I Capuleti e i Montecchi is considered by many Bellini’s first masterpiece. It certainly recalls in many ways the great belcanto era, particularly in the way the roles are organized: the mezzo-soprano as male protagonist, the soprano as his lover, the tenor as the hero’s rival, bass and bariton respectively as the noble father and the tyrant. However, Capuleti is not strictly a belcanto opera because of its intimate and at times dramatic atmosphere. So much so that the many embellishments, counterbalanced by a well-defined melodic core, are not ornamentation anymore but start to take an expressive connotation.
Verdi’s last opera Falstaff relates to Verdi’s late years when after the enormous success of Otello no one expected him to create yet another opera. A pleasant routine Verdi and Giuseppina had a pleasant life routine at that stage. They used to spend winters in Genoa; the beginning of spring in Milan attending music events; the end of spring and most part of summer in Sant’Agata, where the composer attended business such as the collection of rent payments, purchase of seeds, repairs, new buildings works. Yet his friend, librettist and composer Arrigo Boito noticed how much Verdi missed composing and for that reason started to insist in working together on something new, an opera that could end his career in an even better way than Otello, a “triumph with a laughter”. Triumph with a laughter The idea came out during a conversation between Boito and Verdi. By May 1889 Boito had already sketched the libretto from Shakespeare’s Henry IV (1597) and The Merry Wives of Windsor (1602). Verdi, who had considered a comic subject before, at that stage was worried for not being able to complete it: “What would happen if I won’t overcome my weakness…If I won’t be able to finish […]
The main difference between Opera and the previous polyphonic vocal music is the unique melodic line, resulting from the merging of bass and singing. In polyphonic music different vocal lines work independently, overlapping one another and making a text often incomprehensible. Opera instead offered a new way for making words expressive and intelligible, by creating a single melodic line, supported by an accompaniment.
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 […]