A troubled genesis Un Ballo in Maschera is arguably one of most popular opera by Giuseppe Verdi. Yet it had the most troubled genesis. Written for the San Carlo in Naples and never performed there Un Ballo in Maschera was originally composed to be staged in Naples as the last new opera written under the contract between the Teatro San Carlo and Verdi but was never performed there. The major changes imposed by the Bourbon censorship to the composer convinced Verdi to premiere it in Rome instead. Even the Papal censorship in 1859 allowed him more freedom than that of the Bourbons’. Last (missed) opportunity for a Verdi’s “King Lear” Initially, Verdi had suggested to the San Carlo management another subject: King Lear by William Shakespeare, a long-term project that this time seemed to finally have found a right opportunity. But a new problem came up. To stage King Lear 2 or 3 strong soloists were not enough: 5 at least were needed and the San Carlo couldn’t provide them. These circumstances convinced Verdi, after over 15 years, to finally abandon the project of staging a music version of King Lear. Verdi & Shakespeare Verdi was a great admirer of […]
Vincenzo Gonzaga, Duke of Mantua attended the successful performance of Peri’s Euridice in Florence, which was probabily witnessed also by Monteverdi himself. The Duke realized immediately the originality of this new entertainment and the prestige that would reflect on the lord that sponsored it.
What is Rigoletto it about? This sounds like a simple question, which could be answered by telling the story of the Duke of Mantua, the city of Mantua, his hunchback jester and the jester’s daughter, Gilda. A story of love, deception, revenge, and death. The story, of course, is so close to the one told by playwright and poet Victor Hugo in his play Le Roi s’amuse (The King has fun), that they could appear the same thing. But anyone who loves opera will not be satisfied by this explanation. In the best operas, music is much more than an accompaniment to the story: it is through the power of music that the story unfolds into the drama. Verdi fell literally in love with Hugo’s play and was determined to translate it into music; despite his librettist Francesco Maria Piave‘s concerns, particularly over the fourth act culminating in the deposition of a dying Gilda in a bag. In a letter dated June 1850, Verdi explains the reasons he suggested as a title for the opera Monterone’s curse or, by the short, The Curse. “The subject is the curse as a moral element: A distraught father who mourns the honor taken away from his daughter, a […]
La Sonnambula was a complete triumph, since its premiere. The newspapers wrote of “a melody that goes to the heart, an instrumentation always beautiful and well built” and reported of “endless applauses”. The story revolves around the character of Amina, the archetypal of the slandered innocent.