![]() Non-operatic works include a string quartet (in e minor, from 1880) works for solo voice (including two sets of Sei romanze, from 18, as well as a late Ave Maria, from 1880, for soprano and strings), and, most important, compositions for chorus. The primary focus of his mature professional life was opera, though he occasionally sampled other genres, especially in his later years. These two works-considered by more than a few to be Verdi’s greatest achievements-are testament to a creative mind that was not only undiminished but actually enhanced by age and experience (this accomplishment is worth bearing in mind by those ready to jettison older workers).Īs a young man Verdi explored a wide variety of genres and wrote many sacred choral works, but few early pieces survive. Otello premiered in 1887, Verdi’s 74th year, and was followed six years later by Falstaff, again on a libretto by Boito. But after an extensive hiatus Verdi was tempted back to the stage by the superb libretto for Otello provided by Arrigo Boito (1842–1918), himself the composer of the opera Mefistofele, which has a great part for chorus in the prologue (reprised in part in the epilogue). ![]() Pacing himself more slowly (he became increasingly involved in the management of his estates and was active in politics for some time), he generated Les Vêpres siciliennes (1855), Simon Boccanegra (1857), Un ballo in maschera (1859), La forza del destino (1862), Don Carlos (1867), and what for many years was assumed to be his last opera: Aida (1871). In another instance, Un ballo in maschera, based on the assassination of King Gustav III of Sweden, was unacceptable in its presentation of regicide, so the King eventually became the governor of Massachusetts instead (one of the more bizarre plot changes in the history of opera).Īfter La traviata, Verdi became very selective in his commissions. In Rigoletto, which is based on a famous play by Victor Hugo, Le Roi s’amuse (the King amuses himself), Verdi had to demote the libertine King to the level of Duke. Verdi also had to deal with the problems of censorship. Certain factors suggest that a child born-and immediately abandoned-a month after Rigoletto’s premiere was Verdi’s illegitimate daughter. ![]() To make matters worse, Strepponi may have been pregnant at the time. Verdi was living with retired prima donna Giuseppina Strepponi (whom he later married) and was in the process of an ugly formal separation (that he initiated) from his parents. The first of these was written at a time of intense personal stress. The works that are best known to opera lovers today begin with the amazing trio of Rigoletto (1851), Il trovatore (1853), and La traviata (1853). Of this batch, the most successful are I Lombardi (1843), Ernani (1844), Macbeth (1847), and Luisa Miller (1849). Fortunately any such renunciation was temporary, and the success of his next composition, Nabucco (1842), sparked a period of intense productivity, with thirteen operas appearing in several countries over the next eight years. This, combined with the death of his wife and children, led him to renounce composition (or so he claimed later in life). The success of the first opera generated a contract for further works, but Verdi’s following piece, the last comic opera he was to write until Falstaff, failed. Here he served as town music director and wrote his first opera, moving back to Milan to prepare for the work’s premiere at La Scala in 1839. ![]() After being rejected by the conservatory there (the assistant to the head of the conservatory predicted “that he will turn out to be a mediocrity” ), he studied privately for several years before returning to Busseto. Local funding enabled him to travel to Milan to study composition when he was 18. Text submitted to CC-BY-SA license.Verdi rapidly exhausted the musical resources of the small village where he was born and moved to nearby Busseto at the age of 10. Rizzo, Dino, Verdi filarmonico e Maestro dei filarmonici bussetani, Parma, Istituto nazionale di Studi verdiani, 2005, Premio Rotary Club "Giuseppe Verdi" - 6.Walker, Frank, The Man Verdi, New York: Knopf, 1962 Chicago: University of Chicago Press, 1982 ISBN 2-0.The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Budden, Julian (1984), The Operas of Verdi, Vol.Instrumental, orchestral, chamber works References Inno delle nazioni (1862, London) (Arrigo Boito), cantata for tenor, chorus and orchestra.Suona la tromba (1848) (Goffredo Mameli), a patriotic hymn.
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