischer 1975), vol. i, pp. 205–56; in Death in Venice and Other Tales, trans. Joachim Negroschel (New York: Viking Press, 1998), pp. 161–228.
Martino, Daniele, Catastrofi sentimentali: Puccini e la sindrome pucciniana (Turin: EDT, 1993).
Merriam, Alan P., The Anthropology of Music (Chicago: Northwestern University Press, 1964).
Miceli, Sergio, Musica e cinema nella cultura del Novecento (Milan: Sansoni, 2000).
Moravia, Alberto, ‘La “volgarità” di Giuseppe Verdi’ (1963), in Opere 1948–1968, ed. Enzo Siciliano (Milan: Bompiani, 1989), pp. 1345–51.
Morelli, Giovanni, ‘Introduzione’, in Morelli (ed.), Tornando a ‘Stiffelio’, pp. v–xv
Morelli, Giovanni, ‘ “Le situazioni riescono quasi tutte d’un colore, mancan di varietà” : Cinque glosse ad una lettera di Felice Varesi’, in Biancamaria Brumana and Galliano Ciliberti (eds.), Musica e immagine: Tra iconografia e mondo dell’opera. Studi in onore di Massimo Bogianckino (Florence: Olschki, 1993), pp. 209–19.
Morelli, Giovanni (ed.), Tornando a ‘Stiffelio’: Popolarità, rifacimenti, messinscena, effettismo e altre ‘cure’ nella drammaturgia del Verdi romantico. Atti del convegno internazionale di studi (Venezia, 17–20 dicembre 1985) (Florence: Olschki, 1987), pp. 223–41.
Néry, Alain, ‘Grisette’, in Brunel (ed.), Dictionnaire des mythes féminins, pp. 867–71.
Néry, Alain, ‘Lorette’, in Brunel (ed.), Dictionnaire des mythes féminins, pp. 1173–7.
Neuschäfer, Hans-Jörg, ‘De “La Dame aux camélias” à “La traviata”: l’évolution d’une image bourgeoise de la femme’, introduction to Alexandre Dumas fils, La Dame aux camélias: Le roman, le drame, ‘La traviata’, ed. Neuschäfer and Sigaux, pp. 19–42.
Parakilas, James, ‘How Spain Got a Soul’, in Jonathan Bellman (ed.), The Exotic in Western Music (Boston: Northeastern University Press, 1998), pp. 137–93.
Parker, Roger, Leonora’s Last Act: Essays in Verdian Discourse (Princeton University Press, 1997).
Parker, Roger, ‘La traviata’, in Stanley Sadie (ed.), The New Grove Dictionary of Opera, 4 vols. (London: Macmillan, 1992), vol. iv, pp. 799–802.
Petrobelli, Pierluigi, ‘Remarks on Verdi’s Composing Process’, in Music in the Theater: Essays on Verdi and Other Composers, trans. Roger Parker (Princeton University Press, 1994), pp. 48–74.
Picat-Guinoiseau, Ginette, Une Œuvre méconnue de Charles Nodier: ‘Faust’ imité de Gœthe (Paris: Didier, 1977).
Pieri, Marzio, ‘Impopolarità di Verdi’, in Mangiati dalla musica (Trento: La Finestra, 2001), pp. 121–50.
Preiss, Nathalie, Les Physiologies en France au XIXe siècle: Étude historique, littéraire et stylistique (Mont-de-Marsan: Éditions interuniversitaires, 1999).
Proust, Marcel, In Search of Lost Time (1913–27), trans. Lydia Daviset al., ed. Christopher Prendergast, 6 vols. (London: Allen Lane, 2002).
Rattalino, Piero, Memoriale di ‘Pura siccome’: La storia di Violetta la traviata raccontata dalla sorella nubile di Alfredo (Varese: Zecchini, 2000).
Robichez, Jacques, ‘La Dame aux camélias’, Revue des sciences humaines, 104 (1961), 477–87.
Rutherford, Susan, ‘“La traviata” or the “Willing Grisette”’, in Della Seta, Marvin and Marica (eds.), Verdi 2001, vol. II, pp. 585–600.
Saint-Léon, Arthur, Letters from a Ballet Master: The Correspondence of Arthur Saint-Léon, ed. Ivor Guest (London: Dance Books, 1981).
Sala, Emilio, ‘Drame, mélodrame, et musique: La Partition d’Alexandre Piccini pour la “Marie Tudor” de Victor Hugo’, in Olivier Bara (ed.), Orages: Littérature et culture 1760–1830, no. 4: Boulevard du Crime: Les Temps des spectacles oculaires (March 2005), pp. 190–209.
Sala, Emilio, ‘La fortuna di “Graziella” nel melodramma italiano’, in Georges Vallet (ed.), Lamartine, Napoli e l’Italia (Naples: Guida, 1992), pp. 565–83.
Sala, Emilio, L’opera senza canto: Il mélo romantico e l’invenzione della colonna sonora (Venice: Marsilio, 1995).
Sala, Emilio, ‘“Que ses gestes parlants ont de grâce et de charmes”: motivi mélo nella “Muette de Portici”’, in Lorenzo Bianconi, F. Alberto Gallo, Angelo Pompilio and Donatella Restani (eds.), Atti del XIV congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, Bologna, Ferrara, Parma, 27 agosto–1° settembre 1987, 3 vols. (Turin: EDT, 1990), vol. i, pp. 504–20.
Sala, Emilio, ‘Romantisme populaire et musique: Autour d’une chanson savoyarde’, in André Guyaux and Sophie Marchal (eds.), La Vie romantique: Hommage à Loïc Chotard (Paris: Presses de l’Université de Paris-Sorbonne, 2003), pp. 437–54.
Sala, Emilio, ‘Tra mélodrame e dramma Borghese: dal “Pasteur” di Souvestre-Bourgeois allo “Stiffelio” di Verdi-Piave’, in Morelli (ed.), Tornando a ‘Stiffelio’, pp. 97–106.
Sala, Emilio, ‘La “vielleuse” e il savoiardo: Tradizione e drammaturgia’, in Donizetti, Parigi e Vienna: atti del convegno internazionale (Rome, 19–20 March 1998) (Rome: Accademia dei Lincei, 2000), pp. 47–77.
Sanguineti, Edoardo, ‘Il realismo di Verdi’, in Della Seta, Marvin and Marica (eds.), Verdi 2001, vol. i, pp. 3–21.
Sartori, Claudio, ‘La Strepponi e Verdi a Parigi nella morsa quarantottesca’, Nuova rivista musicale italiana, 8/2 (1974), 239–53.
Sartre, Jean-Paul, Les Mots (Paris: Gallimard, 1964).
Scaramuzza, Gabriele, ‘Il tema del “brutto” nell’universo culturale verdiano’, in Della Seta, Marvin and Marica (eds.), Verdi 2001, vol. i, pp. 229–40.
Senici, Emanuele, Landscape and Gender in Italian Opera: The Alpine Virgin from Bellini to Puccini (Cambridge University Press, 2005).
Sennett, Richard, The Fall of Public Man (Cambridge University Press, 1977).
Smart, Mary Ann, Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley, CA: University of California Press, 2004).
Smith, Bruce R., ‘Tuning into London c. 1600’, in Bull and Beck (eds.), The Auditory Culture Reader, pp. 127–35.
Sontag, Susan, Illness as Metaphor (New York: Farrar, 1978).
Souriau, Étienne, ‘La structure de l’univers filmique et le vocabulaire de la filmologie’, Revue Internationale de Filmologie, 7–8 (1951), 231–40.
Stenning Edgecombe, Rodney, ‘The Influence of Auber’s “Le Domino noir” on “La traviata”’, Opera Quarterly, 20/2 (2004), 166–70.
Stierle, Karlheinz, Der Mythos von Paris: Zeichen und Bewußtsein der Stadt (Munich: Carl Hanserl Verlag, 1993).
Surian, Elvidio, ‘Turn and Turn About: Waltz-walzer-valse, le tre carte di credito erotico dell’opera lirica’, Eidos, 9 (1991), 30–45.
Tyldesley, William, Michael William Balfe: His Life and his English Operas (Aldershot: Ashgate, 2003).
Van Moere, Didier, ‘La Traviata’, in Brunel (ed.), Dictionnaire des mythes féminins, pp. 1858–64.
Veyne, Paul, Did the Greeks Believe in their Myths? An Essay on the Constitutive Imagination (1983), trans. Paula Wissing (University of Chicago Press, 1988).
Weiss, Piero, ‘Verdi and the Fusion of Genres’, Journal of the American Musicological Society, 35/1 (1982), 138–56.
Wicks, Charles B., The Parisian Stage (1800–1900), 5 vols. (Tuscaloosa: University of Alabama Press, 1959–79).
Wiebe, Heather, ‘Spectacles of Sin and Suffering: “La traviata” in Victorian London’, Repercussions, 9/2 (2001), 33–67.
Ziegler, Jean, Gautier, Baudelaire: Un carré de dames. Pomaré, Marix, Bébé, Sisina (Paris: Nizet, 1977).
Zoppelli, Luca, L’opera come racconto: Modi narrativi nel teatro musicale dell’Ottocento (Venice: Marsilio, 1994).

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.