Les vêpres siciliennestoUn ballo in maschera(1854–1859)

Abstract

AbstractSave for the entr’acte, act 2 of Les vêpres siciliennes is framed by the keys of G♭ and F♯, raising the issue of whether these keys should be regarded as identical. The absolute and relative status of keys in this opera is less clear than in Rigoletto and Il trovatore. The prologue to Simon Boccanegra, in its original version, is analyzed and defended. Aspects of the opera’s tinta are described, as are the forms of some of its arias. Harold Powers’s analysis of Un ballo in maschera, act 2, is recounted and extended; part of the act constitutes a super-number. Specific transpositions of the diminished-seventh chord play recurring roles in Boccanegra and Ballo.