
IN CHIAVE DI BARITONO - (Storiella allegra).
A. GHISLANZONI - IN CHIAVE DI BARITONO - (Storia di Milano dal 1836 al 1848) - MILANO A. Brigola e C., Editori Via Manzoni, 5
Proprietà letteraria - Milano 1882.—Tip Annoni, Via Moneta, 4.
INDICE
CAPITOLO I. - Dove si vede in quali condizioni difficili versasse il primo baritono del teatro di Chieti, nel maggio 1849.
CAPITOLO II. - Il Convento.
CAPITOLO III. - Padre Domenico mi sconforta dal farmi Francescano.
CAPITOLO IV. - Miracoli della donna.
CAPITOLO V. - Risoluzioni ed espedienti.
CAPITOLO VI. - Un concerto sconcertato.
A mischievous baritone, fresh from his debut in the provincial theatre of Chieti, finds himself thrust into the chaotic world of 1840s Italy. With a scarlet scarf around his neck and a makeshift sword at his side, he attempts a daring crossing of the Napolitan border, only to be stopped by stern officials and an unforgiving bureaucracy.
The narrative blends sharp humor with vivid snapshots of a nation on the brink of revolution. From cramped inns in the Marche to tense encounters with aristocratic patrons, the singer’s earnest pleas and flamboyant self‑importance expose the absurdities of a society tangled in politics, war, and social pretensions. His desperate attempts to secure a passage reveal both the fragility of personal ambition and the larger struggle for Italian freedom.
Through witty dialogue and colorful description, the story captures the restless spirit of a restless era, inviting listeners to follow a charismatic yet hapless artist as he navigates danger, bureaucracy, and his own inflated ego—always with a smile and a tune at the ready.
Language
it
Duration
~3 hours (175K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Carlo Traverso, Paganelli and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by Biblioteca Nazionale Braidense - Milano)
Release date
Oct 27, 2005
Rights
Public domain in the USA.

1824–1893
Best remembered as the librettist of Verdi’s Aida, he moved easily between journalism, poetry, fiction, and the stage. His life was as restless and dramatic as the operas he helped bring to life.
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