Sources
91. Turandot

91.A.1

Location:

Missing.


Copy of the libretto with Puccini’s autograph annotations and musical sketches (mentioned in Celli 1985b; see also Maehder 1984, 84).

91.A.I.1.a

Location:

Missing


Sketch of the beginning.

Described in Fellerer 1937c, 693-94; therefore, this manuscript was in the possession of Puccini’s son Antonio in the 1930s, but it is no longer in I-TLp. This is obviously a different sketch than 91.A.I.1.b, but certainly an early form of it, probably written around the same time as 91.A.I.2.a.

91.A.I.1.b

D-B
 (

N.Mus.ms.113; previously in Stargardt’s auction of 23/24 November 1971.

)

2 pages, 4° with 12 staves (see 91.D.1) and the autograph heading: “Turandot atto I°.”

This is Puccini’s draft of what is now the first 23 bars of the opera, although they were considerably altered when he orchestrated this music. There are also 5 more (cancelled) bars with variants for bars 24 and 25 of the definitive version. Since we know that Puccini began to notate the short score of the continuous composition in May 1921 (see NOTES), this draft may have originated from that time.
An analysis of the draft is found in Bögel 1978, 232-34.

91.A.I.2.a

US-NH
 (

Koch 989

)

1 leaf, 4° with 12 staves (see 91.D.2).

This leaf, thoroughly analyzed in Atlas 1991a, certainly originated from the phase of work that immediately preceded Puccini’s first continuous composition draft of the opera (i.e. around the second half of April 1921; see NOTES).

The recto contains the following three single sketches for the first act (the verso is blank):

1)

1 bar from the beginning of the opera (fig. 2-5/4) with the Mandarin’s text: “ma chi affronta il ci-[mento]”, which is certainly the continuation of the passage begun on the preceding page that is missing.

2)

Sketch for a funeral march associated with Liù by later additions in Puccini’s hand and subsequently used for her music. It was originally probably intended as the funeral march for the Prince of Persia.

3)

Sketch for the scene of the rising of the moon (from fig. 17).

91.A.I.2.b

I-TLp

1 double leaf, 2° (35 × 25 cm) with 12 staves.

Draft for Act 1 (fig. 2-5 – fig. 4+5), with corrections and some individual bars Puccini cancelled.
This double leaf is certainly the continuation of 91.A.I.1.b.

91.A.I.4.a

Location:

Private collection in Italy


2 leaves, 2° with 12 staves.

Draft for Act 1 (fig. 4+6 – fig. 6+3).
These leaves are certainly the continuation of 91.A.I.2.b.

91.A.I.6.a

I-TLp

1 double leaf, 2° (35 × 25 cm) with 12 staves, written only on one page, comprising a draft for Act 1 (fig. 6+4 – fig. 7-1), which is certainly the continuation of 91.A.I.4.a.

91.A.I.7.a

I-TLp

2° (35 × 25 cm) with 12 staves, headed: “Marcia funebre ♩= 58.”

Draft for Act 1 (fig. 7+1 – fig. 8-1).
This leaf immediately follows 91.A.I.6.a. As with the preceding leaves in this series, this draft also originated in May 1921.

91.A.I.23.a

Location:

Missing


1 page, 4° with 10 staves (see 91.D.3), with the autograph heading: “Largo / Turandot appare / Tutti faccie / a Terra [Turandot appears / All are prostrate].”

This is obviously a draft for Turandot’s entrance in Act 1 (at fig. 23), which certainly belongs to the phase of work when Puccini was notating the continuous composition, i.e. probably at the end of May 1921 (see NOTES).
A facsimile of this draft was published in Fellerer 1937a, Illustration 13. Therefore, in the 1930s, this manuscript probably was in the possession of Puccini’s son Antonio, but it is no longer in I-TLp.

91.A.II.42.a

Location:

Missing


Sketch for the boys’ chorus from fig. 42 in Act 2. With a note in Puccini’s hand: “Prolungare [to be extended] 25.3.23.” The note shows the time of origin, as well as the provisional nature of the sketch.

It was described in Fellerer 1937c, 694. Therefore, in the 1930s, this manuscript probably was in the possession of Puccini’s son Antonio, but it is no longer in I-TLp.

91.A.II.43.a

Location:

Missing


Sketch for the beginning of Turandot’s aria, “In questa Reggia”, on which Puccini wrote and (later) crossed out the words: “assolutamente fatta [absolutely finished]” and “Forse Aria Edgar [perhaps the aria from Edgar].”

This sketch certainly originated near the end of March 1923. It is not certain if Puccini’s reference to the “Aria Edgar” means Fidelia’s aria “Nel villaggio d’Edgar” in Act 3 of Edgar or indicates that he considered the possibility of using an aria from the deleted fourth act of that opera.
It was described in Fellerer 1937c, 694. Therefore, in the 1930s, this manuscript probably was in the possession of Puccini’s son Antonio, but it is no longer in I-TLp.

91.A.II.45.a

Location:

Private collection in Germany (formerly in the possession of Guido Zuccoli). Concerning Zuccoli and his role in the composition of the opera, see NOTES.


1 leaf, 4° with 10 staves, written only on one page and consisting of three sketches of 17 bars in all for Turandot’s aria in Act 2 (fig. 45+1/2, 45+9/11, and 47+1/5), but later realized in a completely different way.

These sketches probably originated in April 1923 (see NOTES).

91.A.II.48.a

Location:

Last recorded at the Lion Heart Autographs auction of 15 May 2015, lot 65. Earlier offered for sale by John Windle Antiquarian Bookseller, San Francisco (spring 2013, no. 68), Bauman Rare Books, Philadelphia (2004), and Lisa Cox, Exeter (England), Catalogue 41, 2002, No. 92.


1 leaf, 4° with 10 staves (see 91.D.4).

According to Celli 1985b, 61, in 1951 this manuscript was in the possession of Guido Zuccoli’s daughter.
The recto consists of 4 bars without text (+ 3 cancelled bars). Above, in Puccini’s hand are the words: “Trovare melos [find a melody]”. On the verso, Turandot’s text: “[Gli e]nigmi sono tre, la morte è una!” is sketched in 2 bars.
These are two sketches for the beginning of the riddle scene (Act 2, fig. 48-1/+1). They probably belonged to the sketches Puccini wrote before he began the continuous composition of the original version of Act 1 (which then also comprised what is now Act 2). Therefore, they probably date from May or June 1921.
They are analyzed in Celli 1985b, 45-48, and in Bögel 1978, 235-36.

91.A.II.48.b

Location:

Last known to be offered for sale by the antiquarian Lisa Cox, Exeter (England), Catalogue 35 of 20 November 1998, No. 127.


1 leaf, 4° with 10 staves (see 91.D.5).

According to Celli 1985b, 61, in 1951 this manuscript was in the possession of Guido Zuccoli’s daughter.
Draft of 9 bars for the beginning of the riddle scene (Act 2, fig. 48 – fig. 49+2). On the recto, after the second bar, Puccini wrote the date: “4.2 / [19]24.”
This leaf probably originated earlier, in April or May 1923, and (as shown by the autograph date and corrections) it was obviously revised in February 1924 when Puccini was orchestrating this passage (see NOTES).

91.A.III.24.a

Location:

Last known to be in the Libreria musicale Gallini, Milan.


1 page on Giacomo Puccini’s letterhead (“Giacomo Puccini / Viareggio”), containing 2 bars of music, signed and dated at the bottom in Puccini’s hand: “Giacomo Puccini / Viareggio 1923.”

Sketch for the beginning of Liù’s aria, “Tanto amore, segreto” (Act 3, fig. 24+1/2). In the full score, the accompaniment in the first violins is different.
This certainly is a version of this music sketched prior to the composition draft of the last act. The autograph inscription leads one to believe that Puccini made a present of the manuscript to an unknown recipient, but it may in fact have originated in August or September 1923.

91.A.III.35.a

Location:

Private collection in Germany


1 double leaf, 4° with 12 staves (see 91.D.6).

According to Celli 1985b, 61, in 1951 this manuscript was in the possession of Guido Zuccoli’s daughter.
The outer pages (pp. 1 and 4) comprise a mostly monophonic sketch of 36 bars without text, which was later used for Liù’s aria, “Tu che di gel sei cinta” (Act 3, from fig. 27), presumably dating from September 1923.
An analysis of this sketch is found in Celli 1985a, 48-50.
The inner pages (pp. 2–3) comprise a sketch of 12 bars with the autograph heading: “Stacco per duettone [Interruption for the great duet],” probably referring to an orchestral transition from the music after Liù’s death to the final duet. On p. 3, Puccini wrote: “Nel villaggio / ma ad accordi / e armonizzato / diverso / e movenze / moderne / e riprese / e sorprese / etc. / Poi altro motivo / suo [Nel villaggio / but with chords / and harmonized / differently / and modern motions / and reprises / and surprises / etc. / Then her other motif]”— doubtless an allusion to Fidelia’s aria “Nel villaggio d’Edgar” in Act 3 of Edgar.
This sketch presumably dates from January 1924 (see NOTES).

91.A.III.35.b

I-Mr
 (

N.III.21

)

22 leaves, 4° with 10 staves (see 91.D.7 – 91.D.24), comprising sketches for the final scene of the opera.
14 of the leaves are written on both sides, 8 are only written on one side, numbered 1-23 by a later stamped pagination on the upper right corner of the rectos. Leaf 3 is missing, and the actual page 2v. is indicated by an unknown hand as 3v. “incollata sopra la 2v. [(previously) glued to p. 2v.].”
On page 2r., Puccini wrote “vive / 10.10.[19]24” in the right margin, above one bar that was previously crossed out.Note: Puccini’s used the word “vive” in his musical manuscripts to indicate that the material to which it referred was still valid.
According to Celli 1985b, 61, these sketches were formerly in the possession of Guido Zuccoli’s daughter. At that time, they had another pagination (which is no longer visible) in another hand-writing, but certainly not Puccini’s; see Celli 1985b, Fig. 6 and 7.
These are Puccini’s sketches of different passages for the final duet and the end of the opera, left unfinished at the composer’s death and used by Franco Alfano to complete the score (see NOTES). These sketches were in different stages of development, ranging from preliminary cursory ideas to continuous drafts of specific passages. The pagination does not correspond exactly to the position of the sketches in the sequence of the opera, nor does it pertain to any chronological order.
Descriptions and analyses of these sketches are found in Celli 1985b (pages 7r. and 17r. only) and in Maehder 1984 (very thoroughly).Note: Some of these sketches are also discussed in Maguire 1990 (with the questionable objective of creating an authentic reconstruction of Puccini’s real intentions for the final scenes). 

91.A.III.36.a

Location:

Last offered for sale by the antiquarian J. Voerster, Stuttgart (see the catalogue Liber Berlin 2000, 229).


1 leaf (only one page contains writing), 4° with 10 staves comprising a sketch of 7 bars from the beginning of the final duet (from fig. 36+5).

This certainly pre-dates the sketch for the same music written on page 2r. of 91.A.III.35.b and may have originated in April 1924 (see NOTES).

91.A.III.36.b

Location:

Private collection in Germany (formerly in the possession of Guido Zuccoli).


1 leaf (only one page of which contains writing), 4° with 10 staves comprising a sketch of 11 bars (+ 1 bar deleted at the beginning) from the start of the final duet (fig. 36+2/8).

Like 91.A.III.36.a, this sketch certainly precedes the one written on page 2r. of 91.A.III.35.b and, likewise, may date from April 1924 (see NOTES). The lyrics differ slightly from the definitive text which the librettists only provided in October 1924.

91.A.III.38.b

Location:

Last offered for sale by antiquarian J. Voerster, Stuttgart. Formerly in the possession of Guido Zuccoli.


1 leaf (only one page of which contains writing), 4° with 10 staves comprising a sketch of 9 bars with the autograph heading: “Per duetto 3°.” It concerns the music surrounding fig. 38 in the final duet and is probably an earlier version of leaves 10v. and 11r./v. in 91.A.III.35.b.

91.B.1

I-Mr
 (

N.III.17-19

)

Full score.
225 leaves, 2°, mostly written on both pages (440 pages of music in all). The upper right corner of the rectos bears a stamped numeration of 1-225 (according to information on pp. 76r. and 172r., this numbering was made in November 1938).

The music paper has 35 staves, with 4 lines for the percussion instruments. Every page is pre-printed with the title “Turandot” and Puccini’s monogram, as well as the pre-printed names of the instruments (with the exception of one harp and the organ), and only the indication of “Ottoni” for the onstage brass instruments (even though Puccini used other instruments backstage throughout the score as well). The fourth trombone is pre-printed as “Trombone basso,” which Puccini altered to “Trombone contrabasso” on page 1r. The manuscript bears remarkably few corrections and is relatively neatly written. The rehearsal numbers were added in another handwriting, as well as a nearly continuous pagination of each of the acts, which may have been added for the engravers and intended as the collation for the conductor’s score to be produced from the autograph manuscript. In the following summary, the stamped numeration is used:

Act 1:
Leaves 1-75 (pp. 38v., 50v., 67v., and 75v. are blank) = 146 pages of music.
On p. 1r., a leaf numbering in Puccini’s hand begins (1-9, including 6 leaves designated as “1/2”); from leaf 16 this becomes a double leaf numeration (10-42, whereof 11 is only a single leaf). This may indicate that during the notation of the full score, there were some insertions, cuts, and reorderings at the beginning of the act (see NOTES).
At the upper right of p. 1r., Puccini wrote: “21 marzo 1922 / ore 11 sera [11.00 in the evening].”

Act 2:
Leaves 76-171 (music on leaves 77-171r. = 189 pages of music; 171v. is blank).
There is a double leaf numbering in Puccini’s hand of 1–19 (= leaves 77–112) and 1–30 (from leaf 113, i.e. at fig. 26, the transition to Scene 2).
The recto of leaf 76 bears the autograph heading: “Atto II°” (the verso is blank).
At the upper right of p. 77r. Puccini wrote: “10 dic[embre] 1923 / viareggio.”
The bottom of p. 171r. bears the autograph indication: “22.II.[19]24 / viareggio / Giacomo Puccini.”
Puccini’s own numbering makes it clear that at some time he interrupted the instrumentation of Scene 1 and continued with Scene 2.

Act 3:
Leaves 172-225 (music on leaves 173-225, p. 215r. is blank = 105 pages of music). There is a double leaf numbering in Puccini’s hand of 1-27.
The recto of leaf 172 bears the autograph heading: “Atto III°” (the verso is blank).

91.B.2

I-Mr
 (

N.III.20

)

Full score of the first version of Franco Alfano’s realization of the duet of Calaf and Turandot and the finale of Act 3 (see NOTES), written on music paper with 24 staves and 3 lines for percussion with a stamped pagination of 1-61, followed by 4 unnumbered pages written on a different type of music paper comprising certain additions that would not fit in the full score.
There is also a handwritten pagination of 1-7, 7bis, 7ter, 8-16, 16bis [= 17 which is missing], 18-34, o-v, x-z, A-N, in Alfano’s hand. In the right margin of p. 61, he wrote: “Fine / Franco Alfano / Torino / 28 Gennaio / 1926.”

91.C.1

Location:

Missing


Copyist’s score of 91.B.1 provided to Puccini by Ricordi and used by the composer for corrections (see NOTES).

91.D.1

Copied source Portion Bibliographic reference Page number
91.A.I.1.b Bögel 1978

Anlage 7 and 8

Also included in catalogue of Stargardt’s auction of 23/24 November 1971, 195 (recto only).

91.D.10

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 5v.

 Adami 1942

The facsimile is included in the third edition of Adami's book, before p. 145 (below).

Formerly 91.D.9 in Schickling 2003. 

91.D.11

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 7r.

 Celli 1985b

Fig. 6 (old number).

Formerly 91.B.12 in Schickling 2003.
Also included in Maehder 1984, table 3; Maguire 1990, ex. 5.

91.D.12

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 9r. 

 Maehder 1984

table 4.

Previously catalogued as 91.D.13 in Schickling 2003. 
Also included in Biagi Ravenni and Gianturco 1997, 292. 

91.D.13

Copied source Portion Bibliographic reference Page number
91.A.III.35.b Turandot alla Scala 1926

p. 19.

Previously catalogued as 91.D.14 in Schickling 2003.
Also included in La Scala 1946, 169; Adami 1942 (third edition), before p. 145 (above).

91.D.14

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 11r. maeh

 Maehder 1984

table 5.

Previously catalogued as 91.D.15 in Schickling 2003.
Also included in Maguire 1990, ex. 2; Biagi Ravenni and Gianturco 1997, 296.

91.D.15

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 11v.

 Maguire 1990

ex. 3.

Previously catalogued as 91.D.16 in Schickling 2003. 

91.D.16

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 13r.

 Turandot alla Scala 1926

20.

Previously catalogued as 91.D.17 in Schickling 2003. 

91.D.17

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 13v.

 Turandot alla Scala 1926

21.

Previously catalogued as 91.D.18 in Schickling 2003.

91.D.18

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 15r. 

 Maehder 1984

table 6.

Previously catalogued as 91.D.19 in Schickling 2003.
Also included in Maguire 1990, xx. 11; Biagi Ravenni and Gianturco 1997, 289.

91.D.19

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

15v.

 Maguire 1990

ex. 6.

Previously catalogued as 91.D.20 in Schickling 2003.

91.D.2

Copied source Portion Bibliographic reference Page number
91.A.I.2.a Atlas 1991a

175.

91.D.20

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 17r.

 Celli 1985b

fig. 7 (old number 27).

Previously catalogued as 91.D.21 in Schickling 2003.
Also included in Maehder 1984, table 7; Maguire 1990, ex. 8; Biagi Ravenni and Gianturco 1997, 298.

91.D.21

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 17v.

 Maguire 1990

ex. 10.

Previously catalogued as 91.D.22 in Schickling 2003.

91.D.22

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 18v.

 Turandot alla Scala 1926

21.

Previously catalogued as 91.D.23 in Schickling 2003.

91.D.23

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 19r.

 Turandot alla Scala 1926

22.

Previously catalogued as 91.D.24 in Schickling 2003.

91.D.24

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 22r.

 Maguire 1990

ex. 9.

Previously catalogued as 91.D.25 in Schickling 2003.

91.D.3

Copied source Portion Bibliographic reference Page number
91.A.I.23.a Fellerer 1937a

illustration 13.

91.D.4

Copied source Portion Bibliographic reference Page number
91.A.II.48.a Celli 1985a

figs. 1-2.

Also included in Bögel 1978, Anlage 10, upper part (verso only); and in Catalogue Cox 2002, No. 92 (recto only).

91.D.5

Copied source Portion Bibliographic reference Page number
91.A.II.48.b Celli 1985a

fig. 3.

Also included in Bögel 1978, Anlage 10, lower part (recto only).

91.D.6 *

Previously catalogued as 91.D.6/7 in Schickling 2003.

Copied source Portion Bibliographic reference Page number
91.A.III.35.a Celli 1985b

figs. 4, 5, and 5bis (without the second of the outer pages, i.e. p. 4).

91.D.7

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 1r.

 Turandot alla Scala 1926

p. 18.

Formerly 91.D.8 in Schickling 2003. According to that source (379), the facsimile is also included in "numerous publications in literature pertaining to Puccini and this opera," although no specific bibliographic references are provided. 

91.D.8

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 2r.

 Maehder 1984

table 1.

Formerly 91.D.7 in Schickling 2003. 

91.D.9

Copied source Portion Bibliographic reference Page number
91.A.III.35.b

p. 5r.

 Turandot alla Scala 1926

p. 20.

Formerly 91.D.8 in Schickling 2003.
The facsimile is also included in Maehder 1984, table 2; Maguire 1990, ex. 4.

91.E.1

First Italian edition:
Turandot. Dramma lirico in tre atti e cinque quadri di G. Adami e R. Simoni. L’ultimo duetto e il finale dell’opera sono stati completati da F. Alfano. Riduzione per canto e pianoforte di G. Zuccoli.
Copyright 1926.
Ricordi, Milan, etc., 1926.
PN 119772, 398 pages, 4°.

Announced in Musica d’oggi of April 1926, 105.

According to MRL, production began on 1 September 1924. The blind stamps indicate that the edition was ready by March 1926. It contains the first version of Alfano’s completion (see NOTES) and substantially agrees with 91.B.1. There are some differences from the autograph manuscript, which may be authentic, for after Puccini delivered the autograph full score to the publisher, he demonstrably entered changes and additions in the copyist’s full score (91.C.1). According to Gherardi 1977 (311), referring to Luigi Ricci,Note: Luigi Ricci was a well-known and highly respected vocal coach, assistant conductor, repetiteur and conductor in his own right, responsible for the musical preparation of many productions supervised by Puccini and his contemporaries. Ricordi also published several volumes of Ricci’s collections of cadenzas and variants for many operas.  Puccini even sent Ricordi some revisions from his hospital room in Brussels.
The metronome indications through the death of Liù are presumably authentic. This is confirmed in an unpublished letter to Zuccoli probably of 11 September 1924 in which Puccini stated: “Ho messo al Metronomo [I made the metronome indications].”Note: Original in US-NH.
As confirmed by the blind stamps in the GB-Lbl and I-Lgp copies, it is remarkable that this edition was still sold even after the first performance of 25 April 1926 (which was given in the version of 91.E.2). This was certainly because the new edition of the score was not yet available. The printing dates of 30 April and 31 May 1926, recorded in MRK, probably still pertain to this first edition.
Ricordi’s corresponding pianoforte solo edition (PN 120112) was also published with the original version of Alfano’s ending and was sold by the publisher for many years (a copy in Michael Kaye’s private collection bears the blind stamp of “6.[19]40”!).

Copies
I-Mc

Spartiti 1007

 BS 3.26
I-Mc

Spartiti 1009 b (-)

 BS unknown
I-Nc

Z.5.9 (-)

 BS unknown
I-Nc

Z.5.10

 BS 3.26
I-Rsc

G.21.F.13

 BS 3.26
I-Rsc

G.21.F.14

 BS 3.26
I-Rsc

G.25.A.13

 BS 3.26
I-Lgp

91.E.1

 BS 5.26
D-B

Kp 276

 BS 3.26
F-Pn

Vmb.2641

 BS 3.26
F-Pn

C.p.5943

 BS 3.26
GB-Lbl

F.860.m

 BS 5.26

registered 27 October 1926
F-Pn

H.393Note: This is a copy of the numbered de luxe edition. 

 without BS

registered 30 September 1962
US-NYp

MS

 BS 3.26

registered 4 October 1930
US-Wc

M 3.3.P8T7

 BS 3.26

registered 7 April 1926

Other USA holdings: see NUC NP 0634427, 0634431

91.E.1a

First German edition:
Turandot. Lyrisches Drama in 3 Akten und 5 Bildern von G. Adami und R. Simoni. Ins Deutsche übertragen von A. Brüggemann. Das letzte Duett und das Finale der Oper sind vervollständigt worden von F. Alfano. Klavierauszug mit Singstimmen von G. Zuccoli.
Copyright 1924 and 1926 (on the first page of music: Copyright 1925, German Text Copyright 1926).
Ricordi, Milan, 1926.
PN 120150, 398 pages, 4°.

According to MRL, production began on 15 February 1926. It is not clear why the number of pages is indicated in MRL as “402”. The copyright dates of 1924 and 1925 in this edition are rather amazing and they do not appear in any other publication of the score.
This edition was printed from the plates of 91.E.1 . The differences in certain note values in the vocal parts were due to the syllabification of the singable translation. Curiously, in the first act, there is an optional exclamation for the Prince of Persia (marked as “Oppure” at fig. 27-1), which was adopted in all of the later editions.
In MRK, 30 September 1926 is recorded as the first date of printing, but this probably pertained to 91.E.2c.

Copies
A-Wn

M.p.9760 *

 without BS
D-B

Kp 276/1

 without BS
D-Mbs

4° Mus.pr.4805 *

 without BS
I-Lgp

91.E.1a

 without BS
US-Wc

M 1503.P977T83

 without BS

registered 26 May 1926

Other USA holdings: see NUC NP 0634444.

91.E.2

Second Italian edition:
New Copyright 1926.
Ricordi, Milan, 1926.
PN 119772, 384 pages, 4°.

Although this edition was issued after the première of the opera, it represents the version of the first performance (see NOTES). According to MRK, it was probably printed for sale for the first time on 31 July 1926. Apart from the substantial changes Alfano made in his realization of the final duet and the conclusion of the opera, which are not considered in detail here, it also contains numerous changes and additions in the expression marks. It is possible that they reflect modifications and interpretations made by Toscanini during the rehearsals for the first performance. Furthermore, this edition also includes the following more important differences from 91.E.1. The authenticity of these variants is doubtful, since Puccini was of course already deceased when 91.E.1 was published. However, in an unpublished letter to Zuccoli probably written on 11 September 1924,Note: Original in US-NH. Puccini stated that he added choral parts and musical colors (“cori e coloriti”) to the full score; so perhaps those additions were overlooked in the engraving of 91.E.1 and were only implemented in this edition.

Act 1:

fig. 3+2 and +4/7: Basses of the chorus were added.
fig. 4+6/8: Single cries of “Ah!” were added in the chorus parts.
fig. 11-3/+1: Second soprano part was added to the chorus.
fig. 30+5/6: Different rhythm for Ping.
fig. 34+6/7: The voice parts for Pong and Pang were added.

 

Act 2:

fig. 13+7 – fig. 14: Optional cut of 15 bars.
fig. 19+1/10: Optional cut of 10 bars.
fig. 23-8/+8: Optional cut of 15 bars.
fig. 33+10/12: The chorus was added.
fig. 64+3/6: Turandot’s text was changed from “Non puoi donarmi a lui come una schiava” to “No, non guardarmi così, non sarò tua.”

 

Act 3:

fig. 16+1: The voice parts for Pong and Pang were added.
fig. 29+2/6: The chorus was added.
fig. 30-3/2: Calaf’s singing was expanded (by “Ah! Tu sei morta, tu sei morta”).
Copies
I-Fn

Mus.i.777

 BS 7.26
I-Mc

Spartiti 1009 c

 BS 5.39
I-Mc

Spartiti 2055

 BS 5.29
I-Lgp

91.E.2

 BS 3.?
GB-Lbl

F.860.ff

 BS 12.26

registered 30 April 1965
US-Wc

M 1503.P977T8

 BS 7.26

registered 9 August 1926Note: In a “Memorandum” affixed to this copy, the Copyright Office informed the Library of Congress of Ricordi’s request to use this copy not for a new registration and “if possible as a substitution for the original copy deposited,” claiming that it contained no changes apart from “one or two cuts in the second part of the last act.” With this statement, clearly intended to downplay the extent of the revisions, Ricordi sought to have the first version officially withdrawn from circulation, but ultimately without success. 

Other USA holdings: see NUC NP 0634421, 0634426, 063443

91.E.2a

Turandot. Partitura. [Without title page].
Copyright 1926.
Ricordi, Milan, 1926.
PN 119761 - 120030, 461 pages, 2°.

This score only differs from 91.E.2 in details of dynamic indications and expression marks.Note: Hopkinson 1968, 54, mentions several differences from 91.E.2 for this as well as the other full scores (91.E.2b, 91.E.2g, and 91.E.2h). In fact, those discrepancies do not exist. Hopkinson simply miscounted, because he was obviously bothered by the fact that near the end of the third act the full scores have rehearsal numbers that are different from those in the piano-vocal scores (at fig. 46, 47, and 48).  It was probably produced in tandem with the revised piano-vocal score (91.E.2). The haste of Ricordi’s preparation of this edition, during which the revision of Alfano’s completion was implemented in the full score, is apparent from the fact that the initials of the various engravers change almost from page to page. At least eight different engravers worked on the last 60 pages.
In the F-Pn copy, the Italian text is covered with the handwritten French translation.

Copies
F-Pn

A.773.a (I-III)
GB-Lbl

H.1138 (formerly G.1372.c)

registered 15 July 1970
US-R

M1500.P977T8 1926 BS 10.42Note: It is an absolute rarity in all of the known large format conductor’s full scores of Puccini’s operas that the US-R copy has a blind stamp. 

Other USA holdings: see NUC NP 0634425

91.E.2b

Partitura d’orchestra.
Copyright 1926.
Ricordi, Milan etc., 1926.
PN 120030, 461 pages, 8°

Announced in Musica d’oggi of October 1926, 276.

According to MRL, production began on 20 July 1925 and, according to MRK, Ricordi began printing the sales copies on 31 October 1926. The octavo full score is a photographic reduction of 91.E.2a identical in content to this edition.

Copies
I-Fn

Mus.O.61

 BS 9.26
I-Mc

Part. op.a-40

 BS 9.26

registered 29 September 1926
I-Mc

Part. op.a-65

 BS 9.29
I-Nc

58 B.2.50

 BS 9.26
I-Rsc

G.24.F.9

 without BS
I-Rsc

13.G.20

 BS illegible
A-Wn

M.p. 9459

 BS 9.26
D-B

Kp275

 BS 9.26
D-B

O.103704

 BS 9.26
D-B

N.Mus.O.421

 BS 9.26
D-Mbs

4° Mus.pr.4850

 BS 9.26
I-Lgp

91.E.2b

 BS 9.26
F-Pn

Vmc.9026

 BS 9.26
GB-Lbl

E.1204.e

 BS 9.26

registered 3 January 1930
GB-Lbl

Hirsch II.748

 BS 9.26
US-Wc

BS 9.26M 1500.P97T7 (-)

 BS unknown

Other USA holdings: see NUC NP 0634423, 0634428

91.E.2c

Second German edition:
Copyright 1926, German Text Copyrighted 1926.
Ricordi, Leipzig etc., 1926.
PN 120150, 384 pages, 4°.

Announced in Musica d’oggi of September 1926, 271.

According to MRK, printing began on 30 September 1926. Therefore, this edition was probably updated soon after the publication of 91.E.2 (and only differs from it in some minor details).

Copies
D-B

O.104417

 BS 8.40
I-Lgp

91.E.2c (1)

 BS 1.27
I-Lgp

91.E.2c (2)

 BS 9.39
US-R

Mus1503.P97TuB

 BS 1.27

91.E.2d

First French edition:
Drame lyrique en trois actes & cinq tableaux de G. Adami e [sic] R. Simoni. Traduction française de Paul Spaak.
Copyright 1926 and 1927.
Ricordi, Paris, 1927.
PN 119772, 384 pages, 4°.

French and Italian text.

In MRL the plate number was already assigned on 1 September 1924. However, production of this edition may only have started after 91.E.2c, since it also (and more carefully) includes the changes of details in 91.E.2 and musically is nearly identical with it. MRK indeed records 31 January 1927 as the first printing date of the sales copies. It is also curious that this edition has the same plate number as the preceding Italian editions 91.E.1 and 91.E.2, since Ricordi usually assigned different plate numbers for their editions in foreign languages.

Copies
I-Fn

Mus.i.662

 BS 12.26
I-Mc

Spartiti 1008

 BS 12.26
I-Rsc

G.21.F.15

 BS 12.26
I-Lgp

91.E.2d

 BS 4.28
F-Pn

A.773.b (-)

 BS unknown
GB-Lcm

without shelf mark

 BS 12.26
GB-Ob

Mus.22 d.841

 BS 1.27

registered 26 February 1968
US-Wc

M 1503.P977T82

 BS 12.26

registered 13 January 1927

91.E.2e

First English edition:
Turandot. Lyric Drama in three acts & five scenes by G. Adami & R. Simoni ... English adaption by R. H. Elkin.
Copyright 1926, New Copyright 1927, New Copyright 1929.
Ricordi, London etc., 1929.
PN 121329, 384 pages, 4°.

English and Italian text.

Catalogued in MRL on 26 June 1929; according to MRK, the first printing date was 30 September 1929.
Musically, this edition is nearly identical with 91.E.2.

Copies
I-Fn

Mus.i.754

 BS 9.29
I-Mc

Spartiti 1009

 BS 9.29
I-Lgp

91.E.2e

 without BS

about 1955/1956
GB-Lbl

F.860.n

 BS 9.29

registered 25 September 1959
US-Wc

M 1503.P977T815

 BS 9.29

registered 12 October 1929

Other USA holdings: see NUC NP 0634437, 0634438, 0634439, 0634440, 0634441

91.E.2f

Third German and Italian edition:
Copyright 1926. New Copyright 1927.
Ricordi, Milan, Ripristino 1944.
PN 126838, 306 pages, 4°.

German and Italian text.

Catalogued in MRL at the end of 1944.
For the most part, this edition agrees with 91.E.2, however it also contains a few new variants in details of expression marks. This edition marks the introduction of an increasing number of variants in expression marks found in this and all of the later editions — probably resulting from arbitrary decisions made by the proof-readers.

Copies
I-Mc

Spartiti 1008 a (-)

 Ripristino 1944
I-Mc

Spartiti 1840

 Ripristino 1944
I-Lgp

91.E.2f

 Ripristino 1944

USA holdings: see NUC NP 0634433

91.E.2g

Fourth Italian edition:
Partitura (nuova edizione riveduta e corretta). Copyright 1926.
Ricordi, Milan, ca. 1958 (?).
PN 119761 - 120030, 461 pages, 2°.

On loan only.

Printed from the plates of 91.E.2b, this edition adds some dynamic indications in a few passages and corrects the obvious printer’s error of a metronome indication (p. 105).

91.E.2h

Partitura (nuova edizione riveduta e corretta).
Copyright 1926.
Ricordi, Milan, 1958.
PN P.R.117, 461 pages, 4°.

Apart from the size and PN, the edition is nearly identical with 91.E.2g.

91.E.2i

Second English edition:
Copyright 1926. New Copyright 1929. Copyright renewed 1954.
Ricordi, Milan, 1960.
PN 121329, 384 pages, 4°.

English and Italian text.

This edition alters even more details of the editions from the 1920s. However, those changes are not always comprehensible.

91.E.2k

Fourth German (fifth Italian) edition:
A cura di Mario Parenti (1963). Deutsche Übersetzung von A. Brüggemann.
Copyright 1926; New Copyright 1927; Copyright renewed 1954.
Ricordi, Milan, 1963.
PN 126838, 306 pages, 4°.

German and Italian text.

This edition diverges in many details from the earlier editions and represents Ricordi’s attempt to standardize the contents. However, the editor’s incomprehensible criterion have resulted in numerous inconsistencies, since he arbitrarily relied on variants in the published editions of the full score and Puccini’s autograph manuscript.

91.E.3

Turandot.
Completamento (del terzo atto) di Luciano Berio (2001). Riduzione per canto e pianoforte a cura di Paul Roberts.
Copyright 2001.
Ricordi, Milan, 2002.
PN 138860, 29 pages, 4°.

At the beginning of the music is the remark: “Quest’ultima parte dell’Opera inizia con l’ultima battuta completata da Puccini, cioè 13 battute dopo il numero 34 nel terzo atto [This last part of the opera begins with the last bar completed by Puccini, i.e. at fig. 34+13 in Act 3].”
Available only on rental.

91.E.3a

Partitura [Full score corresponding to 91.E.3].
Copyright 2001.
Ricordi, Milan, 2002.
PN 138858, 58 pages, 2°.
Available only on rental.

91.E.3/91.E.3a comprise Luciano Berio’s most recent version of the final scenes, intended to be an alternative to Alfano’s completion. It eventually may also be available in commercial editions of the complete piano-vocal and full scores of Turandot.

Nota