Verdi, Giuseppe

to the impresario Alessandro Lanari, about the role of Lady Macbeth, expressing his regret that Sofia Loewe is not available, but that they will have to make do with Barbieri who, despite her magnificent voice, her great vocal agility and skill in the adagios, doesn't really have what is necessary for the part of the Lady, and anyway his style and demands are quite different; Barbieri will have to appear in the opening cavatina, in a drinking-song, and in the final sleep-walking scene, in which Loewe would have been stupendous, because of her tall and pale figure and acting ability; in conclusion, Verdi asks Lanari if Barbieri really wants to take the part of “Lady Macbet”, warning him that once written, he will not be prepared to change it just to add a run here or a trill there, as he composes the way he feels, without stinting efforts, and, once he has decided how the music should go, he cannot adapt it to the demands of any singers

2 pages, 8vo, integral autograph address-panel, post-marked, annotated by recipient on the blank 3rd page (“...Rct 4 Nov”), typed transcription,  Milan, 29 October 1846, one small hole

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

...La Barbieri ha magnifica voce fa bene l'agilità, trilli, gruppetti, fioriture, canta bene l'adagio, ma tutto questo non può stare colla parte di Lady. E d'altronde la mia maniera di vedere e sentire è diversa...Dopo tutto ciò sei persuaso che la Barbieri farà volontieri questa parte?...Pensaci bene!  Ricordati che io non voglio seccature, nè dispiaceri.  E' meglio intendersi prima.  Una volta scritta la parte (che sarà certamente nella sua tessitura) io non posso cambiarla per fare una volata, un trillo etc. etc...Non posso servire a nessuna convenienze.  Io scrivo come sò, e come sento, e non risparmio mai fatica ma una volta che sia persuaso, non posso addattarmi alli voleri altrui...

Not recorded in D. Rosen & A. Porter, Verdi's 'Macbeth' A Sourcebook (1984).  

This fine letter is a manifesto of Verdi's aims as a dramatic composer, and his response to the habitual demands of singers of his day; indeed it is hard to think of a letter by Verdi offered at auction that more fully represents his attitude to both.  Above all, Verdi requires fine acting from his Lady Macbeth, rather than florid singing.  Verdi's choice for Lady Macbeth was Sofia Loewe, but she became pregnant and cancelled all engagements.  Marianna Barbieri-Nini, the soprano who was to take her place was a poor second choice; she had a magnificent voice but was no beauty, and she later recounted how Verdi had demanded hundreds of rehearsals and coached her acting mercilessly.  Verdi's description of Lady Macbeth anticipates his famous letter to the librettist Cammarano in 1848, where he says that the role should be acted and declaimed rather than sung (Budden, I, 275; Rosen & Porter, p.67).