Giuseppe Fortunino Francesco Verdi (Italian pronunciation: [d͡ʒuˈzɛppe ˈverdi]; 10 October 1813 in Le Roncole, a village near Busseto– 27 January 1901) was an Italian Romantic composer, mainly of opera. Musically, he was part of European Romanticism, and was one of the most influential composers of the 19th century. 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 – such as La donna è mobile from Rigoletto, Va, pensiero (The Chorus of the Hebrew Slaves) from Nabucco, Libiamo ne lieti calici (The Drinking Song) from La traviata and the Grand March from Aida. Verdi’s masterworks dominate the standard opera repertoire a century and a half after their composition. Early life Verdi was born the son of Carlo Giuseppe Verdi and Luigia Uttini in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the First French Empire after the annexation of the Duchy of Parma and Piacenza. The baptismal register, on 11 October lists him as being born yesterday, but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. The next day, he was baptized in the Roman Catholic Church in Latin as Joseph Fortuninus Franciscus. The day after that (Tuesday), Verdis father took his newborn the three miles to Busseto, where the baby was recorded as Joseph Fortunin François; the clerk wrote in French. So it happened that for the civil and temporal world Verdi was born a Frenchman. When he was still a child, Verdis parents moved from Piacenza to Busseto, where the future composers education was greatly facilitated by visits to the large library belonging to the local Jesuit school. Also in Busseto, Verdi was given his first lessons in composition. Verdi went to Milan when he was twenty to continue his studies. He took private lessons in counterpoint while attending operatic performances, as well as concerts of, specifically, German music. Milans beaumonde association convinced him that he should pursue a career as a theatre composer. During the mid 1830s, he attended the Salotto Maffei salons in Milan, hosted by Clara Maffei. Returning to Busseto, he became the town music master and, with the support of Antonio Barezzi, a local merchant and music lover who had long supported Verdis musical ambitions in Milan, Verdi gave his first public performance at Barezzi’s home in 1830. Because he loved Verdi’s music, Barezzi invited Verdi to be his daughter Margheritas music teacher, and the two soon fell deeply in love. They were married on 4 May 1836 and Margherita gave birth to two children, Virginia Maria Luigia (26 March 1837 – 12 August 1838) and Icilio Romano (11 July 1838 – 22 October 1839). Both died in infancy while Verdi was working on his first opera and, shortly afterwards, Margherita died of encephalitis on 18 June 1840, aged only 26. Verdi adored his wife and children, and he was devastated by their untimely deaths. Initial recognition O sommo Carlo Ernani (1844), Act 3, sung by Mattia Battistini, Emilia Corsi, Luigi Colazza, Aristodemo Sillich, and the La Scala chorus in 1906. Problems listening to this file? See media help. The production by Milans La Scala of his first opera, Oberto in November 1839 achieved a degree of success, after which Bartolomeo Merelli, La Scalas impresario, offered Verdi a contract for three more works. It was while he was working on his second opera, Un giorno di regno, that Verdis wife died. The opera, given in September 1840, was a flop and he fell into despair and vowed to give up musical composition forever. However, Merelli persuaded him to write Nabucco and its opening performance in March 1842 made Verdi famous. Legend (and Verdis own An Autobiographical Sketch of 1879) has it that it was the words of the famous Va pensiero chorus of the Hebrew slaves that inspired him to write music again. A large number of operas – 14 in all – followed in the decade after 1843, a period which Verdi was to describe as his galley years. These included his I Lombardi in 1843, and Ernani in 1844. For some, the most original and important opera that Verdi wrote is Macbeth in 1847. For the first time, Verdi attempted an opera without a love story, breaking a basic convention in 19th century Italian opera. In 1847, I Lombardi, which was revised and renamed Jérusalem, was produced by the Paris Opera. Due to a number of Parisian conventions that had to be honored (including extensive ballets), it became Verdis first work in the French Grand opera style. Middle years Sometime in the mid-1840s, after the death of Margherita Barezzi, Verdi began an affair with Giuseppina Strepponi, a soprano in the twilight of her career. Their cohabitation before marriage was regarded as scandalous in some of the places they lived, but Verdi and Giuseppina married on 29 August 1859 at Collonges-sous-Salève, near Geneva.While living in Busseto with Strepponi, Verdi bought an estate two miles from the town in 1848. Initially, his parents lived there, but, after his mothers death in 1851, he made the Villa Verdi at SantAgata in Villanova sullArda his home until his death. As the galley years were drawing to a close, Verdi created one of his greatest masterpieces, Rigoletto, which premiered in Venice in 1851. Based on a play by Victor Hugo (Le roi samuse), the libretto had to undergo substantial revisions in order to satisfy the epochs censorship, and the composer was on the verge of giving it all up a number of times. The opera quickly became a great success. With Rigoletto, Verdi sets up his original idea of musical drama as a cocktail of heterogeneous elements, embodying social and cultural complexity, and beginning from a distinctive mixture of comedy and tragedy. Rigolettos musical range includes band-music such as the first scene or the song La donna è mobile, Italian melody such as the famous quartet Bella figlia dellamore, chamber music such as the duet between Rigoletto and Sparafucile and powerful and concise declamatos often based on key-notes like the C and C# notes in Rigoletto and Monterones upper register. There followed the second and third of the three major operas of Verdis middle period: in 1853 Il Trovatore was produced in Rome and La traviata in Venice. The latter was based on Alexandre Dumas, fils play The Lady of the Camellias, and became the most popular of all Verdis operas, placing first in the Operabase list of most performed operas worldwide. Later compositions È scherzo od è follia Un ballo in maschera (1859), Act 1, Scene 2. Performed by Enrico Caruso, Frieda Hempel, Maria Duchêne, Andrés de Segurola and Léon Rothier. Nè gustare mè dato unora... La forza del destino (1862), Act 3, Scene 3. Sung by Enrico Caruso and Giuseppe de Luca. Problems listening to these files? See media help. Between 1855 and 1867, an outpouring of great Verdi operas followed, among them such repertory staples as Un ballo in maschera (1859), La forza del destino (commissioned by the Imperial Theatre of Saint Petersburg for 1861 but not performed until 1862), and a revised version of Macbeth (1865). Other somewhat less often performed include Les vêpres siciliennes (1855) and Don Carlos (1867), both commissioned by the Paris Opera and initially given in French. Today, these latter two operas are most often performed in their revised Italian versions. Simon Boccanegra followed in 1857. Giuseppe Verdi in 1876 by Etienne Carjat In 1869, Verdi was asked to compose a section for a requiem mass in memory of Gioachino Rossini and proposed that this requiem should be a collection of sections composed by other Italian contemporaries of Rossini. The requiem was compiled and completed, but it was cancelled at the last minute (and was not performed in Verdis lifetime). Verdi blamed this on the lack of enthusiasm for the project by the intended conductor, Angelo Mariani, who had been a longtime friend of his. The episode led to a permanent break in their personal relations. The soprano Teresa Stolz (who later had a strong professional – and, perhaps, romantic – relationship with Verdi) was at that time engaged to be married to Mariani, but she left him not long after. Five years later, Verdi reworked his Libera Me section of the Rossini Requiem and made it a part of his Requiem Mass, honoring the famous novelist and poet Alessandro Manzoni, who had died in 1873. The complete Requiem was first performed at the cathedral in Milan on 22 May 1874. Verdis grand opera, Aida, is sometimes thought to have been commissioned for the celebration of the opening of the Suez Canal in 1869, but, according to one major critic,Verdi turned down the Khedives invitation to write an ode for the new opera house he was planning to inaugurate as part of the canal opening festivities. The opera house actually opened with a production of Rigoletto. Later in 1869/70, the organizers again approached Verdi (this time with the idea of writing an opera), but he again turned them down. When they warned him that they would ask Charles Gounod instead and then threatened to engage Richard Wagners services, Verdi began to show considerable interest, and agreements were signed in June 1870. Teresa Stolz was associated with both Aida and the Requiem (as well as a number of other Verdi roles). The role of Aida was written for her, and although she did not appear in the world premiere in Cairo in 1871, she created Aida in the European premiere in Milan in February 1872. She was also the soprano soloist in the first and many later performances of the Requiem. It was widely believed that she and Verdi had an affair after she left Angelo Mariani, and a Florence newspaper criticised them for this in five strongly worded articles. Whether there is any truth to the accusation may never be known with any certainty. However, after Giuseppina Strepponis death, Teresa Stolz became a close companion of Verdi until his own death. Aida was a resounding success, being translated in multiple languages. The French translation was particularly successful, having bigger names showing interest.[according to whom?] As well as the beneficial interest, the French version of the opera had monumental[peacock term] achievements, going an entire season without any problems in the cast or performances. Verdi himself commented,[to whom?] “Oh! You are very lucky! Twenty-six consecutive performances without a hitch, without anyone getting sick and making you lose a performance-this is a bit of good fortune that will never happen again!”[??????????] Verdi and Wagner, who were the leaders of their respective schools of music, seemed to resent each other greatly. They never met. Verdis comments on Wagner and his music are few and hardly benevolent (He invariably chooses, unnecessarily, the untrodden path, attempting to fly where a rational person would walk with better results), but at least one of them is kind: upon learning of Wagners death, Verdi lamented, Sad, sad, sad! ... a name that will leave a most powerful impression on the history of art. Of Wagners comments on Verdi, only one is well-known. After listening to Verdis Requiem, the German, prolific and eloquent in his comments on some other composers, stated, It would be best not to say anything. Final years and death Sì, pel ciel marmoreo giuro! Otello (1887), Act 2. Performed by Titta Ruffo and Enrico Caruso. Problems listening to this file? See media help. During the following years, Verdi worked on revising some of his earlier scores, most notably new versions of Don Carlos, La forza del destino, and Simon Boccanegra. Otello, based on William Shakespeares play, with a libretto written by the younger composer of Mefistofele, Arrigo Boito, premiered in Milan in 1887. Its music is continuous and cannot easily be divided into separate numbers to be performed in concert. Some[who?] feel that although masterfully orchestrated, it lacks the melodic lustre so characteristic of Verdis earlier, great, operas, while many critics consider it Verdis greatest tragic opera, containing some of his most beautiful, expressive music and some of his richest characterizations. In addition, it lacks a prelude, something Verdi listeners are not accustomed to. Arturo Toscanini performed as cellist in the orchestra at the world premiere and began his friendship with Verdi (a composer he revered as highly as Beethoven). Verdis statue in the Piazza G. Verdi, Busseto Verdis last opera, Falstaff, whose libretto was also by Boito, was based on Shakespeares Merry Wives of Windsor and Victor Hugos subsequent translation. It was an international success and is one of the supreme comic operas which shows Verdis genius as a contrapuntist. In 1894, Verdi composed a short ballet for a French production of Otello, his last purely orchestral composition. Years later, Arturo Toscanini recorded the music for RCA Victor with the NBC Symphony Orchestra which complements the 1947 Toscanini performance of the complete opera. In 1897, Verdi completed his last composition, a setting of the traditional Latin text Stabat Mater. This was the last of four sacred works that Verdi composed, Quattro Pezzi Sacri, which are often performed together or separately. The first performance of the four works was on 7 April 1898, at the Grande Opéra, Paris. The four works are: Ave Maria for mixed chorus; Stabat Mater for mixed chorus and orchestra; Laudi alla Vergine Maria for female chorus; and Te Deum for double chorus and orchestra. On 29 July 1900, King Umberto I of Italy was assassinated, a deed that horrified the aged composer. While staying at the Grand Hotel et de Milan in Milan, Verdi had a stroke on 21 January 1901. He grew gradually more feeble and died six days later, on 27 January. Arturo Toscanini conducted the vast forces of combined orchestras and choirs composed of musicians from throughout Italy at the state funeral for Verdi in Milan. To date, it remains the largest public assembly of any event in the history of Italy. Verdi was initially buried in Milan’s Cimitero Monumentale. A month later, his body was moved to the Casa di Riposo per Musicisti, a rest home for retired musicians that Verdi had established. In October 1894, the French government awarded him the Grand-Croix de la Legion dhonneur.[citation needed] He was the first musician to receive the Grand-Croix.[???????] He was an agnostic. Toscanini, in a taped interview, described him as an atheist, but agnostic is probably the most accurate description. His second wife, Giuseppina Strepponi, described him as a man of little faith. Role in the Risorgimento Giuseppe Verdi, the bust outside of the Teatro Massimo in Palermo, Italy by Antonio Ugo. Music historians have long perpetuated a myth about the famous Va, pensiero chorus sung in the third act of Nabucco. The myth reports that, when the Va, pensiero chorus was sung in Milan, then belonging to the large part of Italy under Austrian domination, the audience, responding with nationalistic fervor to the exiled slaves lament for their lost homeland, demanded an encore of the piece. As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. However, recent scholarship puts this to rest. Although the audience did indeed demand an encore, it was not for Va, pensiero but rather for the hymn Immenso Jehova, sung by the Hebrew slaves to thank God for saving His people. In light of these new revelations, Verdis position as the musical figurehead of the Risorgimento has been correspondingly downplayed. Claudio, Verdi, Milan: Rusconi, 1982 On the other hand, during rehearsals, workmen in the theater stopped what they were doing during Va, pensiero and applauded at the conclusion of this haunting melody while the growth of the identification of Verdis music with Italian nationalist politics is judged to have begun in the summer 1846 in relation to a chorus from Ernani in which the name of one of its characters, Carlo, was changed to Pio, a reference to Pope Pius IXs grant of an amnesty to political prisoners. After Italy was unified in 1861, many of Verdis early operas were re-interpreted as Risorgimento works with hidden Revolutionary messages that probably had not been intended by either the composer or librettist. Beginning in Naples in 1859 and spreading throughout Italy, the slogan Viva VERDI was used as an acronym for Viva Vittorio Emanuele Re DItalia (Viva Victor Emmanuel King of Italy), referring to Victor Emmanuel II, then king of Sardinia. The Chorus of the Hebrews (the English title for Va, pensiero) has another appearance in Verdi folklore. Prior to Verdis bodys being driven from the cemetery to the official memorial service and its final resting place at the Casa di Riposo per Musicisti, Arturo Toscanini conducted a chorus of 820 singers in Va, pensiero. At the Casa, the Miserere from Il trovatore was sung. Verdi was elected as a member of the Chamber of Deputies in 1861 following a request of Prime Minister Cavour but in 1865 he resigned from the office. In 1874 he was named Senator of the Kingdom by King Victor Emanuel II. Style Verdi caricatured by Delfico (1860) Verdis predecessors who influenced his music were Rossini, Bellini, Giacomo Meyerbeer and, most notably, Gaetano Donizetti and Saverio Mercadante. With the exception of Otello and Aida, it is said that he was free of Wagners influence.[by whom?] However, many see[who?][citation needed]his monumental work, Don Carlo, as a response to Wagners typical epics that often spanned over four hours. Although respectful of Gounod, Verdi was careful not to learn anything from the Frenchman whom many of Verdis contemporaries regarded as the greatest living composer. Some strains in Aida suggest at least a superficial familiarity with the works of the Russian composer Mikhail Glinka, whom Franz Liszt, after his tour of the Russian Empire as a pianist, popularized in Western Europe. Throughout his career, Verdi rarely utilized the high C in his tenor arias, citing the fact that the opportunity to sing that particular note in front of an audience distracts the performer before and after the note appears. However, he did provide high Cs to Duprez in Jérusalem and to Tamberlick in the original version of La forza del destino. The high C, often-heard in the aria Di quella pira from Il trovatore , does not appear in Verdis score. Some critics maintain he paid insufficient attention to the technical aspect of composition, lacking as he did schooling and refinement.[citation needed] Verdi himself once said, Of all composers, past and present, I am the least learned. He hastened to add, however, I mean that in all seriousness, and by learning I do not mean knowledge of music. Giuseppe Verdi. Portrait by Giovanni Boldini, 1886. This famous portrait was the main inspiration of Luchino Visconti in creating the character played by Burt Lancaster in his film Il Gattopardo. However, it would be incorrect to assume that Verdi underestimated the expressive power of the orchestra or failed to use it to its full capacity where necessary. Moreover, orchestral and contrapuntal innovation is characteristic of his style: for instance, the strings producing a rapid ascending scale in Monterones scene in Rigoletto accentuate the drama, and, in the same opera, the chorus humming six closely grouped notes backstage portrays, very effectively, the brief ominous wails of the approaching tempest. Verdis innovations are so distinctive that other composers do not use them; they remain, to this day, some of Verdis signatures. Verdi was one of the first composers who insisted on patiently seeking out plots to suit his particular talents. Working closely with his librettists and well aware that dramatic expression was his forte, he made certain that the initial work upon which the libretto was based was stripped of all unnecessary detail and superfluous participants, and only characters brimming with passion and scenes rich in drama remained. Many of his operas, especially the later ones from 1851 onwards, are a staple of the standard repertoire. With the possible exception of Giacomo Puccini, no composer of Italian opera has managed to match Verdis popularity. Works: List of compositions by Giuseppe Verdi Verdis operas, and their date of première are: Oberto, 17 November 1839 Un giorno di regno, 5 September 1840 Nabucco, 9 March 1842 I Lombardi alla prima crociata, 11 February 1843 Ernani, 9 March 1844 I due Foscari, 3 November 1844 Giovanna dArco, 15 February 1845 Alzira, 12 August 1845 Attila, 17 March 1846 Macbeth, 14 March 1847 I masnadieri, 22 July 1847 Jérusalem (a revision and translation of I Lombardi alla prima crociata) 26 November 1847 Il corsaro, 25 October 1848 La battaglia di Legnano, 27 January 1849 Luisa Miller, 8 December 1849 Stiffelio, 16 November 1850 Rigoletto, 11 March 1851 Il trovatore, 19 January 1853 La traviata, 6 March 1853 Les vêpres siciliennes, 13 June 1855 Simon Boccanegra, (Original Version), 12 March 1857 Aroldo (A major revision of Stiffelio), 16 August 1857 Un ballo in maschera, 17 February 1859 La forza del destino, 10 November 1862 Don Carlos, 11 March 1867 Aida, 24 December 1871 Simon Boccanegra, (Revised Version), 24 March 1881 Otello, 5 February 1887 Falstaff, 9 February 1893 Political significance Unlike most of the visual arts, opera was commercially profitable, accessible to most classes of society, and thus an effective means of reaching the 19th-century public. Verdi used musical theater to contrast noble ideals with the corrosive effects of power, love of country with the inevitable call for sacrifice and death, and the lure of passion with the need for social order. The 1985 play After Aida is a play-with-music similar to Amadeus. It is an accurate and learned, yet dramatic and humorous, depiction of Verdis relationship with his librettist Arrigo Boito, and the attempts of Giulio Ricordi and Franco Faccio to get the two to collaborate on a project, Otello. He is a character in the opera, Risorgimento! (2010) by Italian composer Lorenzo Ferrero, written to commemorate the 150th anniversary of Italian unification. Eponyms There are many theatres named after Verdi in Italy. The Verdi Inlet on the Beethoven Peninsula of Alexander Island just off Antarctica Verdi Square at Broadway and West 72nd Street in Manhattan features the Giuseppe Verdi Monument. Asteroid 3975 Verdi Verdi Football Club, an association football club founded in Parma in July 1913, is after a series of name changes known today as the Parma F.C.. Verdis name literally translates as Joseph Green in English (although verdi is the plural form of green). Musical comedian Victor Borge often referred to the famous composer as Joe Green in his act, saying that Giuseppe Verdi was merely his stage name. The same joke-translation is mentioned in Agatha Christies Evil Under the Sun by Patrick Redfern to Hercule Poirot – a prank which inadvertently gives Poirot the answer to the murder.
Posted on: Thu, 10 Oct 2013 22:55:48 +0000
Trending Topics
Recently Viewed Topics
© 2015