Verdi The Complete Works

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Verdi The Complete Works

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dc.contributor.other Giuseppe Verdi es
dc.contributor.other Piero Cappuccilli es
dc.contributor.other Mirella Freni es
dc.contributor.other Nicolai Ghiaurov es
dc.contributor.other José van Dam es
dc.contributor.other Giovanni Foiani es
dc.contributor.other José Carreras es
dc.contributor.other Antonio Savastano es
dc.contributor.other Maria Fausta Gallamini es
dc.contributor.other Coro del Teatro alla Scala es
dc.contributor.other Romano Gandolfi es
dc.contributor.other Orchestra del Teatro alla Scala es
dc.contributor.other Claudio Abbado es
dc.contributor.other Francesco Maria Piave es
dc.coverage.spatial Milan, Italy es
dc.date.accessioned 2013-07-22T17:19:57Z
dc.date.available 2013
dc.date.available 2013-07-22T17:19:57Z
dc.date.copyright 2013
dc.date.issued 2013-07-22
dc.identifier.uri http://hdl.handle.net/123456789/3524
dc.description.abstract Giuseppe Verdi was to opera in the Italian tradition what Beethoven was to the symphony. When he arrived on the scene some had suggested that effective opera after Rossini was not possible. Verdi, however, took the form to new heights of drama and musical expression. Partisans see him as at least the equal of Wagner, even though his style and musical persona were of an entirely different cast. In the end, both Verdi's popular vein—as heard in the operas Rigoletto, Il trovatore, and La traviata—and his deeper side—found in Aida, Otello, and Falstaff—demonstrate his mastery and far-reaching development of Italian opera. Verdi showed talent by the age of seven and even played organ at a local church. Around this time he was given an old piano, which he quickly learned to play with proficiency. He moved to Busseto in 1823 and began study the following year with Ferdinando Provesi. By age 15 he had become an assistant church organist and had already started composing. Beginning in 1832, he studied privately with Vincenzo Lavigna in Milan, after the Conservatory there turned him away. He returned to Busseto and married Margherita Barezzi in 1836. Having achieved publication of some songs, he moved to Milan in 1839 and composed his first opera, Oberto. It was a success, though his next effort, Un giorno di regno, was an abject failure. Worse, Verdi's wife died during its composition. (Their two children had died in the previous two years.) Stunned and depressed, the composer struggled on to rebound with Nabucco (1842) and I lombardi (1843). Macbeth, Luisa Miller, and other operas came in the 1840s, most with great success. Around 1847, Verdi developed a relationship with soprano Giuseppina Strepponi and the two lived together for many years on Verdi's farm, Sant'Agata, before finally marrying in 1859. In the period 1851-1853, the composer wrote three of his most popular operas. Rigoletto (1851) and Il trovatore (1853) were instant successes, but La traviata (1853) was a disappointment at its premiere, though a year later, with minor revisions, it was warmly received. After an extended excursion to Paris in 1853, Verdi returned to Busseto and turned out Simon Boccanegra (1857) and Un ballo in maschera (1859), both embroiling him in politics, an activity he was already immersed in, since he served in the local parliament and later in national parliament as senator. In St. Petersburg, Verdi's La forza del destino premiered in 1862 and Don Carlos in Paris in 1867. Having relocated to Genoa, Verdi composed Aida in the years 1870-1871. Its Cairo premiere in 1871 was a success, but the composer then gave up opera, at least for a time. His String Quartet (1873) and Requiem (1874) showed his creative juices were still very much alive. His next opera, Otello, came finally in 1886, Verdi working slowly and getting sidetracked revising earlier operas. One more opera came from his pen, Falstaff, in 1893, which scored a stunning success. Critical opinion has it that his last three operas are his finest, that the elderly composer became bolder and more imaginative in his later years. In these later years, Verdi also worked to found a hospital and, in Milan, a home for retired musicians. In 1897, Giuseppina Verdi died and the composer thereafter lived at the Grand Hotel in Milan, finding companionship with retired soprano Teresa Stolz. A year later, his Quatro pezzi sacri premiered in Paris. This would be the composer's last work. On January 21, 1901, Verdi suffered a stroke and died six days later. © Robert Cummings, All Music Guide es
dc.description.tableofcontents CD43-- Prologue ; Che dicesti? (Paolo, Pietro, Simone, marinai, artigiani), L’atra magion vedete? (Paolo, Pietro, Fiesco, marinai, artigiani), A te l’estremo addio palagio altero (Fiesco, donne, uomini), Suona ogni labbro il mio nome (Simone, Fiesco), Oh de’ Fieschi implacata orrida razza (Simone, Fiesco, Paolo, Pietro, marinai, artigiani)-- Act One ; Prelude (Dawn), Come in quest’ora bruna sorridon gli astri e il mare! (Amelia), Cielo di stelle orbato (Gabriele, Amelia, Pietro), Propizio ei giunge! (Gabriele, Fiesco), Il Doge vien (Gabriele, Fiesco, Doge, Paolo, Amelia), Orfanella il tetto umile m’accogliea d’una meschina... Figlia! A tal nome io palpito (Amelia, Doge), Che rispose? – Rinuncia a ogni speranza (Paolo, Doge, Pietro), Messeri il re di Tartaria vi porge pegni (Doge, Paolo, Pietro, Gabriele, consiglieri, popolo), Ferisci! – Amelia! (Amelia, Gabriele, Doge, Fiesco, Paolo, Pietro, consiglieri), Amelia di’ come fosti rapita (Doge, Amelia, Gabriele, Fiesco, Paolo, Pietro, consiglieri, popolani), Plebe! Patriz! Popolo... Piango su voi (Doge, Amelia, Pietro, Paolo, Gabriele, Fiesco, consiglieri, popolani), Ecco la spada... Sia maledetto! (Gabriele, Doge, Paolo, Pietro, Amelia, Fiesco, consiglieri, popolani)-- CD44-- Act Two ; Quei due vedesti? (Paolo, Pietro), Prigioniero in qual loco m’adduci? (Fiesco, Paolo), Udisti? – Vil disegno! (Paolo, Gabriele), Tu qui? – Amelia! (Amelia, Gabriele), Figlia! (Doge, Amelia), Oh! Amelia... ami... un nemico... (Doge, Gabriele, Amelia), All’armi all’armi o Liguri (Coro, Amelia, Gabriele, Doge)-- Act Three ; Evviva il Doge! (Coro, Capitano, Fiesco, Paolo), M’ardon le tempie (Doge, Fiesco), Piango perché mi parla in te del ciel la voce (Fiesco, Doge), Chi veggo! (Maria, Doge, Gabriele), Gran Dio li benedici (Doge, Maria, Gabriele, Fiesco, coro)-- es
dc.format.extent CD 43 (79:14 min) ; CD 44 (57:16 min) es
dc.format.medium 2 CD-Rom : Stereo ; 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcsh Operas es
dc.title Verdi The Complete Works es
dc.title.alternative Verdi The Complete Works Vol. 2 es
dc.title.alternative Simon Boccanegra es
dc.title.alternative Verdi Las Obras Completas Vol.2 es
dc.language.rfc3066 eng es
dc.rights.holder Decca Music Group Limited es
dc.identifier.classification 028947849162 es
dc.subject.cdu Ve.16 es


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Simon Boccanegra - Prologue.wav 25:54 261.4Mb WAV audio wav
Simon Boccanegra - Act One.wav 53:02 535.3Mb WAV audio wav
Simon Boccanegra - Act Two.wav 28:51 291.2Mb WAV audio wav
Simon Boccanegra - Act Three.wav 28:00 282.5Mb WAV audio wav

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