Giuseppe Fortunino Francesco Verdi (Italian: [d͡ʒuˈzɛppe ˈverdi]; 9 or 10 October 1813 – 27 January 1901) was an Italian Romantic composer primarily known for his operas. He is considered, together with Richard Wagner, to be the preeminent opera composer of the 19th century.[1] Verdi dominated the Italian opera scene after the eras of Bellini, Donizetti and Rossini. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture, examples being La donna è mobile from Rigoletto, Libiamo ne lieti calici (The Drinking Song) from La traviata, Va, pensiero (The Chorus of the Hebrew Slaves) from Nabucco, the Coro di zingari (Anvil Chorus) from Il trovatore and the Grand March from Aida. Moved by the death of compatriot Alessandro Manzoni, Verdi wrote Messa da Requiem in 1874 in Manzonis honour, a work now regarded as a masterpiece of the oratorio tradition and a testimony to his capacity outside the field of opera.[2] Visionary and politically engaged, he remains – alongside Garibaldi and Cavour – an emblematic figure of the reunification process (the Risorgimento) of the Italian Peninsula. Contents [hide] 1 The early years: Le Roncole, Busseto and Milan 1.1 1820 to 1832: Musical education in Busseto 1.2 1832 to 1834: Musical education in Milan 1.3 1834 to 1839: Return to Busseto 2 Beginnings as an opera composer 2.1 1839 to 1840: Return to Milan; first opera, Oberto 2.2 September 1840 to Autumn 1841: Verdis year of despair, then Nabucco 3 The Galley Years begin: Nabucco to La battaglia di Legnano 3.1 1842 to 1843: Verdi in Milan; new successes in Vienna, Parma and Venice 3.2 1844 to 1846: Busseto and Milan; Commissions from Rome, Milan, Naples, and Venice 3.2.1 The beginning of Verdis and Muzios years together 3.2.2 Verdis relationships with his librettists 3.2.3 1845: Verdi becomes a landowner 3.3 1846 to 1847: Milan, then Macbeth for Florence 3.3.1 Verdis period of rest and recovery in Milan 4 June 1847 to July 1849: Verdi in London and Paris 4.1 Operas for London, Paris, and Trieste 4.2 Verdis relationship with Giuseppina Strepponi 4.3 April 1848: Verdi and the Risorgimento 4.3.1 The Cinque Giornate: Verdi hurries to Milan; then Busseto 4.4 January 1849: The Early period ends 4.5 July 1849: Verdi and Strepponi return to Italy 5 1849 to 1859: Verdis Middle Period 5.1 The music of the Middle Period 5.2 July 1849 to May 1851: Verdi and Strepponi at the Palazzo Dordoni 5.2.1 Separation from his parents; the complicating issue 5.3 May 1851 forward: Verdi and Strepponi at SantAgata 5.3.1 Deterioration of the relationship with Barezzi 5.3.2 November 1851 to March 1852: Verdi and Strepponi winter in Paris 5.3.3 The relationship with Barezzi re-established; life at SantAgata continues 5.4 The Galley Years operas from Luisa Miller to La traviata 6 1853 to 1859, the Galley Years come to an end 6.1 December 1855 to July 1856: Return to SantAgata 6.2 July 1856 to January 1857: Paris again 6.3 1857: Return for a year of tranquil country life 6.4 Early 1858 to February 1859: Naples and Rome for the final Galley Year 6.5 The operas from Les vêpres siciliennes to Un ballo in maschera 7 1862 to 1893: The Late period 8 Later years 9 Last years 10 Role in the Risorgimento 11 Styles 12 Works 13 Legacy 14 See also 15 References 16 External links
Posted on: Wed, 07 Jan 2015 00:00:59 +0000
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