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Subject: Re: Radames/Rhadames
From: Andrew Moravcsik <[log in to unmask]>
Reply-To:Andrew Moravcsik <[log in to unmask]>
Date:Sun, 2 Oct 2016 03:23:38 +0000
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The H is unimportant. But the hero's name does have an "accento grave" on the last e, i.e. Radamès. The accent is somehow universally lost in translation. That is far more important, if it's pronunciation we care about, because it means that the accent must fall on the last syllable. So it's not RAH-da-mes but Rah-da-MES. (Same as, say, libertà.)

Andrew Moravcsik
Princeton, NJ

-----Original Message-----
From: Discussion of opera and related issues [mailto:[log in to unmask]] On Behalf Of Jon Goldberg
Sent: Saturday, October 01, 2016 7:36 PM
To: [log in to unmask]
Subject: Re: Radames/Rhadames

It seems to me the only truly important sources for the spelling would be what Ghislanzoni and Verdi used. And I don't recall ever seeing a printing of the Italian text, in a score or a libretto, that uses an H. But...whathever...;-)


On Sat, 1 Oct 2016 18:08:53 -0400, Vesna Danilovic <[log in to unmask]> wrote:

>On Sat, Oct 1, 2016 at 5:03 PM, Jon Goldberg <[log in to unmask]> wrote:
>
>> Radames. Unless we're perhaps talking about an opera called Aidha?
>> ("Botha" is correct, of course, lol. I just don't get why people out 
>> here keep trying to put an H in Radames. I've never seen it spelled 
>> that way, except on Opera-L.)
>>
>
>I've seen it in print. Jellinek spelled it as "Rhadames" in his 
>"History through the Opera Glass" and Mariette, whose brief plot was 
>used for the AIDA libretto, also transcribed it with "rh" in his 
>letters to Verdi (written in his native French). I know that I've seen 
>it in some other books, perhaps of the older vintage as the 
>latinization changed over time and "h" was generally dropped but it's 
>still in use, though less common. I think both are fine as is often the case with many other transcriptions.
>
>Vesna
>
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