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operas for piano and voice, with the composer becoming "...ruefully aware that music which he had reused from what he took to be a failed opera would now be seen to have been recycled." Although
Rossini agreed to the publication of his work, it was not without some reservations: writing to Tito Ricordi on 14 December 1864, he accepts that publication will reveal that, "The same pieces of music will be found in various operas," but notes that the time pressure to compose so many works meant that, "I barely had time to read the so-called poetry to set to music." In all, Rossini also worked with three generations of Ricordis.
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239:, as well as in London (1875) and Paris (1888). With this expansion under the elder Tito, another of his accomplishments was in modernizing printing methods. With the acquisition of rival publishers, by 1886 Ricordi handled 40,000 editions as well as the Italian rights to Wagner's operas. In the 20th century, the company's expansion continued with acquisitions and new branches, which included those in New York (1911), SĂŁo Paulo (1927), Toronto (1954), Sydney (1956), and Mexico City (1958).
631:. However, in spite of good relationships with their publishers, 19th century composers' scores suffered massive changes from what they originally wrote. Long after the deaths of Rossini, Bellini, and Donizetti, a variety of changes continued to be made to scores at the behest of people such as conductors who (as Gossett notes), if they "want an extra trombone, it was added, and its origin was soon masked...the entire system encouraged a
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572:, as well as to his future compositions, thus marking the beginnings of a long working relationship with that composer by three generations of Ricordis, most especially Giulio Ricordi. However, it is known that Verdi was unhappy with the elder Tito on occasion over what appeared to be the publisher's "sanctioning, for financial gain, mutilated performances of his works". These concerns carried over to the 20th century.
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196:(1840–1912). He had also worked for his father, beginning full-time in 1863, and then took over from 1888 until his death in 1912. Finally, Giulio's son, also named Tito, (1865–1933) replaced his father until 1919. By the 1840s and throughout that decade, Casa Ricordi had grown to be the largest music publisher in southern
351:
began to publish full scores from the 1850s, they were never made available for sale, only for rent to opera houses. Quite quickly, as Verdi's operas became more and more popular, this approach extended to producing all of the orchestral parts for each opera, most especially the three great successes of the 1850s,
339:
In contrast, many of
Ricordi's competitors produced "hackwork manuscripts" in no way based on the composers' autographs. In 1844, the company produced its "Gran Catalogo", which focused on music for the theatre, and included the work of what it called its "house composers," which included Rossini, Bellini,
192:(1785–1853), the Ricordi company became a totally family-run organization until 1919, when outside management was appointed. Four generations of Ricordis were at the helm of the company, Giovanni being succeeded in 1853 by his son Tito (1811–1888) (who had worked for his father since 1825). Tito's son was
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The first work, which the new company published in 1808, was a guitar piece by
Antonio Nava. This was followed in 1814 by the first catalogue, which contained 143 items. The 1814 catalogue included mostly piano arrangements of operatic tunes and some individual numbers as well as pieces for guitars,
338:
It was through the gradual accession to the rights to control La Scala's archives, as well as subsequently-produced operas, that he was able to bypass the limitations on publishing full scores, and—as
Gossett notes—"not be its employee but a private entrepreneur from whom theatres rented materials".
680:
Many poor quality published scores from the 19th century had been poorly-copied or had become severely cut or severely added-to, leading
Macnutt to note that the additions to the scores had created "totally inauthentic versions," which were still being used well into the 20th century by performers:
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As business expanded, it became clear to
Giovanni that also producing string and choral parts, for which there would be great demand by opera house orchestras, was another means of expanding the firm's involvement and also assuring composers that there would be uniformity. However, although Ricordi
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In addition, another of
Giovanni's strategies was to acquire—beyond just the publishing rights—the right to represent the composers to the opera companies and theatres that would present their work, so that successive performances elsewhere would bring in additional royalties. In that way, Giovanni
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Throughout these years he was acutely aware of the limitations of copyright law, as varied as it was throughout both the country and the continent. While he was able to secure performance rights to individual numbers and then, engraving them onto copper plates, easily make reproductions from there,
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Under the auspices of the
University of Chicago's Center for Italian Opera Studies, Philip Gossett has been General Editor for critical editions of Verdi's operas, as well as those for many of Rossini's operas produced in collaboration with the Fondazione Rossini in Pesaro. Gossett was involved
585:
In 1815, the young
Donizetti, then almost 18, traveled from Bergamo to Bologna with the aim of further studies, all this having been orchestrated by his teacher Simon Mayr. In addition to providing money, he equipped his young pupil with two letters, one of which was addressed to Giovanni Ricordi,
741:
is also available from
Chicago in an edition edited by musicologists Luca Zoppelli of the University of Friborg, Switzerland, and Alessandro Roccatagliati of the University of Ferrara, Italy, members of a group for the Ricordi project, which also includes Fabrizio Della Seta and Claudio Toscani,
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had been staged in Venice in 1813, the composer made the acquaintance of Giovanni, who was then starting his business in Milan although still involved with La Scala. A strong relationship was established between publisher and composer and, between 1846 and 1864, the company published all of his
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and his successors acquired more-or-less total rights to their composers' works. As Rossini's operas gave way to those of Bellini, the rise of Donizetti followed until his death, and then the preeminence of Verdi, the position of each composer was strengthened by this growing strategy.
305:, which specialized in producing manuscript copies of music for local music groups, and very quickly, he became official copyist for two theatres. He entered into what became a short-term partnership with Felice Festa, an engraver and music seller, but that ended in June 1808.
507:
was performed at La Scala in Milan on 24 January 1885, and the score was published in 1887. To Puccini in particular, Giulio became something of a father-figure, feared (since Giulio often needed to be censorious over Puccini's dilatory work habits) but deeply trusted.
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for whom he had been an editorial consultant for some years. Mayr recommend the young man to the publisher, the result being that Donizetti's first composition to be published, a set of variations on a theme from Mayr's 1813 opera
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The Ricordi company also published Giuseppe Verdi's later operas, Giulio having established a relationship with the composer as a young man. Over a ten-year period, he convinced Verdi to give the young librettist and composer
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In fact, in regard to the printing of full scores in Italy, Macnutt in his article "Publishing" in Sadie, notes that: "The full scores published in Italy in the first half of the century were eight Rossini scores printed in
766:, the company's recording label, which began in 1958, but was preceded by the company entering into the popular music business and founding “Radio Record Ricordi” (“RRR”) ten years earlier. The first record release was
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With the death of Giulio, the firm was headed by his son, Tito II, who has been described as someone who "lacked both charm and judgement. He and Puccini disliked each other..", the result being that the composer's
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All of this cooperation has "served gradually to enhance Ricordi's reputation among scholar and performers" and the extent to which the huge project has already advanced and will advance is illustrated on the
672:, " most successful contemporaries". Upon Tito's retirement in 1919 management passed outside the family, although, with the company's control over the work of Verdi and Puccini, it retained its pre-eminence.
214:
As younger employees under their fathers and then as leaders of the company, the succeeding Ricordis made great strides in establishing publishing relationships with opera houses outside of Milan, including
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attitude".... It was not until the late 19th century that the full orchestral scores of these four major composers were published by Ricordi and this "marked the beginning of the modern era of publishing".
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soon to be published The Fondazione Donizetti, in the composer's hometown of Bergamo, has been Ricordi's collaborator in the production of critical editions of his operas under the direction of Professor
699:—have been prepared with increasing cooperation from Ricordi, which has allowed scholars to view the original autographs and has become a collaborator in the preparation of these critical editions.
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formed a large part of the orchestra, and the performance was enough of a success that Casa Ricordi purchased the opera. When revised into a two-act version with an intermezzo between the acts,
258:, but their collections had already been safely stored away. Following reconstruction after the war, Ricordi was converted to a limited corporation by the family in 1952 and in 1956 it became a
681:"the widely held view that the existing scores (particularly of operas from the first half of the 19th century) whether for sale or hire, often offer inaccurate or incomplete texts". This led
592:, appeared later that year. It marked the beginning of a lifelong business arrangement between Donizetti and the Ricordi company, except for difficulties in 1839 over the handling of
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150:. Its classical repertoire represents one of the important sources in the world through its publishing of the work of the major 19th-century Italian composers such as
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Giovanni Ricordi, a violinist, leader of a small orchestra in Milan, as well as "a genius and positive force in the history of Italian opera," in 1803 had a firm, a
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opera house after 1844, eventually moving to its present location on the via Berchet. However, these premises suffered severe damage from aerial bombardment during
1189:"The Works of Vincenzo Bellini in critical edition published by Casa Ricordi in cooperation and with the contribution of Teatro Massimo 'Vicenzo Bellini', Catania"
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using the composers' autographs and many other sources—including access to the Verdi autographs granted to scholars by the Carrara-Verdi family at the
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he found that the full orchestral scores were still guarded in Italy, although German and French publishers were printing entire scores with impunity.
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that were extremely popular throughout Europe in the late 19th and early 20th centuries. Ricordi company posters included works by celebrated
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in 1824, followed by 19 operas by Rossini, and eight by Bellini, along with the significant group of today's lesser-known composers such as
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Giulio Ricordi. Tito encouraged his son's involvement with the company from the 1860s and he ran it from 1888 until his death in 1912.
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Similarly, preparation of critical editions of Bellini's operas began in 1999 by Casa Ricordi working in collaboration with the
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to the view that "by the end of the century, materials rented by Ricordi were frequently far from the composer's original".
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to compose another opera. While this strategy took some years to achieve, it proved to be successful, as was the opera,
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In its early days, the company established itself under the portico of the Palazzo della Ragione and then close to the
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Having already acquired the La Scala holdings, in 1839 Giovanni bought the copyright to Giuseppe Verdi's first opera,
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Ricordi has also developed a role in the publishing of contemporary music, with a catalogue including the work of
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Giulio also had the good sense to promote younger composers of merit, most especially the operatic career of
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contributed a very great deal to the prestige of the Casa Ricordi as it also produced several magazines (
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Giuseppe Verdi and Giovanni Ricordi, with Notes on Francesco Lucca: From 'Oberto' to 'La traviata'
1304:(2006), "Enter Giovanni Ricordi" and "Casa Ricordi, Transmissions, and Performing Traditions", in
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However, relationships with composers had begun well before 1839. In fact, shortly after Rossini's
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performed by Maria Callas, but the period also saw the beginning of its popular music activities.
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in Naples. They also established branches of the company within Italy – in 1864 it expanded to
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but Macnutt notes the most important single inclusion as being the complete vocal score of
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in London and Gabriele Dotto, who led Ricordi's editorial department from 1992 to 2001.
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Critical editions prepared by the Donizetti Foundation and in cooperation with Ricordi
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Additionally, under Giulio the company went into the business of printing advertising
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Rossini to Tito Ricordi, in Gossett (ii) 2004, "Compositional methods", Senici, p. 81
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By 1840, the firm had control of hiring material for many composers: it had acquired
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Since 1964, under the direction of the company's then-new president, Guido Rignano,
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by Ratti Cencetti & Comp. in Rome in the 1820s and a single Bellini opera,
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Gossett 2006, p. 363: Gossett says 2003; University of Chicago Press says 2007
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in March 1881. In alliance with Verdi's wife and Verdi's friend, the conductor
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was published by a rival company, Sonzogno, which also handled the work of
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without charge, when it premiered on 31 May 1884 at the Teatro Dal Verme.
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was the first to appear under the imprint of the University of Chicago.
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company. With 135,500 editions by 1991, Ricordi was acquired in 1994 by
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The Critical Edition of the Works of Vincenzo Bellini; Series I: Operas
236:
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there until 2005; since then he has been working with music publisher
30:
This article is about the publishing house. For the Italian film, see
1396:, Vol. Three, pp. 1154–1166. London: Macmillan Publishers, Inc.
1369:, Vol. Three, pp. 1317–1319. London: Macmillan Publishers, Inc.
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in Germany, which most recently has produced a critical edition of
1431:, December 2014, pp. 31–33. (History of the Ricordi company)
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University of Chicago's Center for Italian Opera Studies website
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Universal Music Publishing Classical Critical Editions website
369:, and those that followed when Tito Ricordi headed the firm.
1214:, 2007 and 2009. University of Chicago Press lists two works
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Since World War II, these have included such enterprises as
1453:
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Richard Macnutt; Mariapia Rosso (2001). "Canti, Giovanni".
1308:, pp. 97–106. Chicago: University of Chicago Press.
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In 1888 the company acquired the music publishing firm of
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1318:
Gossett, Philip (ii) (2004), in Senici, Emanuele (ed.),
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the opportunity to help him to revise the original 1857
317:, which was regularly performed at La Scala until 1820.
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and in 1842 the company created the musical journal the
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Universal Music Publishing Classical Critical Editions
335:, published by Pittarrelli about 1833, also in Rome."
1417:, Ithaca, New York: Northeastern University Press.
1113:"Critical Edition of the Works of Giachino Rossini"
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831:. This began in 1984 with the world premiere of
1324:, Cambridge: Cambridge University Press, 2004.
401:), and various other once famous publications (
246:Ricordi Company offices next to La Scala (1844)
1386:Macnutt, Richard (ii) (1998), "Publishing" in
1227:International Encyclopedia of Women Composers
8:
286:Cover of Ricordi's first publication in 1808
188:in 1808 as G. Ricordi & C. by violinist
41:
1306:Divas and Scholar: Performing Italian Opera
845:, presented under the musical direction of
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441:lure the ageing composer out of retirement
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1284:, Cambridge: Cambridge University Press.
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210:Tito Ricordi, (1811–1888), Giovanni's son
1504:Publishing companies established in 1808
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729:in the composer's hometown of Catania.
455:in 1893, both set to libretti by Boito.
1019:10.1093/gmo/9781561592630.article.04765
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548:Adolfo Hohenstein (also known as Adolf)
1345:. New York: Music-Garland Publishing.
1122:on fondazionerossini.com. (In English)
653:The published works of Donizetti, 1920
1454:Ricordi history and listings at IMSLP
7:
1427:Wulf, Franz, "Making Masterpieces",
180:(1785–1853), founder of Casa Ricordi
1474:Music publishing companies of Italy
270:in 2007. It is now Italy's largest
1444:on ricordicompany.it. (In English)
1321:The Cambridge Companion to Rossini
385:With the nickname Jules Burgmein,
294:Piano and vocal score for Verdi's
25:
1393:The New Grove Dictionary of Opera
1366:The New Grove Dictionary of Opera
645:The company under Tito Ricordi II
266:, which in turn was purchased by
62:Universal Music Publishing Group
1484:Sheet music publishing companies
676:Preparation of critical editions
407:l'Opera Omnia di Frédéric Chopin
373:The company under Giulio Ricordi
268:Universal Music Publishing Group
27:Italian publisher of sheet music
1489:Former Bertelsmann subsidiaries
1077:Macnutt (i) 1998, pp. 1318—1319
415:Le Sonate di Domenico Scarlatti
1442:History of the Ricordi company
1170:Ricordi company history, p. 31
589:La rosa bianca e la rosa rossa
1:
1448:"The history of Casa Ricordi"
1091:"What is a Critical Edition?"
491:Adolf Hohenstein, Poster for
166:, and, later in the century,
562:Relationships with composers
439:, Ricordi's strategy was to
202:Gazzetta Musicale di Milano.
142:is a publisher of primarily
73:; 216 years ago
34:. For the record label, see
1450:on ricordi.it. (In English)
1355:Macnutt, Richard (i) (with
1230:. Books & Music (USA).
1132:"Gioachino Rossini – Works"
1031:Osborne 1996, p. 28 and 372
554:, Giovanni Mario Mataloni,
538:, Luigi Emilio Caldanzano,
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1479:Opera publishing companies
974:Macnutt (ii) 1998, p. 1163
403:La biblioteca del pianista
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1413:Osborne, Richard (1990),
920:Macnutt (i) 1998, p. 1318
900:Macnutt (i) 1998, p. 1317
499:Fellow students from the
411:L'arte musicale in Italia
46:
1282:Donizetti and his Operas
1224:Cohen, Aaron I. (1987).
1063:Gossett 2006, p. 104—105
732:I Capuleti e i Montecchi
1359:) (1998), "Ricordi" in
1011:Oxford University Press
962:Gossett 2006, pp. 98—99
939:Ricordi Company history
343:, Donizetti and Verdi.
1252:"Ana Serrano Redonnet"
727:Teatro Massimo Bellini
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1499:Universal Music Group
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608:Il crociato in Egitto
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104:Headquarters location
1179:on ricordicompany.it
1049:Ashbrook 1982, p. 10
995:Gossett 2006, p. 101
983:Gossett 2006, p. 100
948:on ricordicompany.it
825:Ana Serrano Redonnet
813:Clara Sinde Ramallal
552:Leopoldo Metlicovitz
391:La gazzetta musicale
264:BMG Music Publishing
1341:Jensen, L. (1989),
1141:on baerenreiter.com
886:Gossett 2006, p. 97
859:Casa Ricordi (film)
821:Salvatore Sciarrino
781:Giorgio Battistelli
623:, and the brothers
558:and Aleardo Villa.
464:Amilcare Ponchielli
315:Adelasia ed Aleramo
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32:Casa Ricordi (film)
18:Ricordi (publisher)
1175:2014-03-02 at the
1156:2014-02-21 at the
1137:2014-02-24 at the
1118:2014-02-22 at the
1089:Patricia Brauner,
1007:Grove Music Online
944:2014-03-02 at the
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613:Saverio Mercadante
536:Leonetto Cappiello
501:Milan Conservatory
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462:. Others included
395:Musica e musicisti
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1337:978-0-521-00195-3
1330:978-0-521-80736-4
1278:Ashbrook, William
1237:978-0-9617485-2-4
841:to a libretto by
693:critical editions
550:, Franz Laskoff,
544:Marcello Dudovich
540:Ludovico Cavaleri
513:Lucca & Canti
495:for Ricordi, 1914
332:Beatrice di Tenda
156:Gaetano Donizetti
152:Gioachino Rossini
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114:Publication types
96:Country of origin
16:(Redirected from
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476:Umberto Giordano
468:Alfredo Catalani
428:Simon Boccanegra
313:'s 1806 opera,
221:Teatro San Carlo
190:Giovanni Ricordi
178:Giovanni Ricordi
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256:World War II
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140:Casa Ricordi
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42:Casa Ricordi
710:Maometto II
705:Bärenreiter
697:Villa Verdi
670:Leoncavallo
625:Luigi Ricci
366:La traviata
327:lithography
235:(1871) and
184:Founded in
117:Sheet music
1468:Categories
1261:2022-08-21
865:References
839:Luigi Nono
809:Kevin Puts
742:editor of
661:La rondine
433:Boccanegra
341:Mercadante
311:Simon Mayr
303:copisteria
278:Beginnings
1429:Opera Now
1390:, (Ed.),
1363:, (Ed.),
817:Nino Rota
768:Cherubini
754:website.
744:Montecchi
603:Meyerbeer
354:Rigoletto
217:La Fenice
1494:Sony BMG
1280:(1982),
1173:Archived
1154:Archived
1135:Archived
1116:Archived
942:Archived
853:See also
834:Prometeo
666:Mascagni
578:Tancredi
534:such as
505:Le villi
481:Le villi
452:Falstaff
252:La Scala
231:(1865),
229:Florence
129:.ricordi
1415:Rossini
1272:Sources
528:posters
237:Palermo
86:Founder
76: (
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569:Oberto
474:, and
446:Otello
363:, and
225:Naples
198:Europe
194:Giulio
870:Notes
773:Medea
186:Milan
148:opera
108:Milan
99:Italy
1419:ISBN
1405:ISBN
1398:ISBN
1378:ISBN
1371:ISBN
1347:ISBN
1333:ISBN
1326:ISBN
1310:ISBN
1293:ISBN
1286:ISBN
1232:ISBN
668:and
627:and
519:and
397:and
233:Rome
146:and
131:.com
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