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Subject: Re: Transposing Upwards - Devia
From: "Takis Pavl." <[log in to unmask]>
Reply-To:Takis Pavl.
Date:Fri, 9 Dec 2005 23:22:26 +0000

text/plain (62 lines)

    That is correct, there is no transposition. Those are the original keys. All of these (Regnava nel silenzio, mad scene, Lucia Enrico duet) can be heard in their original keys, in the live performance of the opera in 1990, Rome with Mariella Devia singing all the traditional ornaments plus the top F's.

  The same artist is the only to have included an extra penultimate sustained top F in her Ah non giunge in Palermo 1992. The recording is wonderful.

  Her "e spento" in the 2001 Lucrezia Borgia also goes higher than usual, think it's an Eflat but don't remember now.

  The booklet of Gruberova's Semiramide mentions that she transposed bits of the role being a higher soprano, I don't think she ever commented on it.


Jack Singer <[log in to unmask]> wrote:
  Many of the listed traspositions are, in fact, the
original keys of these arias. Donizetti wrote the Mad
Scene in F, though it is traditionally printed and
perfomed in E-flat.(Dame Joan, in later years, had the
scene transposed to D-flat as not to disappoint the
high note fanatics.) The great Lucia-Enrico duet,
"Soffriva nel pianto," was also written a full whole
tone higher than the printed key of G. This means in
order to fulfill the traditional interpolations Lucia
would cap the scene with a high E in alt, and the
Enrico a high A. Sutherland and Milnes recorded the
duet it its original tonality on their Decca LUCIA,
but the Mad Scene remains in the printed key of
Romeo's "Ah. Leve-toi soleil," was origianlly written
in B-Major. It is now traditionally printed in B-Flat.
Kraus obviously prefered the brilliance of the
original key in his voice.

The Doll song of Olympia was originally written in
G-Major. A half tone lower than the traditionally
performed key of A-Flat.


Jack Singer

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