LindoroRossini's video: Musical pilgrimage Giuseppe Verdi From Oberto to Stiffelio 1839-1850 Highlights 2 3

≈ History ≈ Information adapted from Grove Dictionary, Verdi Conspectus by Robert Farr (available on MusicWeb) & Booklet Notes By the 1850s Giuseppe Verdi had arguably become the most famous and frequently performed Italian opera composer in Europe having wrested the former title from Rossini, the latter - from Donizetti. The path to this great renown was, however, thorny, to put it lightly. Verdi's initially uneventful provincial existence was quickly replaced with one of intense creative activity after the warmer-than-expected reception of "Oberto" in 1839 which led to 3 further commissions for La Scala. After the great triumph of the 1842 "Nabucco", Verdi's schedule became virtually unremitting. In the 11 years up to March 1853 which marked the first performance of "La traviata" 16 operas were written - 1 work every nine months (1). Although this rate of composition seems minimal by the standards of Donizetti (2), the younger composer's constant participation in the actual process of producing his works (including extensive tampering with libretti) ensured additional need for negotiations with theatres and librettists. The years 1844-7 were particularly arduous with the composer's health breaking down frequently (3). (1): In his remaining lifetime - more than 40 years - just 11 new operatic works were produced. (2): 70 operas in 25 years or about twice the workload of Verdi. (3): Verdi would later entitle this period his "galley years". ≈ Narratives ≈ Verdi remarkably worked almost exclusively with just three librettists during the galley years: Solera who supplied the first libretti, Cammarano (who would go on to create "Il trovatore") and Piave (the most important collaborator who continuously worked with the composer from "Ernani" to "La forza del destino"). It is often noted that Verdi's detailed instructions on how to set the librettos were an important factor in the actual shaping of the narratives. Still, the texts are of extremely variable quality, ranging from the strikingly veristic tale of "Stiffelio" through to the melodramatic but effective "Ernani" finally arriving to the crudely sketched "I masnadieri". ≈ Music ≈ The presented "youthful" opuses can be seen as fairly conservative belcanto operas which follow and gradually elaborate on the general style of Donizetti and Bellini with varying degrees of success. In particular, "Nabucco" and "Ernani" -- all guided through the same predetermined structure of double arias and sustained ensembles -- are powerful cases of just how well the Romantic idioms can work and constitute, for me personally, the highpoints of the period. Mercadante's possible influence is most notable in the gradual elaboration of established forms, as in the strikingly unconventional and innovative "Macbeth" which is strictly tailored to the needs of the drama from which it is derived, while in the final act of "Stiffelio" - the penultimate duet for the husband and wife, in particular - one senses the advent of an earnest musical dramatist. While Verdi's own personal touches are not as apparent as they would later become, the basic merits of the music seem clear: melodic broadness and robustness (as opposed to the decorative writing of Rossini) allied to a constant energetic pulse that is sustained throughout closed pieces; frequently lean accompaniments (a rare exception -- the handsome wind writing in Giselda's first prayer from "I Lombardi"); primary attention given to dramatic effectiveness over sheer musical beauty. Considering all this and our knowledge of the Verdi's future great works, evaluating the remaining 12 works becomes problematic, as they seem lacking as compared to the composer's better pieces. In particular, "Alzira", "Il corsaro" and "I masnadieri" seem unexceptional. However, even amongst the lesser music one can find little treasures, such as the lovely cello prelude for "I Masnadieri". ≈ Recordings ≈ I due Foscari ≈ 1977 Philips: Francesco Foscari ~ Piero Cappuccilli, Jacopo Foscari ~ José Carreras, Lucrezia ~ Katia Ricciarelli, Loredano ~ Samuel Ramey, ORF-Symphonie-Orchester & Chor des Österreichischen Rundfunks under Lamberto Gardelli. ~ Giovanna d'Arco ≈ 1972 EMI: Giovanna ~ Montserrat Caballé, Carlo ~ Plácido Domingo, Giacomo ~ Sherrill Milnes, London Symphony Orchestra & Ambrosian Opera Chorus under James Levine. ~ Alzira ≈ 1981 Orfeo: Alzira ~ Ileana Cotrubas, Zamoro ~ Francisco Araiza, Gusmano ~ Renato Bruson, Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks under Lamberto. ~ Attila ≈ 1971 Philips: Attila ~ Ruggero Raimondi, Ezio ~ Sherrill Milnes, Odabella ~ Cristina Deutekom, Foresto ~ Carlo Bergonzi, Royal Philharmonic Orchestra & Ambrosian Singers under Lamberto Gardelli. ~ Macbeth ≈ 1964 Decca: Macbeth ~ Giuseppe Taddei, Lady Macbeth ~ Birgit Nilsson, Banco ~ Giovanni Foiani, Macduff ~ Bruno Prevedi, Santa Cecilia Orchestra & Chorus under Thomas Schippers. Hope you'll enjoy =).