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M. Piave), TriesteDonizettiPoliuto (S. Cammarano), Naples1849VerdiLa battaglia di Legnano (S. Cammarano), RomeVerdiLuisa Miller (S. Cammarano), Naples1851VerdiRigoletto (F. M. Piave), Venice1853VerdiIl trovatore (S. Cammarano), RomeVerdiLa traviata (F. M. Piave), Venice1855VerdiLes vêpres siciliennes (Scribe, Duveyrier), Paris1856PedrottiTutti in maschera (M. Marcello), Verona1857VerdiSimon Boccanegra (1st version, F. M. Piave), Venice1857VerdiAroldo (F. M. Piave), Rimini1859VerdiUn ballo in maschera (A.

But many irregularities turned up. In Boito, for example, the nine-syllable verse was common, and the classic hendecasyllabic line remained the standard Italian line of verse. Attempts to establish a dramatic prose style, in the manner essayed by French writers, met with long resistance in Italy. 15 Rhymed verse still appeared in Boito's Nerone (1924), though the libretto of Alfano's Risurrezione (1904), adapted from Tolstoy's novel by Cesare Hanau, was cast entirely in prose. Vocabulary remained formal and codified at the start of the nineteenth century, with amore (love),16 dolor (grief), cor (heart), Dio or Iddio (God), felice (happy), gioia (joy), nemico (enemy), onore (honor), perfido (betrayal), sciagurato (wretch), and traditor (traitor) turning up on every page.

The working environments and concerns of the most celebrated librettists of the period differed widely indeed: Romani was active in Milan, Gaetano Rossi and Piave in Venice, Tottola and Salvatore Cammarano in Naples; and there is very little in common between Romani's classical, aristocratic talent and the themes of adventure, patriotism, and conspiracy that characterize the genius of Solera. At the beginning of the nineteenth century, most of these writers devoted the greater part of their time to authoring librettos, as the numbers testify: Tottola produced one hundred, Rossi more than 130, Romani and Cammarano around fifty each, Piave approximately sixty, and for Ghislanzoni some eighty-five.

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