Studi goldoniani | 2018 | N. 7

Anno 2018 – Annata: XV – N. 7
A cura di Paolo Perilli

Autore/i articolo: Valentina Gallo
Titolo articolo: «Devotissimo e obbligatissimo servitore…». Forme e teoria della dedica goldoniana

Goldoni’s dedication letters have been the subject of increasing critical attention; in them the author invested considerable intellectual resources: they became a stylistic laboratory, in which, starting from a consolidated encomiastic rhetoric, Goldoni, experimented and exhausted the range of possibilities offered by the editorial dedication, could engage in a narrative writing and devise alternatives solutions to the logic of the market in dedications set on friendly and equal relationships.

Pag. 11-29
Etichette: Dedica, Narrativa, Teoria della letteratura, XVIII secolo, Carlo Goldoni,

Autore/i articolo: Emilien Rouvier
Titolo articolo: Per una riconsiderazione storico-critica del Burbero di buon cuore

A singular example of self-translation from French to Italian, Goldoni’s Burbero di buon cuore has been disqualified by critics as a text of little interest, mostly because of its erratic italian, full of french interferences. In this paper, after having reviewed the scarce critical tradition about the text, we will focus on pointing out Goldoni’s until now neglected effort to adapt it to Italian taste, with cuts, additions, and modifications, while sticking to the original structure and keeping most of the substance. All these amendments are precious to understand the concepts of French and italian taste in XVIIIth century theater, as Goldoni conceives them.

Lingua: Italiano/Francese
Pag. 31-43
Etichette: Commedia dell’arte, Estetica, Lingua francese, Lingua italiana, Traduzione, Carlo Goldoni,

Autore/i articolo: Simona Bonomi, Piermario Vescovo
Titolo articolo: «In due si fanno l’opre famose»: il sodalizio Goldoni-Medebach (I)

The article reconstructs what had happened before 1748, the year when Carlo Goldoni came back to Venice. The discovery of some documents which attest the marriage between actors at the Archivio Patriarcale in Venice (with reference to Examinum Matrimoniorum registers) and the leases of the Accademia degli Erranti theatre at the Archivio di Stato in Brescia, allowed to follow the evolution of Raffi-Medebach company from well-known «ballerini di corda» (rope dancers) to respectable comedians and the theatrical life of Sant’Angelo in the 1740s. So some important pieces of information about some comedians’ identities came out; for instance Maddalena Marliani was not the Gasparo Raffi’s sister, but she was Domenico Facchinetti’s daughter. Finally Goldoni’s return to Venice coincides with an exact contractual division between comedians and singers writing, suggesting an overcoming vision, inherited from the Mémoires, of musical theatres like secondary appendages to the dramatic poet’s way, to a full-scale description of Goldoni’s works.

Pag. 45-86
Etichette: Archivio, Archivio letterario, Commedia dell’arte, Gasparo Gozzi, Girolamo Medebach, Giuseppe Simonetti, Luisa Bergalli, Maddalena Facchinetti Marliani, Onofrio Paganini, Pietro Gandini, Venezia

Autore/i articolo: Eduardo Rescigno
Titolo articolo: Cattivi ragù – con o senza lardo. Dal Matrimonio per concorso di Goldoni alla Gazzetta di Palomba e Rossini

Goldoni’s play Il matrimonio per concorso (1763), published in 1775, various times was used in the musical theatre, either for an opera or for a ballet. This essay examines the process leading to Rossini’s opera La gazzetta (1816), libretto by Giuseppe Palomba, a process developed over three steps, i.e. Giuseppe Petrosellini’s La gazzetta (1789), Giuseppe Foppa’s Il matrimonio per concorso (1813), and Gaetano Rossi’s Avviso al pubblico (1814). In particular, we look at the gradual transformation of Pandolfo, Goldoni’s play main character, into Don Pomponio Storione, an hilarious Neapolitan “buffo”.

Pag. 87-108
Etichette: Commedia dell’arte, XVIII secolo, Carlo Casaccia, Carlo Goldoni, Gaetano Rossi, Gioacchino Rossini, Giuseppe Farinelli, Giuseppe Foppa, Giuseppe Mosca, Giuseppe Palomba, Giuseppe Petrosellini, Pasquale Anfossi, Napoli

Autore/i articolo: Marzia Pieri
Titolo articolo: Il teatro sognato di Pier Jacopo Martello fra il San Luca e il Pont Neuf

In the arcadian galaxy of Orsi, Maffei, Crescimbeni and Muratori, the fresh “diversity” of Pier Jacopo Martello’s theatrical thought and dramatic experimentalism stood out. He reformed the 18th century scenes influencing also Goldoni. Lover of the comedy of masks and of the opera, sensitive to the values of listening and vision, Martello attempted the adventure of printing and worked for the general public collaborating with Luigi Riccoboni. He invented a musical verse designing an encyclopedia of dramatic forms that should hold together literary dignity and acting effectiveness. However, his early intuitions regarding spectacle and reception and such a clear awareness of the scenes’ material rules were not enough to pass from theories to facts, and his project of renewing Italian theatre remained just a dream.

Pag. 109-137
Etichette: Arcadia, Commedia, Opera, Teatro, Tragedia, Lelio Riccobon,

Autore/i articolo: Anna Laura Bellina
Titolo articolo: Oreste in Danimarca ovvero Ambleto di Zeno e Pariati

A Danish Orestes. Ambleto by Zeno and Pariati · Ambleto is a libretto written by Apostolo Zeno with Pietro Pariati and inspired by Saxo Grammaticus, the same source of Shakespeare’s Hamlet. Nevertheless it does not depend on Shakespeare’s masterpiece. The opera was sung in twelve different theatres, as always in Italian, from the Venetian first performance (1706, music by Francesco Gasparini) to the last one held in Strasbourg (1750, music by Giuseppe Carcani). The only surviving score of Ambleto contains about forty arias without recitative and was published by John Walsh in London in the Favourite songs «as they are perform’d at ye Queen’s theatre» at the Haymarket in 1712.

Lingua: Italiano/Veneto
Pag. 139-155
Etichette: Opera, Teatro, XVIII secolo, Apostolo Zeno, Pietro Pariati, Sàssone il Grammatico,

Autore/i articolo: Elena Zilotti
Titolo articolo: Un sodalizio mancato: Francesco Albergati Capacelli al concorso teatrale di Parma

After a brief presentation of the context that originated the Theatrical Competition of Parma, the essay traces the phases of Francesco Albergati Capacelli’s participation in 1773 through his correspondence with the Secretary of the Regia Accademica Deputazione, Angelo Mazza. Although the comedy sent, Il prigioniero, won the first prize and was performed on July 3rd by the venetian company of Antonio Sacco, it wasn’t successful. A few reasons of this outcome, mainly due to an inexact estimation of staging times and actors not really up to the task, are closely analysed in this essay.

Pag. 157-170
Etichette: Teatro, XVIII secolo, Angelo Mazza, Antonio Sacco, Francesco Albergati Capacelli, Parma

Autore/i articolo: Emanuela Chichiriccò
Titolo articolo: Tra omissione e autocensura : vicende editoriali del Teatro comico all’osteria del Pellegrino di Carlo Gozzi nella cronistoria delle ‘gare teatrali’

The essay reconstructs the editorial history of Il Teatro comico all’osteria del Pellegrino, the very first complete analysis of Goldoni’s theatre by Carlo Gozzi. Developed as a satirical dialogue aiming to analytically and critically establish the profile of his most celebrated competitor on Venetians stages, Gozzi’s work will be published for the first time only after 40 years of manuscript circulation. Following the traces of this missed publication through the author’s own multiples re-enactments of his “theatrical battles” allows to point out several overlooked issues about his critical work and his controversial relationship with the publishing industry.

Pag. 173-20
Etichette: Editoria, Teatro, XVIII secolo, Carlo Goldoni, Carlo Gozzi, Veneto

Autore/i articolo: Sandro Frizziero, a cura di
Titolo articolo: Bibliografia goldoniana (2016)
Pag. 209-212
Etichette: Bibliografia, Carlo Goldoni,