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WIKIMAG n. 11 - Ottobre 2013
Giuseppe Verdi
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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. Verdi is
considered with
Richard Wagner the most influential composer of operas of the
nineteenth century,[1]
and dominated the Italian scene after
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, as "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" from
Il trovatore and the "Grand
March" from
Aida.
Moved by the death of compatriot
Alessandro Manzoni, Verdi wrote in 1874 the
Messa da Requiem in his 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 of the
Italian peninsula (the
Risorgimento).
Biography
Early life
Verdi's statue in the Piazza G. Verdi,
Busseto
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), Verdi's 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."[3]
When he was still a child, Verdi's parents moved from Le Roncole to
Busseto, where the future composer's education was greatly facilitated
by visits to the large library belonging to the local Jesuit school. It
was in Busseto that 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 and concerts,
often of specifically German music. Milan's 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 gave his
first public performance in 1830 in the home of Antonio Barezzi, a local
merchant and music lover who had long supported Verdi's musical
ambitions in Milan.
Because he loved Verdi's music, Barezzi invited Verdi to be his
daughter Margherita's 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[4][5]
on 18 June 1840, aged only 26.[6]
Verdi adored his wife and children and was devastated by their deaths.
Initial
recognition
|
Ernani (1844), act 3, sung by Mattia Battistini,
Emilia Corsi, Luigi Colazza, Aristodemo Sillich, and the
La Scala chorus in 1906.
|
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See
media help. |
The production by Milan's
La
Scala of his first opera,
Oberto, in November 1839 achieved a degree of success, after
which
Bartolomeo Merelli, La Scala's impresario, offered Verdi a contract
for three more works.[7]
It was while he was working on his second opera,
Un giorno di regno, that Verdi's 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
Verdi's own "An Autobiographical Sketch" of 1879[8])
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 period of hard work – producing 14 operas in all – followed in the
fifteen years after 1843, right up through the composition of
Un ballo in maschera, a period which Verdi was to describe as
his "years in the galleys" in a letter to Countess Clara Maffei: "From
Nabucco, you may say, I have never had one hour of peace. Sixteen
years in the galleys".[9][10]
These included his
I Lombardi in 1843, and
Ernani
in 1844. For some[who?],
the most original and important opera that Verdi wrote is
Macbeth (1847). It was Verdi's first attempt to write an opera
without a love story, breaking a basic convention of 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 Verdi's first work
in the French
Grand opera style.
Middle years
|
Il trovatore (1853), act 2. Sung by Gabriella
Besanzoni in 1920.
|
Problems playing these
files? See
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Sometime in the mid-1840s, after the death of Margherita Barezzi,
Verdi "formed a lasting attachment to the soprano
Giuseppina Strepponi who was to become his lifelong companion",[11]
but she was 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, in the Kingdom of Piemonte, near
Geneva.[12]
In 1848, while living in Busseto with Strepponi, Verdi bought an estate
two miles from the town. Initially, his parents lived there, but after
his mother's death in 1851, he made the
Villa Verdi at Sant'Agata in
Villanova sull'Arda his home, which it remained until his death.
As he was still laboring through his "years in the galleys",[9]
Verdi created one of his greatest masterpieces,
Rigoletto, which premiered in Venice in 1851. Based on a play by
Victor Hugo (Le roi s'amuse), the libretto had to undergo
substantial revisions in order to satisfy the epoch's 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. Rigoletto's musical range includes band-music such
as the first scene or the aria "La
donna è mobile", Italian melody such as the famous quartet "Bella
figlia dell'amore",
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 Monterone's upper register.
There followed the second and third of the three major operas of
Verdi's "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
Verdi's operas, placing first in the
Operabase list of most performed operas worldwide.[13]
Later compositions
Between 1855 and 1867 there was an outpouring of great Verdi operas,
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 Italian translation.
Simon Boccanegra followed in 1857.
In 1869, Verdi was asked to compose a section for a
requiem mass in memory of
Gioachino Rossini which was to be a collection of sections composed
by other Italian contemporaries of Rossini. The requiem was compiled and
completed, but was cancelled at the last minute (and was not performed
in Verdi's 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.
Verdi's grand opera,
Aida,
is sometimes thought to have been commissioned for the celebration of
the opening of the
Suez Canal in 1869, and the
Khedive
had planned to inaugurate an opera house as part of the canal opening
festivities, but according to Julian Budden,[14]
Verdi turned down the Khedive's invitation to write an "ode" for the new
opera house because "I am not accustomed to compose morceaux de
circonstance.[15]
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 Wagner's 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 Strepponi's death, Teresa Stolz
became a close companion of Verdi until his own death.
Verdi and Wagner, who were the leaders of their respective schools of
music, seemed to resent each other greatly, though they never met.
Verdi's 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 Wagner's death, Verdi
lamented, "Sad, sad, sad! ... a name that will leave a most powerful
impression on the history of art."[16]
Of Wagner's comments on Verdi, only one is well-known. After listening
to Verdi's Requiem, the German, prolific and eloquent in his
comments on some other composers, stated, "It would be best not to say
anything."
Last years
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 Shakespeare's 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 Verdi's earlier, great, operas, while many critics[who?]
consider it Verdi's 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 were not
accustomed to.
Arturo Toscanini performed as cellist in the orchestra at the world
premiere and began his association with Verdi (a composer he revered as
highly as Beethoven).
Verdi's last opera,
Falstaff, whose libretto was also by Boito, was based on
Shakespeare's
Merry Wives of Windsor and Henry IV, Part 1 via
Victor Hugo's subsequent translation. It was an international
success and is one of the supreme comic operas which shows Verdi's
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 can be performed together or
separately. They were not conceived as a unit and, in fact, Verdi did
not want the Ave Maria published as he considered it an exercise. The
first performance of the four works was on 7 April 1898, at the 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 by
Gaetano Bresci, a deed that horrified the aged composer.[17]
While staying at the
Grand Hotel et de Milan[18]
in Milan,
Verdi suffered a stroke on 21 January 1901. He gradually grew more
feeble and died nearly a week later, on 27 January.
Arturo Toscanini conducted the vast forces of combined orchestras
and choirs composed of musicians from throughout Italy at Verdi's
funeral service in Milan. To date, it remains the largest public
assembly of any event in the history of Italy.[19]
Verdi was initially buried in Milan's
Cimitero Monumentale. A month later, his body was moved to the
"crypt" of the
Casa di Riposo per Musicisti, a rest home for retired musicians that
Verdi had recently established. In October 1894, the French government
awarded him the Grand-Croix de la Legion d'honneur.[citation
needed] He was the first non-French musician to
receive the Grand-Croix.[citation
needed]
He was an agnostic atheist.[20]
Toscanini, in a taped interview, described him as "an atheist",[21]
but "agnostic" is probably the most accurate description. His second
wife, Giuseppina Strepponi, described him as "a man of little faith".[22]
Role in the
Risorgimento
Music historians have long perpetuated a myth about the famous "Va,
pensiero" chorus sung in the third act of
Nabucco.
The myth claims 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, Verdi's position as the
musical figurehead of the Risorgimento has been correspondingly
downplayed.[23]
It is interesting to note in this context that all but seven (his last
operas) were created by Verdi whilst Milan, the capital of Lombardo
Veneto, was an integral part of the Austro-Hungarian Empire.[24]
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[25]
while the growth of the "identification of Verdi's music with Italian
nationalist politics" is judged to have begun in the summer of 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 IX's grant of an amnesty to political prisoners.[26]
Verdi caricatured by
Delfico (1860)
Verdi's 14th opera,
La battaglia di Legnano, written while Verdi was living in Paris
in 1848 (though he quickly traveled to Milan after news of the "Cinque
Giornate" arrived there) seems to have been composed specifically as "an
opera with a purpose" (as opera historian
Charles Osborne describes it), but Osborne continues: "while parts
of Verdi's earlier operas had frequently been taken up by the fighters
of the Risorgimento [...] this time the composer had given the movement
its own opera".[27]
After Italy was unified in 1861, many of Verdi's 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
D'Italia (Viva
Victor Emmanuel King of Italy), referring to
Victor Emmanuel II, then king of
Sardinia.[28][29]
The "Chorus of the Hebrews" (the English title for "Va, pensiero")
has another appearance in Verdi folklore. Prior to Verdi's body's 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.[30]
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.[31]
In 1874 he was named
Senator of the Kingdom by King
Victor Emmanuel II.
Style
Verdi's 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 Wagner's influence.[by
whom?] However, many see[who?][citation
needed]his monumental work, Don Carlos, as a
response to Wagner's 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 Verdi's 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 Verdi's 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."
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 Monterone's 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. Verdi's
innovations are so distinctive that other composers do not use them;
they remain, to this day, some of Verdi's 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
Verdi's popularity.
Works
Verdi's operas (in Italian unless noted) 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 d'Arco, 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 into French
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 (in French), 13 June 1855
-
Simon Boccanegra (original version), 12 March 1857
-
Aroldo (A major revision and re-working of
Stiffelio), 16 August 1857
-
Un ballo in maschera, 17 February 1859
-
La forza del destino, 10 November 1862
-
Macbeth (revised version with added music), 19 April
1865
-
Don Carlos (5 acts, in French), 11 March 1867
-
Aida, 24 December 1871
-
Simon Boccanegra (revised version), 24 March 1881
-
Otello, 5 February 1887
-
Falstaff, 9 February 1893
|
Legacy
The final scene of the opera Risorgimento!
Verdi has been the subject of a number of cultural works. He was the
subject of the 1938 film
Giuseppe Verdi starring
Fosco Giachetti, and the 1985 play
After Aida (a play-with-music similar to
Amadeus). He is a character in the opera,
Risorgimento! (2011) by Italian composer
Lorenzo Ferrero, written to commemorate the 150th anniversary of
Italian unification.
There are many
theatres named after Verdi in Italy. There is a
Giuseppe Verdi Monument in
Verdi Square in
Manhattan, in the USA.
Verdi's 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 Christie's
Evil Under the Sun by Patrick Redfern to
Hercule Poirot – a prank which inadvertently gives Poirot the answer
to the murder.
See also
References
Notes
-
Jump up ^
Paul Levy,
"Bob Dylan: Verdi and/or Wagner: Two Men, Two Worlds, Two
Centuries by Peter Conrad",
The Guardian (London), 13 November 2011. Retrieved 21
June 2013
-
Jump up ^
Rosen[page needed]
-
Jump up ^
Martin, p. 3
-
Jump up ^
"Giuseppe Verdi: La Vita" on magiadellopera.com (in Italian)
notes: "On 18 June 1840 Margherita Barezzi's life was cut short
by violent encephalitis."
-
Jump up ^
"Giuseppe Verdi: Sommario" on reocities.com (in Italian):
"on 20 [sic]
June 1840 his young wife Margherita died, struck down by a
severe form of acute encephalitis."
-
Jump up ^
"Margherita Barezzi" on museocasabarezzi.it (in Italian)
notes: "She died the following year [1840] on 18 June, aged only
26 years, while Verdi was working on his ill-fated second opera,
Un Giorno di Regno."
-
Jump up ^
Budden, vol 1, p. 71
-
Jump up ^
Verdi, "An Autobiographival Sketch"
(1879) in Werfel and Stefan, pp. 80–93
- ^
Jump up to:
a
b
Verdi to Clara Maffei, 12 May 1858,
in Philips-Matz, p. 379
-
Jump up ^
Philip Gossett, "Giuseppe Verdi and the Italian
Risorgimento", Proceedings of the American Philosophical
Society, Vol. 156, No. 3, September 2012: Gossett notes:
"Yet Verdi's only use of the expression is in a letter of 1858
to his Milanese friend Clarina Maffei, where it refers to all
his operas through Un ballo in maschera: it laments the
social circumstances in which Italian composers worked in the
mid-nineteenth century, rather than judging aesthetic value."
-
Jump up ^
Parker, p. 934
-
Jump up ^
Phillips-Matz, pp.394–95
-
Jump up ^
"Opera Statistics, 2012-13" List of Operas on
Operabase. Retrieved 21 June 2013
-
Jump up ^
Budden, Vol. 3, p. 163
-
Jump up ^
Verdi to Draneht Bey, 9 August
1869, in Budden, Vol. 3, footnote, p. 163
-
Jump up ^
Schonberg, p. 260
-
Jump up ^
Newman, p. 597: "Did he feel
himself somehow guilty of at least indirectly causing that
assassination? For almost 30 operas he composed throughout his
long life, at least half dealt with killings, murder and other
sort of violent ends of various personage, including
assassination plots against kings, leaders, or men in charge in
six of them: Attila, Macbeth, Rigoletto,
Les vêpres siciliennes, Simon Boccanegra, and Un
ballo in maschera."
-
Jump up ^
The hotel's website contains a brief history of the
composer's stay and a few photographs of those days
-
Jump up ^
Phillips-Matz, p. 764, notes the
crowd "estimated at 200,000". In the second part of his 2010
BBC4 series, Opera Italia, on the subject of Verdi's
operas, presenter and music director of the
Royal Opera House, Antonio Pappano notes the size as being
300,000
-
Jump up ^
Balthazar, p. 13: "Verdi sustained
his artistic reputation and his personal image in the last years
of his life. He never relinquished his anticlerical stance, and
his religious belief verged on atheism. Strepponi described him
as not much of a believer and complained that he mocked her
religious faith. Yet he summoned the creative strength to write
the Messa da Requiem (1874) to honor Manzoni, his
"secular saint," and conduct its world premiere."
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Toscanini, p. 262: "I've asked you
whether you're religious, whether you believe! I do—I
believe—I'm not an atheist like Verdi, but I don't have time to
go into the subject."
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Tintori, p. 232.
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Casini, ?[page needed]
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Roger Parker, "Il vate del
Risorgimento: Nabucco e il "Va Pensiero" in Degrada,[page needed]
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Phillips-Matz, p. 116
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Phillips-Matz, pp. 188–191
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Osborne, p. 198
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Parker, p. 942
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Budden, Vol. 3, p. 80
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Phillips-Matz, p. 765
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"Giuseppe Verdi politico e deputato, Cavour, il Risorgimento"
on liberalsocialisti.org (in Italian) Retrieved 2 January 2010
Cited sources
- Balthazar, Scott E. (ed.), The Cambridge Companion to Verdi,
Cambridge: Cambridge University Press, 2004. ISBN 9-780-52163535-6
-
Budden, Julian (1973). The Operas of Verdi, Volume I (3rd
ed.). Oxford University Press.
ISBN 0-19-816261-8.
- Budden, Julian (1973). The Operas
of Verdi, Volume II (3rd ed.). Oxford University Press.
ISBN 0-19-816262-6.
- Budden, J. (1973). The Operas of
Verdi, Volume III (3rd ed.). Oxford University Press.
ISBN 0-19-816263-4.
- Casini, Claudio, Verdi, Milan: Rusconi, 1982 ISBN
9-7888-1870061-9 (in Italian); Königstein: Athenäum, 1985
ISBN 3-7610-8377-7 (in German)
- Delgrada, Francesco, (Ed.), Giuseppe Verdi: l'uomo, l'opera,
il mito, Milan, Skira, 2000.
ISBN 8-881-18816-3 ISBN 9-788-88118816-1 (Catalogue from an
exhibition at the Palazzo Reale, 2000-2001)
- De Van, Gilles (trans. Gilda Roberts), Verdi's Theater:
Creating Drama Through Music. Chicago & London: University of
Chicago Press, 1998
ISBN 0-226-14369-4 (hardback),
ISBN 0-226-14370-8
- Hunt, Lynn (2009, 3rd edition).
The Making of the West. Bedford/St. Martin's.
ISBN 0-312-46510-6.
- Martin, George, Verdi: His Music, Life and Times, New
York: Dodd, Mead and Company, 1986
ISBN 0-396-08196-7 (paper, 1983)
- Newman, Earnest, Stories of the Great Operas.
Philadelphia: The Blakinson Company, 1930
-
Osborne, Charles, The Complete Opera of Verdi, New York:
Da Capo Press, Inc., 1969.
ISBN 0-306-80072-1
-
Parker, Roger, "Verdi, Giuseppe" in Stanley Sadie, (Ed.), The
New Grove Dictionary of Opera, Vol. Four. London: MacMillan
Publishers, Inc. 1998
ISBN 0-333-73432-7
ISBN 1-56159-228-5
-
Phillips-Matz, Mary Jane, Verdi: A Biography, London &
New York: Oxford University Press, 1993
ISBN 0193132044
- Rosen, David (1995), Verdi: Requiem, Cambridge: Cambridge
Music Handbooks.
ISBN 978-0-5213-9767-4
-
Schonberg, Harold C. (1997).
The Lives of the Great Composers. W. W. Norton & Company.
ISBN 0-393-03857-2.
Retrieved 9 January 2008
- Tintori, Giampiero, Guida all'ascolto di Giuseppe Verdi,
Milano: Mursia, 1983.
- Toscanini, Arturo (Ed. Harvey Sachs), The letters of Arturo
Toscanini, New York: Alfred A. Knopf, 2002 ISBN 9-780-37540405-4
- Walker, Frank, The Man Verdi, New York: Knopf, 1962,
Chicago: University of Chicago Press, 1982
ISBN 0-226-87132-0
-
Werfel, Franz and
Stefan, Paul, Verdi: The Man and His Letters, New York:
Vienna House 1973
ISBN 0-8443-0088-8
Other sources
- Budden, Julian (2008). Verdi
(3rd edition). New York: Oxford University Press.
ISBN 9780195323429.
- Kamien, R. (1997). Music: an
appreciation – student brief (3rd ed.). McGraw Hill.
ISBN 0-07-036521-0.
- Gal, H. (1975). Brahms, Wagner,
Verdi: Drei Meister, drei Welten. Fischer.
ISBN 3-10-024302-1.
- Harwood, Gregory W. (1998).
Giuseppe Verdi: A Guide to Research. Routledge.
ISBN 9780824041175.
- Harwood, Gregory (2012). Giuseppe
Verdi: A Research and Information Guide (2d ed.). : Abingdon
(New York); Routledge (UK).
ISBN 0415881897.
- Michels, Ulrich (1992). dtv-Atlas
zur Musik: Band Zwei (7th ed.). Deutscher Taschenbuch Verlag.
ISBN 3-423-03023-2.
- Polo, Claudia, Immaginari verdiani. Opera, media e industria
culturale nell'Italia del XX secolo, Milano: BMG/Ricordi, 2004
(Italian)
Verdi's life in and around Busseto
- Associazione Amici di Verdi (ed.), Con Verdi nella sua terra,
Busseto, 1997 (in English)
- Maestrelli, Maurizio, Guida alla Villa e al Parco (in
Italian), publication of Villa Verdi, 2001
- Mordacci, Alessandra, An Itinerary of the History and Art in
the Places of Verdi, Busseto: Busseto Tourist Office, 2001 (in
English)
- Villa Verdi: the Visit and Villa Verdi: The Park; the
Villa; the Room (pamphlets in English), publications of the
Villa Verdi
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