Talk:Aureliano in Palmira

The two Romanellis
Thanks for updating the librettist question, however the intro now suggests that two Romanellis may have worked on the text. That isn't likely is it? -- Klein zach  03:44, 23 June 2011 (UTC)
 * This is info from the sources. It is certainly possible that all three had a hand in this libretto, but according to Lindner's information, Romani would have joined in shortly before the premiere, since Luigi Romanelli retired on 14 December when Romani took his place as La Scala's house librettist and the premiere was on 26 December. The libretto had already been approved by the censors in June. Today nothing is known about Gian Francesco Romanelli except that he appears on the 1816 libretto as the librettist. Could he possibly have been a relative who agreed to help Luigi Romanelli, who was getting old and looking forward to his retirement? Maybe he did most of the work. All this is speculation, but the 1816 libretto is not easily neglected. Ricordi had motivation (increased sales) to use a (by that time) very famous librettist's name that would not be questioned (since he was La Scala's librettist at the time of the premiere) on a vocal score published in 1855. Perhaps we can find a more recent source which clarifies and refutes these conjectures. (BTW, I don't agree with Lindner's suggestion, that the publisher of the 1813 libretto meant a combination of Luigi Romanelli with Felice Romani, rather than Gian Francesco Romanelli. How does one get from "G. F. R." to Luigi? Maybe I'm missing something.) --Robert.Allen (talk) 05:46, 23 June 2011 (UTC)
 * Surely it's "G. F. R." to Romani? -- Klein zach  06:26, 23 June 2011 (UTC)
 * I think you are correct and that I misinterpreted what he is saying. Here's the exact quote from Lindner: "But it seems possible that 'Gian Francesco Romanelli' is derived from Luigi Romanelli and Felice Romani, owing to later ignorance of the true meaning of the acronym. In 1813 La Scala's esteemed house poet, Luigi Romanelli, retired, and Felice Romani officially succeeded to the post on 14 December of that year; hence the tight chronological linking of the two could have easily prompted such a blend." So what he really means is that G F R only refers to Romani and the libretto publishers were confused by Romanelli's presence as the house poet and invented the names Gian and Francesco out of thin air. (Is that believable?) But the main thing, is to interpret what Liindner is saying correctly, and I think you are correct. I will alter the lead and the footnote. Thanks for making me look at this again. --Robert.Allen (talk) 08:01, 23 June 2011 (UTC)
 * I had been reading Weinstock and Charles Osborne first and I think I was too influenced by them. BTW, Charles Osborne published in 1994, well after Marco Beghelli's 1991 work, so he may not have been as convinced by Beghelli's argument as Lindner was. I'll try to check whether he cites Beghelli's article. --Robert.Allen (talk) 09:03, 23 June 2011 (UTC)
 * Charles Osborne has no notes and a very limited bibliography, so he is of no help in this regard. Perhaps he was just unaware of Beghelli's work. --Robert.Allen (talk) 10:02, 23 June 2011 (UTC)

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