ABSTRACT
As anyone who has worked in the theatre will know, the journey from deciding to stage a work to its performance has two characteristics: the close interdependence of various artistic and organisational forces, and unpredictability. It should thus come as no surprise that a collection o f documents concerning Felice Romani, a figure central to early nineteenth-century operatic life, presents an image both complex and constandy shifting; nor that in such sources the tasks o f the librettist, even one o f distinction, are always interwoven with those of other theatrical personalities: impresarios, singers and composers, administrators, executives, mediators, journalists, dancers, set-designers, craftsmen and factotums. This exploration of Romani and his trade seeks to describe these collaborations, while remaining sensitive to those fundamental aspects o f nineteenth-century librettistic work that were their raison d'etre. It will therefore be useful to proceed in two stages: first, to reflect on the nature and function o f Romani’s dramatic-poetic creations; then to provide synchronic sketches of his working relationships, dwelling on three of the most important — with theatrical institutions, with singers and with composers.
