Lucrezia Borgia

Teatro Regio, Thursday 3 April 2008 - Wednesday 16 April 2008


I Libretti, Lucrezia Borgia

136 pages
36 illustrations
16 plates
price 8,00 €


The opera in black

by Daniele Spini

[…] In the libretto of Lucrezia Borgia, Felice Romani can allow himself to be even more condensed than Victor Hugo in the drama that is before him. Both make reference to a fame that became almost a legend over the centuries and that the simple name and surname taken as the title are enough to evoke. From the beginning the name casts a dark shadow over the subject and suggests it is like a synthesis and symbol of a dark image, or better still a black one without nuances, of an Italian Renaissance all intrigues and atrocities…

Lucrezia Borgia. A Renaissance myth

by Massimo Firpo

In the frame of an oleoraphic Renaissance, interwoven with betrayals and vendettas, daggars and poisons, violence and passions, the romantic legend of Lucrezia Borgia has had long success, starting from the scintillating tragedy of Victor Hugo that went on stage in Paris on 2 February 1833 and then immediately taken as a model by Gaetano Donizetti and Felice Romani…

A portrait

by Luca Del Fra

The fifth of six children of Domenica Nava and Andrea Donizetti, Domenico Gaetano Maria was born in Bergamo on 8 April 1797, into a family of very modest means.  As an adult the composer would remember his childhood home as a hovel without windows, where there was never any sunlight, pointing out how his father had discouraged him time and again from embarking on a career as a musician…

Return from the past
«This opera should be heard with compassion»: the last «Lucrezia Borgia» in Torino

by Valeria Pregliasco and Giorgio Rampone

«When we expressed some reservations about the composition of the programme, we were very doubtful about the opportunity of reviving the old opera by Donizetti […]». So judged Edoardo Augusto Berta in the column of the Gazzetta del Popolo of 29 December 1919…

Further notes

by Angelo Chiarle

«Forget the Donizetti phenomenon, with all the consequent rubbish, and see only the artist, the man, isolated among hovering musical ghosts. Seeing him in those few operas where each expediency of the craft is forgotten, nothing else counts except the bright beauty of the illuminated beauty of the imagination»…

Virtual bookmarks: a walk through the web

by Michele René Mannucci

Who knows how they would manoeuvre today, on the intricate scene of the global village, the sharp intellects of the investigators born from the pen of Agatha Christie, «the woman who, after Lucrezia Borgia, spent more time in contact with crime», as Winston Churchill said …

(L’Argument, Synopsis, Die Handlung)

The structure of the opera and the instrumental layout

by Enrico M. Ferrando

Heir to the great tradition of eighteenth-century opera seria, Italian romantic melodrama preserves the «number» structure and the arrangement in narrative segments, having the function of dramatic development […], and operatic moments (the real musical pieces). The libretto is organized precisely so as to calibrate the succession of pieces by distributing them according to calculated equilibriums and by respecting precise “expediencies”