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The origins of music publishing in Italy

Casa Ricordi was founded in 1808 through the initiative of Giovanni Ricordi, a Milanese violinist and copyist who foresaw the potential of a modern music publishing enterprise. After a trip to Leipzig in 1807 to learn engraving techniques from the German publisher Breitkopf & Härtel, Ricordi brought a copperplate press to Italy and established his publishing house in Milan, introducing engraved opera scores to the country for the first time. As early as 1808, he published the vocal and piano score of a complete opera – 'Adelasia e Aleramo' by Mayr – an unprecedented event in an era when only individual arias or pieces, handwritten or printed, were disseminated. This innovation catered to the growing market of music enthusiasts, allowing singers and amateurs to purchase the full opera in a reduced score, while the orchestral scores remained the publisher's property and were rented out to theatres for performances. This dual strategy – selling scores to individuals and renting orchestrated material to theatres – laid the foundation for the entrepreneurial success of Casa Ricordi. In the following decades, the company expanded, evolving from a craft workshop into a fully-fledged cultural industry. Giovanni Ricordi was also a trainer of engravers and printers: he collaborated with Turin engraver Felice Festa and initiated an Italian tradition in the art of musical engraving, creating a genuine 'school' of specialised artisans. Simultaneously, he adopted modern business strategies, broadening the catalogue by acquiring entire musical archives – like that of Teatro alla Scala in 1825 – and works from competing publishers, thereby building an extensive repertoire. By the mid-19th century, the Ricordi catalogue boasted thousands of titles, including works by major Italian opera composers (Rossini, Bellini, Donizetti, Mercadante, etc.) and secured collaboration with Giuseppe Verdi from the outset. It was this foresighted policy of exclusive contracts with leading composers, like Verdi, that gave Casa Ricordi a dominant role in both the Italian and international musical scene of the latter half of the 19th century. Towards the century's end, the company made a definitive leap towards industrialisation. By capitalising on technological and legislative advancements – as seen with copyright law – in 1883, Ricordi opened a new cutting-edge print works in Milan, described at the time as one of Europe's most modern and efficient. This extensive complex, over 4,000 square meters, complemented traditional music printing with the most advanced lithographic and typographic techniques: it housed fifteen colour lithographic machines, ten lithographic presses, and nine copperplate presses, with a productive capacity of about 25 million sheets of music per year. The facility also included innovative worker services, such as showers and a bicycle storage area, indicating a modern industrial organisation. Thanks to this infrastructure, Casa Ricordi managed the entire production cycle internally – engraving, printing, and distribution – and strengthened its commercial network with branches in major Italian cities (Naples, Florence, Rome, Palermo) and abroad (London in 1878, Paris in 1888, New York in 1906). The evolution from a family business to an international publishing giant was complete: Ricordi emerged as 'the publisher of great Italian opera composers', transforming an artisanal craft into a cultural industry destined to make its mark on music history.

The origins of music publishing in Italy

Casa Ricordi was founded in 1808 through the initiative of Giovanni Ricordi, a Milanese violinist and copyist who foresaw the potential of a modern music publishing enterprise. After a trip to Leipzig in 1807 to learn engraving techniques from the German publisher Breitkopf & Härtel, Ricordi brought a copperplate press to Italy and established his publishing house in Milan, introducing engraved opera scores to the country for the first time. As early as 1808, he published the vocal and piano score of a complete opera – 'Adelasia e Aleramo' by Mayr – an unprecedented event in an era when only individual arias or pieces, handwritten or printed, were disseminated. This innovation catered to the growing market of music enthusiasts, allowing singers and amateurs to purchase the full opera in a reduced score, while the orchestral scores remained the publisher's property and were rented out to theatres for performances. This dual strategy – selling scores to individuals and renting orchestrated material to theatres – laid the foundation for the entrepreneurial success of Casa Ricordi. In the following decades, the company expanded, evolving from a craft workshop into a fully-fledged cultural industry. Giovanni Ricordi was also a trainer of engravers and printers: he collaborated with Turin engraver Felice Festa and initiated an Italian tradition in the art of musical engraving, creating a genuine 'school' of specialised artisans. Simultaneously, he adopted modern business strategies, broadening the catalogue by acquiring entire musical archives – like that of Teatro alla Scala in 1825 – and works from competing publishers, thereby building an extensive repertoire. By the mid-19th century, the Ricordi catalogue boasted thousands of titles, including works by major Italian opera composers (Rossini, Bellini, Donizetti, Mercadante, etc.) and secured collaboration with Giuseppe Verdi from the outset. It was this foresighted policy of exclusive contracts with leading composers, like Verdi, that gave Casa Ricordi a dominant role in both the Italian and international musical scene of the latter half of the 19th century. Towards the century's end, the company made a definitive leap towards industrialisation. By capitalising on technological and legislative advancements – as seen with copyright law – in 1883, Ricordi opened a new cutting-edge print works in Milan, described at the time as one of Europe's most modern and efficient. This extensive complex, over 4,000 square meters, complemented traditional music printing with the most advanced lithographic and typographic techniques: it housed fifteen colour lithographic machines, ten lithographic presses, and nine copperplate presses, with a productive capacity of about 25 million sheets of music per year. The facility also included innovative worker services, such as showers and a bicycle storage area, indicating a modern industrial organisation. Thanks to this infrastructure, Casa Ricordi managed the entire production cycle internally – engraving, printing, and distribution – and strengthened its commercial network with branches in major Italian cities (Naples, Florence, Rome, Palermo) and abroad (London in 1878, Paris in 1888, New York in 1906). The evolution from a family business to an international publishing giant was complete: Ricordi emerged as 'the publisher of great Italian opera composers', transforming an artisanal craft into a cultural industry destined to make its mark on music history.

The origins of music publishing in Italy

Casa Ricordi was founded in 1808 through the initiative of Giovanni Ricordi, a Milanese violinist and copyist who foresaw the potential of a modern music publishing enterprise. After a trip to Leipzig in 1807 to learn engraving techniques from the German publisher Breitkopf & Härtel, Ricordi brought a copperplate press to Italy and established his publishing house in Milan, introducing engraved opera scores to the country for the first time. As early as 1808, he published the vocal and piano score of a complete opera – 'Adelasia e Aleramo' by Mayr – an unprecedented event in an era when only individual arias or pieces, handwritten or printed, were disseminated. This innovation catered to the growing market of music enthusiasts, allowing singers and amateurs to purchase the full opera in a reduced score, while the orchestral scores remained the publisher's property and were rented out to theatres for performances. This dual strategy – selling scores to individuals and renting orchestrated material to theatres – laid the foundation for the entrepreneurial success of Casa Ricordi. In the following decades, the company expanded, evolving from a craft workshop into a fully-fledged cultural industry. Giovanni Ricordi was also a trainer of engravers and printers: he collaborated with Turin engraver Felice Festa and initiated an Italian tradition in the art of musical engraving, creating a genuine 'school' of specialised artisans. Simultaneously, he adopted modern business strategies, broadening the catalogue by acquiring entire musical archives – like that of Teatro alla Scala in 1825 – and works from competing publishers, thereby building an extensive repertoire. By the mid-19th century, the Ricordi catalogue boasted thousands of titles, including works by major Italian opera composers (Rossini, Bellini, Donizetti, Mercadante, etc.) and secured collaboration with Giuseppe Verdi from the outset. It was this foresighted policy of exclusive contracts with leading composers, like Verdi, that gave Casa Ricordi a dominant role in both the Italian and international musical scene of the latter half of the 19th century. Towards the century's end, the company made a definitive leap towards industrialisation. By capitalising on technological and legislative advancements – as seen with copyright law – in 1883, Ricordi opened a new cutting-edge print works in Milan, described at the time as one of Europe's most modern and efficient. This extensive complex, over 4,000 square meters, complemented traditional music printing with the most advanced lithographic and typographic techniques: it housed fifteen colour lithographic machines, ten lithographic presses, and nine copperplate presses, with a productive capacity of about 25 million sheets of music per year. The facility also included innovative worker services, such as showers and a bicycle storage area, indicating a modern industrial organisation. Thanks to this infrastructure, Casa Ricordi managed the entire production cycle internally – engraving, printing, and distribution – and strengthened its commercial network with branches in major Italian cities (Naples, Florence, Rome, Palermo) and abroad (London in 1878, Paris in 1888, New York in 1906). The evolution from a family business to an international publishing giant was complete: Ricordi emerged as 'the publisher of great Italian opera composers', transforming an artisanal craft into a cultural industry destined to make its mark on music history.

Archives, autographs and copyright

From the very beginning, Casa Ricordi demonstrated a notable sensitivity towards the preservation of musical heritage and the protection of authors' rights. In an era when operatic works were often regarded as ephemeral - belonging to theatres or impresarios rather than 'authorial' creations - Giovanni Ricordi initiated the practice of preserving and centralising original materials. As early as 1806, he obtained permission from the Teatro Carcano in Milan to keep copies of orchestral materials of the performed works, creating the nucleus of a proprietary musical archive intended for rental. This was the embryo of what would become the Ricordi Historical Archive, a vast collection of scores, sheet music, and documents, which is today recognised as one of the most important private musical archives in the world. Throughout the 19th century, the archive grew through further acquisitions: Tito Ricordi, Giovanni’s son, took over theatrical archives from various cities and in 1825 acquired the entire archive of La Scala Theatre, coming to possess thousands of handwritten scores and orchestral materials. This work of rescuing and collecting original autographs ensured, on one hand, the preservation of the historical memory of Italian opera and, on the other hand, granted Ricordi a position of strength in controlling performances, as anyone wishing to stage an opera had to turn to the publisher owning the authentic materials. Concurrently, Casa Ricordi was at the forefront of the battles for the legal recognition of copyright in the musical realm. In the mid-19th century, in the absence of adequate legislation, composers enjoyed no protection and publishers had to combat piracy with their own means. Tito Ricordi championed this cause, becoming a spokesperson in Italy and Europe for updating copyright legislation. His efforts were crucial during a period of intense international debate, culminating in the Berne Convention of 1886: partly due to Ricordi's advocacy, laws were enacted granting authors exclusive rights to their works for a certain number of years. An emblematic case from the early 20th century saw Casa Ricordi win a legal case against the Gramophone Company (Italian branch) for copyright infringement, securing the recognition of composers' rights to receive royalties for the exploitation of their works in the first forty years after their creation. This judgement constituted a significant precedent, officially confirming the principle that creations of musical intellect should be protected and remunerated. More generally, Casa Ricordi's legal victories contributed decisively to the stabilisation of Italian jurisprudence in the field of copyright. Thanks to this renewed legislative environment, the publisher was able to consolidate its industrial and cultural investments. Copyright protection enabled Ricordi not only to safeguard its economic interests but also to enhance the catalogue as cultural heritage to be passed on. The care of original autographs - today largely preserved at the Braidense Library in Milan - and the meticulous documentation of every published work reflect the intent to preserve for future generations the 'memory' of Italian music. In this sense, Casa Ricordi played a pioneering role in asserting the composer as an author-creator of autonomous works of art, deserving of preservation and protection, rather than merely a supplier of occasional music. This vision, coupled with concrete action both archivally and legislatively, made Ricordi a key player in the protection of the national musical heritage.

Archives, autographs and copyright

From the very beginning, Casa Ricordi demonstrated a notable sensitivity towards the preservation of musical heritage and the protection of authors' rights. In an era when operatic works were often regarded as ephemeral - belonging to theatres or impresarios rather than 'authorial' creations - Giovanni Ricordi initiated the practice of preserving and centralising original materials. As early as 1806, he obtained permission from the Teatro Carcano in Milan to keep copies of orchestral materials of the performed works, creating the nucleus of a proprietary musical archive intended for rental. This was the embryo of what would become the Ricordi Historical Archive, a vast collection of scores, sheet music, and documents, which is today recognised as one of the most important private musical archives in the world. Throughout the 19th century, the archive grew through further acquisitions: Tito Ricordi, Giovanni’s son, took over theatrical archives from various cities and in 1825 acquired the entire archive of La Scala Theatre, coming to possess thousands of handwritten scores and orchestral materials. This work of rescuing and collecting original autographs ensured, on one hand, the preservation of the historical memory of Italian opera and, on the other hand, granted Ricordi a position of strength in controlling performances, as anyone wishing to stage an opera had to turn to the publisher owning the authentic materials. Concurrently, Casa Ricordi was at the forefront of the battles for the legal recognition of copyright in the musical realm. In the mid-19th century, in the absence of adequate legislation, composers enjoyed no protection and publishers had to combat piracy with their own means. Tito Ricordi championed this cause, becoming a spokesperson in Italy and Europe for updating copyright legislation. His efforts were crucial during a period of intense international debate, culminating in the Berne Convention of 1886: partly due to Ricordi's advocacy, laws were enacted granting authors exclusive rights to their works for a certain number of years. An emblematic case from the early 20th century saw Casa Ricordi win a legal case against the Gramophone Company (Italian branch) for copyright infringement, securing the recognition of composers' rights to receive royalties for the exploitation of their works in the first forty years after their creation. This judgement constituted a significant precedent, officially confirming the principle that creations of musical intellect should be protected and remunerated. More generally, Casa Ricordi's legal victories contributed decisively to the stabilisation of Italian jurisprudence in the field of copyright. Thanks to this renewed legislative environment, the publisher was able to consolidate its industrial and cultural investments. Copyright protection enabled Ricordi not only to safeguard its economic interests but also to enhance the catalogue as cultural heritage to be passed on. The care of original autographs - today largely preserved at the Braidense Library in Milan - and the meticulous documentation of every published work reflect the intent to preserve for future generations the 'memory' of Italian music. In this sense, Casa Ricordi played a pioneering role in asserting the composer as an author-creator of autonomous works of art, deserving of preservation and protection, rather than merely a supplier of occasional music. This vision, coupled with concrete action both archivally and legislatively, made Ricordi a key player in the protection of the national musical heritage.

Archives, autographs and copyright

From the very beginning, Casa Ricordi demonstrated a notable sensitivity towards the preservation of musical heritage and the protection of authors' rights. In an era when operatic works were often regarded as ephemeral - belonging to theatres or impresarios rather than 'authorial' creations - Giovanni Ricordi initiated the practice of preserving and centralising original materials. As early as 1806, he obtained permission from the Teatro Carcano in Milan to keep copies of orchestral materials of the performed works, creating the nucleus of a proprietary musical archive intended for rental. This was the embryo of what would become the Ricordi Historical Archive, a vast collection of scores, sheet music, and documents, which is today recognised as one of the most important private musical archives in the world. Throughout the 19th century, the archive grew through further acquisitions: Tito Ricordi, Giovanni’s son, took over theatrical archives from various cities and in 1825 acquired the entire archive of La Scala Theatre, coming to possess thousands of handwritten scores and orchestral materials. This work of rescuing and collecting original autographs ensured, on one hand, the preservation of the historical memory of Italian opera and, on the other hand, granted Ricordi a position of strength in controlling performances, as anyone wishing to stage an opera had to turn to the publisher owning the authentic materials. Concurrently, Casa Ricordi was at the forefront of the battles for the legal recognition of copyright in the musical realm. In the mid-19th century, in the absence of adequate legislation, composers enjoyed no protection and publishers had to combat piracy with their own means. Tito Ricordi championed this cause, becoming a spokesperson in Italy and Europe for updating copyright legislation. His efforts were crucial during a period of intense international debate, culminating in the Berne Convention of 1886: partly due to Ricordi's advocacy, laws were enacted granting authors exclusive rights to their works for a certain number of years. An emblematic case from the early 20th century saw Casa Ricordi win a legal case against the Gramophone Company (Italian branch) for copyright infringement, securing the recognition of composers' rights to receive royalties for the exploitation of their works in the first forty years after their creation. This judgement constituted a significant precedent, officially confirming the principle that creations of musical intellect should be protected and remunerated. More generally, Casa Ricordi's legal victories contributed decisively to the stabilisation of Italian jurisprudence in the field of copyright. Thanks to this renewed legislative environment, the publisher was able to consolidate its industrial and cultural investments. Copyright protection enabled Ricordi not only to safeguard its economic interests but also to enhance the catalogue as cultural heritage to be passed on. The care of original autographs - today largely preserved at the Braidense Library in Milan - and the meticulous documentation of every published work reflect the intent to preserve for future generations the 'memory' of Italian music. In this sense, Casa Ricordi played a pioneering role in asserting the composer as an author-creator of autonomous works of art, deserving of preservation and protection, rather than merely a supplier of occasional music. This vision, coupled with concrete action both archivally and legislatively, made Ricordi a key player in the protection of the national musical heritage.

Graphics, posters and imagery of the work

Between the 19th and 20th centuries, Casa Ricordi successfully established an innovative visual identity linked to the works and composers in its catalogue, anticipating modern concepts of branding and visual communication. Under the guidance of Giulio Ricordi — son of Tito I and director of the company from 1888 to 1912 — the publisher invested decisively in the graphic arts applied to music. In 1888, Giulio marked a turning point for the Ricordi Graphic Workshops, the in-house department dedicated to printing and lithography, by appointing the painter and set designer Adolf Hohenstein as artistic director. Hohenstein, German by birth but active in Milan, gathered around him a team of young talents in drawing and advertising graphics, forming the first generation of great Italian poster artists. Among these were names destined to enter the history of graphic arts: Giovanni Mario Mataloni, Leopoldo Metlicovitz, Leonetto Cappiello, Marcello Dudovich, just to name the most famous. Thanks to their creativity, Casa Ricordi developed a rich visual imagery for promoting the works: illustrated covers for scores and booklets, colourful posters to publicise first performances, as well as a wide range of promotional materials (collectible postcards, illustrated ads in music magazines, etc.). Each new opera title was associated with a specific iconographic motif, often entrusted to a leading artist, giving it a recognisable identity even on a visual level. The posters and illustrations produced by the Ricordi Workshops at the end of the 19th century and the beginning of the 20th were pioneering and marked the birth of Italian advertising graphics in the Liberty/Art Nouveau style. Famous are the posters for Puccini's works: La Bohème (1896), with Parisian scenes painted by Hohenstein; Tosca (1900) and Madama Butterfly (1904), with the refined posters by Metlicovitz; up to Dudovich's posters for Turandot (1926). These "artistic posters" — as they were called within Casa Ricordi — were considered genuine showpieces of the company. Besides their immediate promotional function, they contributed to educating the public’s aesthetic taste: through seductive, stylised images, the publishers intended to bring the masses closer to art and beauty. The attention to visual aspects even extended to the staging. Giulio Ricordi indeed encouraged an integrated approach, in which scenography, costumes, and advertising materials were conceived cohesively, creating a "unique visual horizon" for the opera. Thus, the spectator’s experience began with the street poster or the booklet cover, feeding the opera's imagery even before the curtain rose. Ricordi’s innovation in the graphic field was part of the broader context of the Second Industrial Revolution and international modernism. At the close of the 19th century, Art Nouveau spread across Europe, and Casa Ricordi was among the first Italian entities to align with these avant-garde stylistic models, translating them into a national context. The meeting of the artistic sensibility of talented illustrators and Giulio Ricordi's entrepreneurial vision generated an original graphic language, fully contemporary and deeply linked to the world of opera. The legacy of that pioneering era is still visible today: the historic Ricordi posters are preserved as works of art — many of which are exhibited in museums and collections — and the Ricordi Archive is reconstructing and digitising the entire half-century-long chromolithographic advertising production. In essence, through its visual identity, Casa Ricordi contributed to mythologising its composers and their works, cementing their image in the collective imagination: consider the "swan of Busseto," Giuseppe Verdi, framed by elegant green and gold Art Nouveau motifs, or the young Puccini associated with the refined female figures of the Liberty style. This iconographic heritage remains a tangible testament to how a publisher succeeded in blending art and commerce, elevating graphics to an essential component of a cultural product's success.

Graphics, posters and imagery of the work

Between the 19th and 20th centuries, Casa Ricordi successfully established an innovative visual identity linked to the works and composers in its catalogue, anticipating modern concepts of branding and visual communication. Under the guidance of Giulio Ricordi — son of Tito I and director of the company from 1888 to 1912 — the publisher invested decisively in the graphic arts applied to music. In 1888, Giulio marked a turning point for the Ricordi Graphic Workshops, the in-house department dedicated to printing and lithography, by appointing the painter and set designer Adolf Hohenstein as artistic director. Hohenstein, German by birth but active in Milan, gathered around him a team of young talents in drawing and advertising graphics, forming the first generation of great Italian poster artists. Among these were names destined to enter the history of graphic arts: Giovanni Mario Mataloni, Leopoldo Metlicovitz, Leonetto Cappiello, Marcello Dudovich, just to name the most famous. Thanks to their creativity, Casa Ricordi developed a rich visual imagery for promoting the works: illustrated covers for scores and booklets, colourful posters to publicise first performances, as well as a wide range of promotional materials (collectible postcards, illustrated ads in music magazines, etc.). Each new opera title was associated with a specific iconographic motif, often entrusted to a leading artist, giving it a recognisable identity even on a visual level. The posters and illustrations produced by the Ricordi Workshops at the end of the 19th century and the beginning of the 20th were pioneering and marked the birth of Italian advertising graphics in the Liberty/Art Nouveau style. Famous are the posters for Puccini's works: La Bohème (1896), with Parisian scenes painted by Hohenstein; Tosca (1900) and Madama Butterfly (1904), with the refined posters by Metlicovitz; up to Dudovich's posters for Turandot (1926). These "artistic posters" — as they were called within Casa Ricordi — were considered genuine showpieces of the company. Besides their immediate promotional function, they contributed to educating the public’s aesthetic taste: through seductive, stylised images, the publishers intended to bring the masses closer to art and beauty. The attention to visual aspects even extended to the staging. Giulio Ricordi indeed encouraged an integrated approach, in which scenography, costumes, and advertising materials were conceived cohesively, creating a "unique visual horizon" for the opera. Thus, the spectator’s experience began with the street poster or the booklet cover, feeding the opera's imagery even before the curtain rose. Ricordi’s innovation in the graphic field was part of the broader context of the Second Industrial Revolution and international modernism. At the close of the 19th century, Art Nouveau spread across Europe, and Casa Ricordi was among the first Italian entities to align with these avant-garde stylistic models, translating them into a national context. The meeting of the artistic sensibility of talented illustrators and Giulio Ricordi's entrepreneurial vision generated an original graphic language, fully contemporary and deeply linked to the world of opera. The legacy of that pioneering era is still visible today: the historic Ricordi posters are preserved as works of art — many of which are exhibited in museums and collections — and the Ricordi Archive is reconstructing and digitising the entire half-century-long chromolithographic advertising production. In essence, through its visual identity, Casa Ricordi contributed to mythologising its composers and their works, cementing their image in the collective imagination: consider the "swan of Busseto," Giuseppe Verdi, framed by elegant green and gold Art Nouveau motifs, or the young Puccini associated with the refined female figures of the Liberty style. This iconographic heritage remains a tangible testament to how a publisher succeeded in blending art and commerce, elevating graphics to an essential component of a cultural product's success.

Graphics, posters and imagery of the work

Between the 19th and 20th centuries, Casa Ricordi successfully established an innovative visual identity linked to the works and composers in its catalogue, anticipating modern concepts of branding and visual communication. Under the guidance of Giulio Ricordi — son of Tito I and director of the company from 1888 to 1912 — the publisher invested decisively in the graphic arts applied to music. In 1888, Giulio marked a turning point for the Ricordi Graphic Workshops, the in-house department dedicated to printing and lithography, by appointing the painter and set designer Adolf Hohenstein as artistic director. Hohenstein, German by birth but active in Milan, gathered around him a team of young talents in drawing and advertising graphics, forming the first generation of great Italian poster artists. Among these were names destined to enter the history of graphic arts: Giovanni Mario Mataloni, Leopoldo Metlicovitz, Leonetto Cappiello, Marcello Dudovich, just to name the most famous. Thanks to their creativity, Casa Ricordi developed a rich visual imagery for promoting the works: illustrated covers for scores and booklets, colourful posters to publicise first performances, as well as a wide range of promotional materials (collectible postcards, illustrated ads in music magazines, etc.). Each new opera title was associated with a specific iconographic motif, often entrusted to a leading artist, giving it a recognisable identity even on a visual level. The posters and illustrations produced by the Ricordi Workshops at the end of the 19th century and the beginning of the 20th were pioneering and marked the birth of Italian advertising graphics in the Liberty/Art Nouveau style. Famous are the posters for Puccini's works: La Bohème (1896), with Parisian scenes painted by Hohenstein; Tosca (1900) and Madama Butterfly (1904), with the refined posters by Metlicovitz; up to Dudovich's posters for Turandot (1926). These "artistic posters" — as they were called within Casa Ricordi — were considered genuine showpieces of the company. Besides their immediate promotional function, they contributed to educating the public’s aesthetic taste: through seductive, stylised images, the publishers intended to bring the masses closer to art and beauty. The attention to visual aspects even extended to the staging. Giulio Ricordi indeed encouraged an integrated approach, in which scenography, costumes, and advertising materials were conceived cohesively, creating a "unique visual horizon" for the opera. Thus, the spectator’s experience began with the street poster or the booklet cover, feeding the opera's imagery even before the curtain rose. Ricordi’s innovation in the graphic field was part of the broader context of the Second Industrial Revolution and international modernism. At the close of the 19th century, Art Nouveau spread across Europe, and Casa Ricordi was among the first Italian entities to align with these avant-garde stylistic models, translating them into a national context. The meeting of the artistic sensibility of talented illustrators and Giulio Ricordi's entrepreneurial vision generated an original graphic language, fully contemporary and deeply linked to the world of opera. The legacy of that pioneering era is still visible today: the historic Ricordi posters are preserved as works of art — many of which are exhibited in museums and collections — and the Ricordi Archive is reconstructing and digitising the entire half-century-long chromolithographic advertising production. In essence, through its visual identity, Casa Ricordi contributed to mythologising its composers and their works, cementing their image in the collective imagination: consider the "swan of Busseto," Giuseppe Verdi, framed by elegant green and gold Art Nouveau motifs, or the young Puccini associated with the refined female figures of the Liberty style. This iconographic heritage remains a tangible testament to how a publisher succeeded in blending art and commerce, elevating graphics to an essential component of a cultural product's success.

Memories and the control of opera production

Throughout the 19th century, the role of Casa Ricordi extended far beyond merely publishing sheet music, transforming the publisher into a true impresario of theatrical productions. Thanks to its central position in the opera system, Ricordi progressively managed to influence both artistic and commercial decisions related to new works, impacting direction, productions, and composers' careers. In practice, the Milanese publisher surpassed the traditional role of theatrical impresarios, positioning itself as the coordinator and promoter of opera productions. Giovanni and Tito Ricordi had already realized that to ensure an opera's success it was not enough to print sheet music; it was also necessary to disseminate it in the most important theaters, select suitable performers, and protect the work from potential counterfeiting. Under Giulio Ricordi, this approach became systematic: Casa Ricordi directly managed the productions of its leading composers, organizing tours, connecting theaters and authors, and, in some cases, financing the initial productions. In this way, the company built a real 'empire' within the musical system, based not only on ownership rights but also on control of the stage. A prime example was the relationship with Giuseppe Verdi. Tito I Ricordi believed in the composer's potential from the start and actively supported him, securing the rights to most of his works from 1843 onwards. Verdi, for his part, recognized the importance of the publisher: through Ricordi, he gained access to the finest theaters and widespread promotion of his works. This collaboration was so close that Verdi almost became a 'brand' promoted by Ricordi globally — campaigns for Nabucco or, later on, for Aida contributed to making the composer a symbol of the Italian Risorgimento. Towards the end of his career, it was Giulio Ricordi who persuaded the reluctant Verdi to return to the stage with new works: thanks to Giulio's diplomacy and friendship, nicknamed 'the Grand Mogul', Otello (1887) and Falstaff (1893) came to life, late masterpieces that Ricordi oversaw every stage, from conception to debut. In these operations, the publisher provided suggestions on the libretto — Giulio acted as an intermediary between Verdi and librettist Arrigo Boito — and orchestrated the media presentation of events, demonstrating skills as a true hidden director of theatrical success. Even more evident was Giulio Ricordi's role as the mentor of Giacomo Puccini. He was the one who discovered the young composer after Le Villi (1884) and launched his career, helping him secure important commissions and following him step by step in the development of his works. Giulio established an almost paternal relationship with Puccini: he advised him on subject choices, sometimes intervened in librettos, supported him financially during writing, and orchestrated sophisticated promotional strategies for the debut of each new opera. For La Bohème (1896) and Tosca (1900), for example, Ricordi handled the promotion through its periodicals and illustrated posters, creating great anticipation among the audience. When Madama Butterfly had a disastrous first performance in Milan in 1904, it was Ricordi who encouraged Puccini to revise the opera and successfully present it again a few months later. Essentially, Casa Ricordi helped transform composers into real 'stars' and their names into successful brands, investing in their artistic growth and safeguarding their image. Verdi and Puccini were the most well-known cases, but the same model was applied to other musicians as well: Ricordi supported and promoted figures like Ponchielli, Boito, Catalani, and later Respighi, guiding them towards the international scene. The public thus began to associate the 'Ricordi stamp' with quality shows, and the names of composers became a guarantee of attraction. From a commercial perspective, this publisher-impresario figure translated into early marketing strategies. Casa Ricordi used all available means: the Gazzetta Musicale di Milano served as a showcase for favorable announcements and reviews; illustrated posters and covers built a recognizable image of the works; even promotional items like illustrated postcards helped spread the 'brand' of the works to the public. Moreover, Ricordi made agreements with theaters and impresarios to secure long runs of its authors' works, sometimes accepting a percentage of profits instead of a fixed payment, thus sharing the risk and profit like an impresario. This innovative modus operandi anticipates practices common today in the cultural industry: construction of the artistic brand, control of the production chain, and integrated promotion across multiple media channels. At the dawn of the 20th century, Casa Ricordi could thus celebrate its centenary, commemorated in 1908, looking back at a history of successes built not only with ink and paper but also with entrepreneurial instinct and profound passion for entertainment. The publisher had become an inseparable part of the creative and productive process of Italian opera.

Memories and the control of opera production

Throughout the 19th century, the role of Casa Ricordi extended far beyond merely publishing sheet music, transforming the publisher into a true impresario of theatrical productions. Thanks to its central position in the opera system, Ricordi progressively managed to influence both artistic and commercial decisions related to new works, impacting direction, productions, and composers' careers. In practice, the Milanese publisher surpassed the traditional role of theatrical impresarios, positioning itself as the coordinator and promoter of opera productions. Giovanni and Tito Ricordi had already realized that to ensure an opera's success it was not enough to print sheet music; it was also necessary to disseminate it in the most important theaters, select suitable performers, and protect the work from potential counterfeiting. Under Giulio Ricordi, this approach became systematic: Casa Ricordi directly managed the productions of its leading composers, organizing tours, connecting theaters and authors, and, in some cases, financing the initial productions. In this way, the company built a real 'empire' within the musical system, based not only on ownership rights but also on control of the stage. A prime example was the relationship with Giuseppe Verdi. Tito I Ricordi believed in the composer's potential from the start and actively supported him, securing the rights to most of his works from 1843 onwards. Verdi, for his part, recognized the importance of the publisher: through Ricordi, he gained access to the finest theaters and widespread promotion of his works. This collaboration was so close that Verdi almost became a 'brand' promoted by Ricordi globally — campaigns for Nabucco or, later on, for Aida contributed to making the composer a symbol of the Italian Risorgimento. Towards the end of his career, it was Giulio Ricordi who persuaded the reluctant Verdi to return to the stage with new works: thanks to Giulio's diplomacy and friendship, nicknamed 'the Grand Mogul', Otello (1887) and Falstaff (1893) came to life, late masterpieces that Ricordi oversaw every stage, from conception to debut. In these operations, the publisher provided suggestions on the libretto — Giulio acted as an intermediary between Verdi and librettist Arrigo Boito — and orchestrated the media presentation of events, demonstrating skills as a true hidden director of theatrical success. Even more evident was Giulio Ricordi's role as the mentor of Giacomo Puccini. He was the one who discovered the young composer after Le Villi (1884) and launched his career, helping him secure important commissions and following him step by step in the development of his works. Giulio established an almost paternal relationship with Puccini: he advised him on subject choices, sometimes intervened in librettos, supported him financially during writing, and orchestrated sophisticated promotional strategies for the debut of each new opera. For La Bohème (1896) and Tosca (1900), for example, Ricordi handled the promotion through its periodicals and illustrated posters, creating great anticipation among the audience. When Madama Butterfly had a disastrous first performance in Milan in 1904, it was Ricordi who encouraged Puccini to revise the opera and successfully present it again a few months later. Essentially, Casa Ricordi helped transform composers into real 'stars' and their names into successful brands, investing in their artistic growth and safeguarding their image. Verdi and Puccini were the most well-known cases, but the same model was applied to other musicians as well: Ricordi supported and promoted figures like Ponchielli, Boito, Catalani, and later Respighi, guiding them towards the international scene. The public thus began to associate the 'Ricordi stamp' with quality shows, and the names of composers became a guarantee of attraction. From a commercial perspective, this publisher-impresario figure translated into early marketing strategies. Casa Ricordi used all available means: the Gazzetta Musicale di Milano served as a showcase for favorable announcements and reviews; illustrated posters and covers built a recognizable image of the works; even promotional items like illustrated postcards helped spread the 'brand' of the works to the public. Moreover, Ricordi made agreements with theaters and impresarios to secure long runs of its authors' works, sometimes accepting a percentage of profits instead of a fixed payment, thus sharing the risk and profit like an impresario. This innovative modus operandi anticipates practices common today in the cultural industry: construction of the artistic brand, control of the production chain, and integrated promotion across multiple media channels. At the dawn of the 20th century, Casa Ricordi could thus celebrate its centenary, commemorated in 1908, looking back at a history of successes built not only with ink and paper but also with entrepreneurial instinct and profound passion for entertainment. The publisher had become an inseparable part of the creative and productive process of Italian opera.

Memories and the control of opera production

Throughout the 19th century, the role of Casa Ricordi extended far beyond merely publishing sheet music, transforming the publisher into a true impresario of theatrical productions. Thanks to its central position in the opera system, Ricordi progressively managed to influence both artistic and commercial decisions related to new works, impacting direction, productions, and composers' careers. In practice, the Milanese publisher surpassed the traditional role of theatrical impresarios, positioning itself as the coordinator and promoter of opera productions. Giovanni and Tito Ricordi had already realized that to ensure an opera's success it was not enough to print sheet music; it was also necessary to disseminate it in the most important theaters, select suitable performers, and protect the work from potential counterfeiting. Under Giulio Ricordi, this approach became systematic: Casa Ricordi directly managed the productions of its leading composers, organizing tours, connecting theaters and authors, and, in some cases, financing the initial productions. In this way, the company built a real 'empire' within the musical system, based not only on ownership rights but also on control of the stage. A prime example was the relationship with Giuseppe Verdi. Tito I Ricordi believed in the composer's potential from the start and actively supported him, securing the rights to most of his works from 1843 onwards. Verdi, for his part, recognized the importance of the publisher: through Ricordi, he gained access to the finest theaters and widespread promotion of his works. This collaboration was so close that Verdi almost became a 'brand' promoted by Ricordi globally — campaigns for Nabucco or, later on, for Aida contributed to making the composer a symbol of the Italian Risorgimento. Towards the end of his career, it was Giulio Ricordi who persuaded the reluctant Verdi to return to the stage with new works: thanks to Giulio's diplomacy and friendship, nicknamed 'the Grand Mogul', Otello (1887) and Falstaff (1893) came to life, late masterpieces that Ricordi oversaw every stage, from conception to debut. In these operations, the publisher provided suggestions on the libretto — Giulio acted as an intermediary between Verdi and librettist Arrigo Boito — and orchestrated the media presentation of events, demonstrating skills as a true hidden director of theatrical success. Even more evident was Giulio Ricordi's role as the mentor of Giacomo Puccini. He was the one who discovered the young composer after Le Villi (1884) and launched his career, helping him secure important commissions and following him step by step in the development of his works. Giulio established an almost paternal relationship with Puccini: he advised him on subject choices, sometimes intervened in librettos, supported him financially during writing, and orchestrated sophisticated promotional strategies for the debut of each new opera. For La Bohème (1896) and Tosca (1900), for example, Ricordi handled the promotion through its periodicals and illustrated posters, creating great anticipation among the audience. When Madama Butterfly had a disastrous first performance in Milan in 1904, it was Ricordi who encouraged Puccini to revise the opera and successfully present it again a few months later. Essentially, Casa Ricordi helped transform composers into real 'stars' and their names into successful brands, investing in their artistic growth and safeguarding their image. Verdi and Puccini were the most well-known cases, but the same model was applied to other musicians as well: Ricordi supported and promoted figures like Ponchielli, Boito, Catalani, and later Respighi, guiding them towards the international scene. The public thus began to associate the 'Ricordi stamp' with quality shows, and the names of composers became a guarantee of attraction. From a commercial perspective, this publisher-impresario figure translated into early marketing strategies. Casa Ricordi used all available means: the Gazzetta Musicale di Milano served as a showcase for favorable announcements and reviews; illustrated posters and covers built a recognizable image of the works; even promotional items like illustrated postcards helped spread the 'brand' of the works to the public. Moreover, Ricordi made agreements with theaters and impresarios to secure long runs of its authors' works, sometimes accepting a percentage of profits instead of a fixed payment, thus sharing the risk and profit like an impresario. This innovative modus operandi anticipates practices common today in the cultural industry: construction of the artistic brand, control of the production chain, and integrated promotion across multiple media channels. At the dawn of the 20th century, Casa Ricordi could thus celebrate its centenary, commemorated in 1908, looking back at a history of successes built not only with ink and paper but also with entrepreneurial instinct and profound passion for entertainment. The publisher had become an inseparable part of the creative and productive process of Italian opera.

Musicology, critical editions and dissemination

Since the mid-19th century, Casa Ricordi has also distinguished itself for its focus on musicological research and the cultured dissemination of music. Tito Ricordi, in particular, understood the importance of creating an intellectual and critical ferment around the publishing activity. In 1842, he founded the Gazzetta Musicale di Milano, a weekly magazine that for over sixty years was a point of reference for musicians, scholars, and enthusiasts. The Gazzetta—initially directed by notable personalities like Alberto Mazzucato, close to the Mazzinian circles—did not limit itself to publishing announcements or editorial news but hosted theoretical debates, critiques, and historical essays on music. It was an effective tool of cultural policy: through its pages, Ricordi promoted discussions on the artistic value of melodrama, the protection of authors' rights, and emerging compositional trends. It can be said that the Gazzetta contributed decisively to the birth of Italian musicology, at a time when the discipline was not yet institutionalized in academies. Composers, conductors, and theorists wrote for it, creating fertile ground for the circulation of musical ideas. In the following decades, Casa Ricordi continued this path with new magazines: Rivista Minima (1871–1878), Musica e Musicisti (1902–1905), which took up the legacy of the Gazzetta, and finally Ars et Labor (1906–1912). These publications, while evolving in style and content, maintained the constant aim of combining information and in-depth analysis. Alongside news about operas and concerts, there were historical articles, technical analyses, chronicles from world expos, and first performances abroad. Ars et Labor, in particular, became an elegant illustrated monthly, reflecting the musical Belle Époque, with sections dedicated to the history of ancient music, new symphonic compositions, and even the sound technologies of the time, such as gramophones and electric organs. Through these magazines, Casa Ricordi fueled the musicological debate, contributing to forming a widespread historical awareness of music in Italy. It is also worth remembering the periodical Musica d’oggi, founded in 1919 and directed by Guido M. Gatti, which gave voice to the avant-garde of the early 20th century and contemporary international music. In this way, Ricordi's editorial function was not limited to books and scores but also embraced the sphere of academic research and musical criticism. Another fundamental contribution of Casa Ricordi to musical "scientific research" was represented by the critical editions and reference works published in the 20th century. Strong in its immense heritage of autographs and original sources, the publisher initiated and supported high-profile philological publishing projects. As early as 1854, Tito Ricordi had promoted a complete score edition of Gioachino Rossini's theatrical works, completed in 1867: a pioneering endeavor of modern critical editions. During the 20th century, with now mature scientific methods, Ricordi participated in the realization of critical editions of the main lyrical works, based on original manuscripts and a comparative study of the sources. Among these stands the monumental Critical Edition of Giuseppe Verdi's works, started in the seventies in collaboration with international institutions like the University of Chicago Press, and still ongoing, which restores Verdi's masterpieces in their most authentic textual form. Similar projects were developed for the works of Rossini, Donizetti, Bellini, and Puccini, often involving internationally renowned musicologists. Casa Ricordi made available its archive and editorial skills, assuming the role of co-publisher or distributor of volumes that have become fundamental to research. In the field of dissemination and encyclopedic reference, Ricordi also curated important publications. In the sixties, the publisher released a vast Encyclopedia of Music (1964) and a previous music dictionary, collective works intended to offer the general public systematic knowledge of music. Musicologists like Giacomo Manzoni and Roman Vlad collaborated on these volumes, demonstrating the company's attention to spreading musical culture. Concurrently, the Ricordi Archive and its curators contributed to projects like the Universal Encyclopedic Dictionary of Music and Musicians (UTET, eighties and nineties), providing materials and consultancy on the history of Italian opera. More recently, Ricordi, in synergy with Universal Music, has promoted the publication of musicological essays, study series—such as those dedicated to 20th-century music—and the organization of historically and scientifically themed conferences and exhibitions. Among the most significant cases, we can recall the collaboration in series like Musica/Realtà, founded by Luigi Pestalozza, and participation in university research projects on Italian opera. Today the Ricordi Historical Archive continues this research tradition: it not only preserves documents but also makes them accessible through the Digital Collection and collaborates with scholars worldwide. The commemorative volume I piccoli grandi tesori dell’Archivio Ricordi (2019) presents photographs, letters, costume drawings, posters, and period documents from the Ricordi Collection, accompanied by essays contextualizing two centuries of Italian music. Additionally, a large part of the historical Ricordi periodicals—over 5,700 issues from 1842 to 1965—has been digitized and made available online, fostering new research. This commitment reiterates how Casa Ricordi, despite undergoing ownership and organizational transformations, continues to pursue its mission of transmitting musical knowledge. Ultimately, the scientific dimension has always been an integral part of Ricordi's identity: from aesthetic disputes on the pages of the Gazzetta Musicale di Milano in the 19th century, to critical editions and digitalization of archives in the 21st century, the Milanese publisher has acted as a bridge between the creative world of composers and the analytical world of musicologists. Integrating entrepreneurial activity and intellectual research, Casa Ricordi has made a decisive contribution to the knowledge and preservation of the Italian musical tradition.

Musicology, critical editions and dissemination

Since the mid-19th century, Casa Ricordi has also distinguished itself for its focus on musicological research and the cultured dissemination of music. Tito Ricordi, in particular, understood the importance of creating an intellectual and critical ferment around the publishing activity. In 1842, he founded the Gazzetta Musicale di Milano, a weekly magazine that for over sixty years was a point of reference for musicians, scholars, and enthusiasts. The Gazzetta—initially directed by notable personalities like Alberto Mazzucato, close to the Mazzinian circles—did not limit itself to publishing announcements or editorial news but hosted theoretical debates, critiques, and historical essays on music. It was an effective tool of cultural policy: through its pages, Ricordi promoted discussions on the artistic value of melodrama, the protection of authors' rights, and emerging compositional trends. It can be said that the Gazzetta contributed decisively to the birth of Italian musicology, at a time when the discipline was not yet institutionalized in academies. Composers, conductors, and theorists wrote for it, creating fertile ground for the circulation of musical ideas. In the following decades, Casa Ricordi continued this path with new magazines: Rivista Minima (1871–1878), Musica e Musicisti (1902–1905), which took up the legacy of the Gazzetta, and finally Ars et Labor (1906–1912). These publications, while evolving in style and content, maintained the constant aim of combining information and in-depth analysis. Alongside news about operas and concerts, there were historical articles, technical analyses, chronicles from world expos, and first performances abroad. Ars et Labor, in particular, became an elegant illustrated monthly, reflecting the musical Belle Époque, with sections dedicated to the history of ancient music, new symphonic compositions, and even the sound technologies of the time, such as gramophones and electric organs. Through these magazines, Casa Ricordi fueled the musicological debate, contributing to forming a widespread historical awareness of music in Italy. It is also worth remembering the periodical Musica d’oggi, founded in 1919 and directed by Guido M. Gatti, which gave voice to the avant-garde of the early 20th century and contemporary international music. In this way, Ricordi's editorial function was not limited to books and scores but also embraced the sphere of academic research and musical criticism. Another fundamental contribution of Casa Ricordi to musical "scientific research" was represented by the critical editions and reference works published in the 20th century. Strong in its immense heritage of autographs and original sources, the publisher initiated and supported high-profile philological publishing projects. As early as 1854, Tito Ricordi had promoted a complete score edition of Gioachino Rossini's theatrical works, completed in 1867: a pioneering endeavor of modern critical editions. During the 20th century, with now mature scientific methods, Ricordi participated in the realization of critical editions of the main lyrical works, based on original manuscripts and a comparative study of the sources. Among these stands the monumental Critical Edition of Giuseppe Verdi's works, started in the seventies in collaboration with international institutions like the University of Chicago Press, and still ongoing, which restores Verdi's masterpieces in their most authentic textual form. Similar projects were developed for the works of Rossini, Donizetti, Bellini, and Puccini, often involving internationally renowned musicologists. Casa Ricordi made available its archive and editorial skills, assuming the role of co-publisher or distributor of volumes that have become fundamental to research. In the field of dissemination and encyclopedic reference, Ricordi also curated important publications. In the sixties, the publisher released a vast Encyclopedia of Music (1964) and a previous music dictionary, collective works intended to offer the general public systematic knowledge of music. Musicologists like Giacomo Manzoni and Roman Vlad collaborated on these volumes, demonstrating the company's attention to spreading musical culture. Concurrently, the Ricordi Archive and its curators contributed to projects like the Universal Encyclopedic Dictionary of Music and Musicians (UTET, eighties and nineties), providing materials and consultancy on the history of Italian opera. More recently, Ricordi, in synergy with Universal Music, has promoted the publication of musicological essays, study series—such as those dedicated to 20th-century music—and the organization of historically and scientifically themed conferences and exhibitions. Among the most significant cases, we can recall the collaboration in series like Musica/Realtà, founded by Luigi Pestalozza, and participation in university research projects on Italian opera. Today the Ricordi Historical Archive continues this research tradition: it not only preserves documents but also makes them accessible through the Digital Collection and collaborates with scholars worldwide. The commemorative volume I piccoli grandi tesori dell’Archivio Ricordi (2019) presents photographs, letters, costume drawings, posters, and period documents from the Ricordi Collection, accompanied by essays contextualizing two centuries of Italian music. Additionally, a large part of the historical Ricordi periodicals—over 5,700 issues from 1842 to 1965—has been digitized and made available online, fostering new research. This commitment reiterates how Casa Ricordi, despite undergoing ownership and organizational transformations, continues to pursue its mission of transmitting musical knowledge. Ultimately, the scientific dimension has always been an integral part of Ricordi's identity: from aesthetic disputes on the pages of the Gazzetta Musicale di Milano in the 19th century, to critical editions and digitalization of archives in the 21st century, the Milanese publisher has acted as a bridge between the creative world of composers and the analytical world of musicologists. Integrating entrepreneurial activity and intellectual research, Casa Ricordi has made a decisive contribution to the knowledge and preservation of the Italian musical tradition.

Musicology, critical editions and dissemination

Since the mid-19th century, Casa Ricordi has also distinguished itself for its focus on musicological research and the cultured dissemination of music. Tito Ricordi, in particular, understood the importance of creating an intellectual and critical ferment around the publishing activity. In 1842, he founded the Gazzetta Musicale di Milano, a weekly magazine that for over sixty years was a point of reference for musicians, scholars, and enthusiasts. The Gazzetta—initially directed by notable personalities like Alberto Mazzucato, close to the Mazzinian circles—did not limit itself to publishing announcements or editorial news but hosted theoretical debates, critiques, and historical essays on music. It was an effective tool of cultural policy: through its pages, Ricordi promoted discussions on the artistic value of melodrama, the protection of authors' rights, and emerging compositional trends. It can be said that the Gazzetta contributed decisively to the birth of Italian musicology, at a time when the discipline was not yet institutionalized in academies. Composers, conductors, and theorists wrote for it, creating fertile ground for the circulation of musical ideas. In the following decades, Casa Ricordi continued this path with new magazines: Rivista Minima (1871–1878), Musica e Musicisti (1902–1905), which took up the legacy of the Gazzetta, and finally Ars et Labor (1906–1912). These publications, while evolving in style and content, maintained the constant aim of combining information and in-depth analysis. Alongside news about operas and concerts, there were historical articles, technical analyses, chronicles from world expos, and first performances abroad. Ars et Labor, in particular, became an elegant illustrated monthly, reflecting the musical Belle Époque, with sections dedicated to the history of ancient music, new symphonic compositions, and even the sound technologies of the time, such as gramophones and electric organs. Through these magazines, Casa Ricordi fueled the musicological debate, contributing to forming a widespread historical awareness of music in Italy. It is also worth remembering the periodical Musica d’oggi, founded in 1919 and directed by Guido M. Gatti, which gave voice to the avant-garde of the early 20th century and contemporary international music. In this way, Ricordi's editorial function was not limited to books and scores but also embraced the sphere of academic research and musical criticism. Another fundamental contribution of Casa Ricordi to musical "scientific research" was represented by the critical editions and reference works published in the 20th century. Strong in its immense heritage of autographs and original sources, the publisher initiated and supported high-profile philological publishing projects. As early as 1854, Tito Ricordi had promoted a complete score edition of Gioachino Rossini's theatrical works, completed in 1867: a pioneering endeavor of modern critical editions. During the 20th century, with now mature scientific methods, Ricordi participated in the realization of critical editions of the main lyrical works, based on original manuscripts and a comparative study of the sources. Among these stands the monumental Critical Edition of Giuseppe Verdi's works, started in the seventies in collaboration with international institutions like the University of Chicago Press, and still ongoing, which restores Verdi's masterpieces in their most authentic textual form. Similar projects were developed for the works of Rossini, Donizetti, Bellini, and Puccini, often involving internationally renowned musicologists. Casa Ricordi made available its archive and editorial skills, assuming the role of co-publisher or distributor of volumes that have become fundamental to research. In the field of dissemination and encyclopedic reference, Ricordi also curated important publications. In the sixties, the publisher released a vast Encyclopedia of Music (1964) and a previous music dictionary, collective works intended to offer the general public systematic knowledge of music. Musicologists like Giacomo Manzoni and Roman Vlad collaborated on these volumes, demonstrating the company's attention to spreading musical culture. Concurrently, the Ricordi Archive and its curators contributed to projects like the Universal Encyclopedic Dictionary of Music and Musicians (UTET, eighties and nineties), providing materials and consultancy on the history of Italian opera. More recently, Ricordi, in synergy with Universal Music, has promoted the publication of musicological essays, study series—such as those dedicated to 20th-century music—and the organization of historically and scientifically themed conferences and exhibitions. Among the most significant cases, we can recall the collaboration in series like Musica/Realtà, founded by Luigi Pestalozza, and participation in university research projects on Italian opera. Today the Ricordi Historical Archive continues this research tradition: it not only preserves documents but also makes them accessible through the Digital Collection and collaborates with scholars worldwide. The commemorative volume I piccoli grandi tesori dell’Archivio Ricordi (2019) presents photographs, letters, costume drawings, posters, and period documents from the Ricordi Collection, accompanied by essays contextualizing two centuries of Italian music. Additionally, a large part of the historical Ricordi periodicals—over 5,700 issues from 1842 to 1965—has been digitized and made available online, fostering new research. This commitment reiterates how Casa Ricordi, despite undergoing ownership and organizational transformations, continues to pursue its mission of transmitting musical knowledge. Ultimately, the scientific dimension has always been an integral part of Ricordi's identity: from aesthetic disputes on the pages of the Gazzetta Musicale di Milano in the 19th century, to critical editions and digitalization of archives in the 21st century, the Milanese publisher has acted as a bridge between the creative world of composers and the analytical world of musicologists. Integrating entrepreneurial activity and intellectual research, Casa Ricordi has made a decisive contribution to the knowledge and preservation of the Italian musical tradition.