Sources
84ⁱⁱ. Suor Angelica

84ⁱⁱ.A.I.14.a

Location:

Missing


Sketch of the passage “Moderato e sostenuto” (at fig. 14).

This manuscript was described in Fellerer 1937c (693). Therefore, sometime in the 1930s it might have been in the possession of Puccini’s son Antonio. However, it was not mentioned in the Inventario degli oggetti e dei cimeli pucciniani conservati nella Villa Puccini di Torre del Lago of May 1952.

84ⁱⁱ.B.1

I-Mr
 (

N.III.15

)

Full score.
119 + 5 leaves, with a later stamped numeration, still preserving Puccini’s autograph double leaf numbering of 1-58 (some of which are only single leaves) obviously made during the instrumentation and certainly before the manuscript was delivered to Ricordi.
The rectos all have the stamp of the Prefettura di Milano.
Leaf 119r. contains the acknowledgement of the presentation at the Prefettura di Milano of 27 December 1918.
The music paper has 28 staves and three lines for the percussion instruments. It is pre-printed with the names of the instruments and Puccini’s monogram, but without the title of the opera. It is also the same type of paper that was used for the full scores of La Rondine and Il Tabarro (see 83.B.1 and 84ⁱ.B.1). However, as with the later parts of Il Tabarro, the title of La Rondine is no longer visible.
Puccini took pains to notate the score in a particularly legible and clear calligraphy with only a few corrections. There are no metronome indications. The rehearsal numbers are in another handwriting.

In the following summary, the stamped numeration is used:

Leave 1r. bears the autograph heading: “Suor Angelica 25 Luglio 1917 — San Giacomo —” (contrary to Puccini’s usual practice, this does not mean a place but the feast of Puccini’s patron saint, the Holy apostle Jacob).
Leaves 58/59 (numbered [by Puccini?] “Pag. 115,” “116” and “117” [leaf 59v. is blank]) were later inserted into the continuous numbering of the double leaves, without cancelling leaves 57v. and 60r., which they replace. This change — an expansion at the beginning of La Zia Principessa’s singing (fig. 45 – fig. 46) — was obviously made after the autograph full score was delivered to the publisher and even after the printing of the piano-vocal score had begun, for this insert does not exist in the copy described by Damerini (see 84ⁱⁱ.B.4). It is part of the corrections Puccini made prior to the first performances. Since the new double leaf has the stamp of the Prefettura di Milano, it must have existed by the end of December 1918.
Leaves 84-88 (with the autograph pagination of 1-10) were inserted between the double leaves originally numbered 42 and 43 by Puccini; they replaced leaf 82r., last bar (= fig. 61-2), to leaf 83v. (although those four pages were not cancelled). This means the change was made after the full score was delivered to Ricordi. The insert was made to accomplish the considerable expansion of the aria “Senza mamma” (see the second addition below and NOTES).
Near the end of the manuscript (from fig. 81), there are numerous inserts for the offstage voices (indicated as “Internamente”). The last of these inserts (on leaf 118) bears the autograph indication: “G. Puccini / 14 sett [1]917 / viareggio / ore 1 di notte / Laus Deo.”

Additions:

  1. Leaves 120-122r. (v. blank): Autograph full score of Suor Genovieffa’s aria, “Soave Signor Mio” (fig. 19-4 – fig. 20-1), transposed from E flat minor to G minor with a few changes in the orchestration (e.g. fig. 19+1/4: English horn instead of Bassoon). There is no autograph pagination, but a metronome indication at fig. 19 means it was written later than the complete autograph full score. The change was mentioned by Puccini in an unpublished letter to Carlo Clausetti of 10 July 1918 (I-Mr, Carteggio Puccini-Clausetti, no. 85) and implemented in the first piano-vocal score (84ⁱⁱ.E.1).
    The individual expression marks in this insert were included in the later editions, but not the compositional changes, which were cancelled again in 84ⁱⁱ.E.2 (q.v.).

  2. Leaves 123-124: Copyist’s full score (written on the same music paper as 84ⁱⁱ.B.1) of the second part of Suor Angelica’s aria “Senza mamma” (former fig. 62-4 – fig. 63-1) with Puccini’s autograph remarks. These leaves were probably from the earliest copy of Puccini’s autograph, for there are neither page numbers nor rehearsal numbers. Here Puccini marked in a complete cut (from former fig. 62-1) and wrote at the top: “vedi nuova musica [see the new music].” 
    This is certainly the change Puccini made at the beginning of October 1918 in order to expand the aria.Note: See Puccini’s unpublished letter to Clausetti of 6 October 1918, I-Mr, Carteggio Puccini-Clausetti, no. 97; Carteggi 1958, no. 733; and NOTES. The “nuova musica” is on leaves 84-88 of 84ⁱⁱ.B.1. 

84ⁱⁱ.B.2

I-Mr
 (

N.III.15bis 

)

21 pages of a part of a copyist’s full score (fig. 63+3 – fig. 75-4), written on the same music paper as 84ⁱⁱ.B.1 with a non-autograph pagination.
On the first page, in another handwriting, there is the heading “Suor Angelica / di / G. Puccini.” Probably like the second addition to 84ⁱⁱ.B.1, this also belongs to the earliest copy of Puccini’s autograph, as there are neither page numbers nor rehearsal numbers. It differs from 84ⁱⁱ.B.1 only in that two bars are missing (fig. 65+2/3), which may only have been a copyist’s error.

It is not clear why these pages are preserved in the Ricordi archives, since they bear no corrections in Puccini’s hand. Perhaps they only served to document the original version heavily cut in 84ⁱⁱ.E.2/84ⁱⁱ.E.2a.

84ⁱⁱ.B.3

I-Mr
 (

Z III

)

Folder on the cover of which is written in another handwriting: “Modifiche a Suor Angelica comunicate e avallate da Puccini (contiene anche alcune scritte autografe) [Modifications for Suor Angelica, transmitted and guaranteed by Puccini (also containing some remarks made in his own hand)].”

The folder comprises three components:

1)

Corrections, partly in Puccini’s hand, in a copy of 84ⁱⁱ.E.2 (separate edition). On the cover of this piano-vocal score, in another handwriting: “Corrette le ultime modificazioni dell’Autore ... / 23/12/[1]920 [the author’s final modifications corrected]” and the later (and subsequently erased) addition: “Ultime correzioni [final corrections] — 1–2–[19]21.”
The changes are very modest and particularly concern marks of dynamics and expression (mostly added in a copyist’s hand). According to the dates, they were made at the end of 1920 and the beginning of 1921. For the most part these changes were implemented in the later editions.

2)

pp. 189–198 from an earlier printing of the piano-vocal score, probably the same proof print as 84ⁱⁱ.B.4, with some changes in Puccini’s hand (most likely still dating from 1918 and in particular cancelling pp. 189-190 (fig. 62-5 – fig. 63) and 198 (fig. 70+1/16). Those cuts agree with the changes Puccini made in September 1918 (see also the second addition to 84ⁱⁱ.B.1 and NOTES).

3)

64 pages of a proof print with numerous non-autograph corrections. In one passage there is the date “10.5.[1]918”; so these corrections were also made during the engraving of the piano-vocal score some months before publication.

84ⁱⁱ.B.4

Location:

Missing


Corrections (probably in Puccini’s hand) in a proof copy of 84ⁱⁱ.E.1.

These corrections were described by Damerini in Centenario 1958, 84-88 (see also 84ⁱⁱ.D.1). According to him, in 1958 this score was in the possession of Margherita Bona Conti, Lucca, and is supposed to have belonged to the singer Salomea Krusceniski (1872–1953), the second person to perform the role of Cio-Cio-San in Madama Butterfly and the wife of Puccini’s friend Cesare Riccioni, the mayor of Viareggio. It contains several corrections in different passages. The “bis” pages containing the expansion of “Senza mamma” are not in this score, so the corrections were obviously made before this expansion, i.e earlier than autumn of 1918 (see NOTES).

84ⁱⁱ.B.5

I-Ms
 (

MS.Mus.24

)

1 leaf, 2° with 12 staves written on both sides, with the autograph heading: “Suor Angelica / Pag 199, [fig.] 69,” comprising Suor Angelica’s voice part from the words “Suor Angelica ha sempre una ricetta buona” through “io morirò” (fig. 69+3 – fig. 75-4). At the last syllable there is an accompanying chord (“A” four times, in octaves), and then two further bars of accompaniment with the indication “./. etc.” At the bottom, Puccini wrote: “pag. 202 / ultime 4 battute [last 4 bars].” At the end of the music there is the confirmation by one Fernando Semprini that he received this leaf from Puccini “durante la stagione Lirica Scaligera 1921-1922 [during the La Scala opera season of 1921–1922].”

This is obviously Puccini’s notation of the revised and shortened version of Angelica’s aria “Amici fiori,” making possible the following drastic cut. Puccini made this cut during the rehearsals for the performance of Il Trittico at La Scala on 29 January 1922 (see 84ⁱ.E.3 and NOTES).
The leaf gives the impression that it is not an original sketch, but written specifically for the recipient.

Not Known

84ⁱⁱ.D.1

Copied source Portion Bibliographic reference Page number
84ⁱⁱ.B.4

pp. 172, 189, 190, 197–20

 Centenario 1958

Tables VI-XV.

84ⁱⁱ.E.1

First Italian edition:
In: 84.E.1, pp. 121-218 (with pp. 189bis/190bis after pp. 189/190).
On the title page of Suor Angelica: Libretto di Gioachino [sic] Forzano.

After completing the full score (84ⁱⁱ.B.1), Puccini made a large number of changes during the engraving and printing of 84ⁱⁱ.E.1. The majority of them are documented (not always in his own hand) in the additions to 84ⁱⁱ.B.1 as well as in 84ⁱⁱ.B.3 and 84ⁱⁱ.B.4. Apart from the usual corrections of details, there are the following more important changes:

fig. 19 – fig. 20: Suor Genovieffa’s arietta, “Soave Signor Mio”, was transposed from E flat minor to G minor (in accordance with Addition No.1 to 84ⁱⁱ.B.1).
fig. 40-8/2: The vocal lines for Suor Genovieffa and Suor Angelica were changed (in the proof copy 87.B.4, they are still in the version of 84ⁱⁱ.B.1).
fig. 45 – fig. 46: The vocal lines and text for the Zia Principessa were changed, now com- prising 13 bars in all instead of the original 11 bars (the proof copy 87.B.4 still contains the version of 84ⁱⁱ.B.1).
fig. 61 – fig. 63: Expansion of Suor Angelica’s aria “Senza mamma” from 12 bars to 35 bars (in accordance with Addition no. 2 to 84ⁱⁱ.B.1; the proof copy 84ⁱⁱ.B.4 still contains the shorter version, i.e. the original version of 84ⁱⁱ.B.1).
Copies

See 84.E.1.

84ⁱⁱ.E.2

In: 84.E.2, pp. 121-218 (with an additional separate pagination of 1-98).

The edition was published in the first half of 1919. It includes changes authorized by Puccini, which probably were the result of discussions during the rehearsals for the first Italian performance.Note: See Ricci 1954, 178-87, as well as Carteggi 1958, nos. 741 and 745, indicating that Puccini may have been a little uncertain about what he really wanted to change.  In Rome, the episode about Sister Chiara being stung by wasps certainly was cut.Note: As documented in Rizzi 1964, 180; a facsimile of the original document is reproduced in Frajese 1977-78, vol. 2, 121. Further cuts were made in Rome after Puccini’s departure and possibly without his authorization. In Carteggi 1958, no. 749, Puccini complained to Gilda Dalla Rizza, who was singing the role of Angelica in Rome, that he was completely opposed to “quel brutto taglio dei fiori [that ugly cut of the flowers]”; perhaps this was a cut different from his own carried out later in 84ⁱⁱ.E.3 (q.v.). 
Apart from numerous corrections of details, there are the following more important changes (compared to 84ⁱⁱ.E.1).

fig. 19 – fig. 20: Suor Genovieffa’s arietta “Soave Signor Mio” was transposed from G minor back to E flat minor and so restored to its original version (see Addition no. 1 to 84ⁱⁱ.B.1 and Budden 1998b, 15-16).
fig. 24 – fig. 29: Indications for the optional cut of the wasp episode (67 bars, described by Puccini in Carteggi No. 741 of 25 January 1919).
fig. 63-1/+2: The vocal part for Suor Genovieffa was substituted for the original chorus part.
Former fig. 70+4/9: 6 bars for orchestra were cut; then the text was changed (up to fig. 71-2).
Former fig. 71+7: 1 bar for orchestra was cut.
Former fig. 72-7: 1 bar for orchestra was cut.
Former fig. 72+8/11: 4 bars for orchestra were cut.
Former fig. 73+2/3: 2 bars for orchestra were cut.

 

Copies

Copies: see 84.E.2. For a list of copies of the separately published edition of Suor Angelica, see below:

Note: Although the edition was already announced in Musica d’oggi of October 1921, p. 299, MRK only records 30 April 1924 and 31 October 1925 as printing dates, but the blind stamp date on the I-Lgp copy is March 1924. 
I-Lgp

84ii.E.2

 BS 3.24
I-Mc

Spartiti 996 a

 BS 10.25

84ⁱⁱ.E.2a

Suor Angelica. Partitura [engraved conductor’s score without title page].
Copyright 1918.
Ricordi, Milan, 1919.
PN 117711, 106 pages, 2°.

According to MRL, the production began on 19 February 1919 after Puccini had informed Ricordi of his requests for changes (see Carteggi 1958, no. 741 and no. 745 indicating a correction Puccini made on 21 February 1919).
For the most part, this edition agrees with 84ⁱⁱ.E.2. The copy in GB-Lbl contains changes of instrumentation in fig. 69+1/14, which were obviously a later addition made by a copyist, also implemented in all of the editions from 84ⁱⁱ.E.3a on.

Copies
GB-Lbl

I.411.a

registered 15 October 1975
US-Wc

M 1500.P97S7

registered 8 January 1947
I-Lgp

84ii.E.2a

registered 8 January 1947

84ⁱⁱ.E.2b

First German edition:
In: 84.E.2a, pp. 110-203 (with an additional separate pagination of 4-97).
On the title page for Schwester Angelica: Text von Giovacchino Forzano. Ins Deutsche übertragen von Alfred Brüggemann.

It was also published separately (announced in Musica d’oggi of February 1921, 63).

The first performance sung in German took place on 20 October 1920 at the Vienna Staatsoper. The edition, musically completely agreeing with 84ⁱⁱ.E.2, was obviously produced in view of that performance.

 

Copies

For a list of copies of the separately published edition of Suor Angelica, see below:
D-Mbs

4° Mus.pr.4764

 without BS
I-Lgp

84ii.E.2b

 without BS

84ⁱⁱ.E.2c

First French edition:
Sœur Angelica. Livret de Giovacchino Forzano. Version française de Paul Ferrier.
Copyright 1921.
Ricordi, Milan etc., 1921.
PN 118001, 98 pages, 4°. 

MRL records 15 September 1921 as the beginning of the production for all French editions of the Trittico operas. According to the blind stamps, all of them were ready in October 1921. MRK indicates that they were printed on 31 October (see 84ⁱ.E.2c and 84ⁱⁱⁱ.E.2c), obviously for a performance in French, expected soon. The earlier plans for such a performance had failed.Note: See Puccini’s unpublished letters to Clausetti, I-Mr, Carteggio Puccini/Clausetti, of 12 July, and to Sybil Seligman, MEL, of 21 July 1919. According to Loewenberg 1943 (705), the first time that the Trittico was sung in French was in January 1923 in Ghent (Belgium), but that was after Gianni Schicchi already had been given in much more prominent performances in the French language (see 84ⁱⁱⁱ).

Apart from a few details, the edition agrees with 84ⁱ.E.2.

Copies
I-Fn

Mus.i.837

 BS 10.21
I-Lgp

84ii.E.2c

 BS 10.21
I-Mc

Spartiti 998

 BS 10.21
I-Rsc

G.21.F.25

 BS 10.21
F-Pn

4° Vm.5 547

 BS 10.21
GB-En

Mus.H.m.251

 BS 10.21

registered 26 April 1968
US-Wc

M 1503.P977S5

 BS 10.21

registered 22 November 1921

84ⁱⁱ.E.3

Third Italian edition:
Suor Angelica. Libretto di Giovacchino Forzano ...
Copyright 1918, 1919.
Ricordi, Milan etc., 1927 (?).
PN 117406, 96 pages, 4°.

According to MRL, production began on 1 June 1921, but the edition was probably published only by the end of 1927. A few days before his departure for the Brussels hospital, Puccini complained about not having the new piano-vocal score (see Carteggi 1958, no. 902, of 29 October 1924). The copy of the separate edition of 84ⁱⁱ.E.2 in I-Mc still has a blind stamp of October 1925. According to MRK, the printing date may have been 31 December 1927.

Compared to 84ⁱⁱ.E.2, this edition implemented a drastic change in the opera that Puccini made during the rehearsals for the La Scala performance in January 1922 (see 84ⁱⁱ.B.5):

fig. 69 – fig. 75: A very much abbreviated new version of Angelica’s aria, “Amici fiori” (with 67 bars cut).

Later, this edition was published with the additional information “A cura di Mario Parenti (1963),” but totally identical. Later on, it was replaced by reprints of 84ⁱⁱ.E.3b.

Copies
I-Lgp

84ii.E.3
I-Mc

Spartiti 997

 BS 12.27

registered 18 February 1928
I-Mc

Spartiti 998 a

 Ripristino 1944
I-Mc

Spartiti 999 a (-)

 Ripristino 1944
I-Nc

Z.5.2

 without BS
I-Rsc

G.18.A.11

 BS illegible
D-B

O.97541

 Ripristino 1944
GB-Lcm

without shelf mark

 BS 12.27

USA holdings: see NUC NP 0634311, 0634314, 0634318

84ⁱⁱ.E.3a

Suor Angelica. Opera in un atto. Libretto di Giovacchino Forzano... Partitura (nuova edizione riveduta e corretta).
Copyright 1918.
Ricordi, Milan, 1927 (?)
PN 117711 - 120481, 102 pages, 2°.

 

 

Probably around the same time, the orchestral score for public sale (84ⁱⁱ.E.3b) was also published.

Copies
I-Lgp

84ii.E.3a

84ⁱⁱ.E.3b *

Formerly catalogued as 87.E.3a in Schickling 2003.

Suor Angelica. Libretto di Giovacchino Forzano. Partitura d’orchestra.
Copyright 1927.
Ricordi, Milan, 1927.
PN 120481, 102 pages, 8°.

According to MRL, production began on 11 February 1927. MRK records 31 May 1927 as the printing date.
Apart from certain details, this full score agrees with 84ⁱⁱ.E.3.

Copies
I-Fn

Mus.O.78

 BS 4.27
I-Mc

Part. op.a-12 

 BS 4.27
I-Nc

58 B.2.53

 BS 4.27
I-Rsc

G.24.F.11

 BS 4.27
I-Rsc

13.G.22

 BS 4.27
D-B

O.63893

 BS 4.27
D-Mbs

8° Mus.pr.1108

 BS 4.27
GB-Lbl

E.1204.h.

 BS 4.27

registered 29 April 1931
US-NYp

JME 75-166

 BS 4.27
US-Wc

M 1500.P97S7 1927

 BS 4.27

Other USA holdings: see NUC NP 0634312, 0634317

84ⁱⁱ.E.3c *

Formerly catalogued as 87.E.3b in Schickling 2003.

First English edition:
Sister Angelica. English version by Herbert Withers.
Copyright 1930.
Ricordi, London, 1930.
PN 121612, 105 pages, 4°.

English and Italian text.

According to MRL, production began on 21 December 1929 (an English translation by Edoardo Petri had been published earlier, but only as a printed libretto which is still being sold today). MRK records 31 March 1930 as the first printing date.
The first performance sung in English took place on 21 July 1931 at the London Royal Academy of Music (see Loewenberg 1943, 705).
Apart from some details, this edition agrees with 84ⁱⁱ.E.3. 

Copies
I-Fn

Mus.i.762

 BS 3.30
I-Mc

Spartiti 999 (-)

 BS unknown
GB-Lam

037587

 without BS
GB-Lcm

without shelf mark

 BS 3.30
US-NYp

JMF 73-139

 without BS
US-NYp

JMF 75-257

 without BS

registered 10 December 1975
US-Wc

M 1503.P977S6

 BS 3.30

registered 23 April 1930

Other USA holdings: see NUC NP 0634307, 0634308, 0634310

84ⁱⁱ.E.3d *

Formerly catalogued as 87.E.3c in Schickling 2003. 

Partitura (nuova edizione riveduta e corretta).
Copyright 1918.
Ricordi, Milan, 1958.
PN P.R.115, 102 pages, 4°.

Printed from the plates of 84ⁱⁱ.E.3b and nearly identical with it.

84ⁱⁱ.E.3e *

Formerly catalogued as 87.E.3d in Schickling 2003.

Istrumentazione per orchestra ridotta di Ettore Panizza. Ricordi, Milan, 1954 (?).

PN 128835, 102 pages, 2°.
Corresponding orchestral parts with PN 128836.

Catalogued in MRL on 19 May 1954, this score and parts are only available from the publisher on rental.

Instrumentation: 2 Flutes (also Piccolo), 1 Oboe, 2 Clarinets, 1 Bassoon, 2 Horns, 2 Trumpets, 1 Trombone (same percussion as in the original), Strings.

It is remarkable that this reduced orchestration was published so many years after Puccini’s death. Around the same time Ricordi also issued reductions of La Bohème (67.E.5i) and the other operas of Il Trittico (84ⁱ.E.3e and 84ⁱⁱⁱ.E.2f). During Puccini’s lifetime, similar orchestral reductions for small theatres only existed for Madama Butterfly (74.E.7b) and La Fanciulla del West (78.E.3b).

84ⁱⁱ.E.4

Second German edition:
Deutsche Übersetzung von Paul Esterhazy.
Copyright 1989.
Ricordi, Milan, 1989.
PN 117406, 96 + 8 pages, 4°.

Only available on rental.

The edition is musically identical with 84ⁱ.E.3. However, in an appendix it also contains the complete original version of Angelica’s aria, “Amici fiori,” in the version of 84ⁱⁱ.E.1 and therefore is listed here as a separate edition.

Nota