3. Donizetti’s Operas

This chapter focuses on Donizetti’s Lucia di Lammeroor and Linda di Chomounix and addresses the question of the so-called mad scene and the controversial origin of the famous flute cadenza. Tetrazzini was well-aware of the work done by Mathilde Marchesi for Nellie Melba and her flute cadenzas bear a resemblance to those of her senior colleagues. Donizetti was Tetrazzini’s favourite composer and she envisaged that one day another Donizetti would be born.