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knightly tournament: only to lose it again on the military battlefield, where the odds are perpetually against him, and he is damned as an outlaw even before the opera begins, for no deed of his own but because his master is the rebel. And yet he gets to be a heroic, popular outlaw, who might just escape with his life in return for a vow of future loyalty, if put on trial in front of the Prince himself: a chance that Luna does not want to risk, given that his rivalry with
Manrico is personal as well as political. Hence the challenge to the duel over the personal rivalry, instead of calling the guards and making the arrest political, in act 1: and hence also the decision to execute without trial in act 4 even though Luna knows he is abusing his position. Leonora and Azucena are, of course, as fictitious as Manrico, as is the story's conceit that the former Count of Luna had not one but two sons.
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Ferdinand's side has the upper hand in the war and is effectively the
Royalist party, with the backing of much of the nobility and the Dowager Queen, and he also has Di Luna as his chief henchman (Luna's own connection to the royal family is not mentioned, being not necessary to the drama): while Urgel, losing the war and on the back foot, is forced to recruit among outlaws and the dispossessed, effectively taking the part of a rebel despite having some legal right to his case. Thus the fact that the forces of Urgel, in the opera as in real life, lose every pitched battle: and on the single occasion that they capture a castle (named in the opera as "Castellor", a fairly generic name for a castle, there being many Castellars in the region), it proves a handicap to them because their only hope in battle lies in speed, mobility, surprise and ambush, all of which are lost when defending a fortress.
1041:/ "Alone upon this earth"). Leonora in the darkness briefly mistakes the count for her lover, until the Troubadour himself enters the garden, and she rushes to his arms. The Count challenges his rival to reveal his true identity, which he does: Manrico, a knight now outlawed and under death sentence for his allegiance to a rival prince. Manrico in turn challenges him to call the guards, but the Count regards this encounter as a personal rather than political matter, and challenges Manrico instead to a duel over their common love. Leonora tries to intervene, but cannot stop them from fighting (Trio:
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294:, at having no communication from Cammarano. His letter emphasized that "the bolder he is, the happier it will make me," although it appears that Cammarano's reply contained several objections, which Verdi answered on 4 April and, in his response, he emphasized certain aspects of the plot which were important to him. These included Leonora taking the veil and also the importance of the Azucena/Manrico relationship. He continued by asking whether the librettist liked the drama and emphasized that "the more unusual and bizarre the better".
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1137:/ "He was helpless under my savage attack"): and Azucena reproaches him for having stayed his hand then, especially since it was the Count's forces that defeated him in the subsequent battle of Pelilla. A messenger arrives and reports that Manrico's allies have taken Castle Castellor, which Manrico is ordered to hold in the name of his prince: and also that Leonora, who believes Manrico dead, is about to enter a convent and take the veil that night. Although Azucena tries to prevent him from leaving in his weak state (
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1185:/ "Now we play at dice"). Ferrando drags in Azucena, who has been captured wandering near the camp. When she hears di Luna's name, Azucena's reactions arouse suspicion and Ferrando recognizes her as the supposed murderer of the count's brother. Azucena cries out to her son Manrico to rescue her and the count realizes that he has the means to flush his enemy out of the fortress. He orders his men to build a pyre and burn Azucena before the walls.
1277:/ "Again to our mountains we shall return"). At last the gypsy slumbers. Leonora comes to Manrico and tells him that he is saved, begging him to escape. When he discovers she cannot accompany him, he refuses to leave his prison. He believes Leonora has betrayed him until he realizes that she has taken poison to remain true to him. As she dies in agony in Manrico's arms she confesses that she prefers to die with him than to marry another (Trio:
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635:: "He could have been the Tchaikovsky of Italian ballet" he states, continuing to praise it as "perfect ballet music". In addition, he describes the unusual practice of Verdi having woven in themes from the gypsy chorus of act 2, ballet music for opera rarely connecting with the themes of the work. Several other revisions focused on Azucena's music, including an extended version of the finale of act 4, to accommodate the role's singer
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1037:/ "A love that words can scarcely describe"), in which she tells how she fell in love with a mystery knight, victor at a tournament: lost track of him when a civil war broke out: then encountered him again, in disguise as a wandering troubadour who sang beneath her window. When they have gone, Count di Luna enters, intending to pay court to Leonora himself, but hears the voice of his rival, in the distance: (
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the
Miserere as well as retaining "Tacea la Notte" in act 1 with its cabaletta. Changes were also made to Azucena's "Stride la vampa" and to the Count's lines. Taking into account the last-minute requirements of the censor and the consequent changes, overall, the revisions and changes enhanced the opera, and the result was that it was a critical and a popular success.
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1102:/ "The flames are roaring!"). The Gypsies break camp while Azucena confesses to Manrico that after stealing the di Luna baby she had intended to burn the count's little son along with her mother, but overwhelmed by the screams and the gruesome scene of her mother's execution, she becomes confused and throws her own child into the flames instead (Racconto:
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1157:/ "Fatal hour of my life"). Leonora and the nuns appear in procession, but Manrico prevents di Luna from carrying out his plans and takes Leonora away with him, although once again leaving the Count behind unharmed, as the soldiers on both sides back down from bloodshed, the Count being held back by his own men.
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Manrico realises that he is not the son of
Azucena, but loves her as if she were indeed his mother, as she has always been faithful and loving to him – and, indeed, saved his life only recently, discovering him left for dead on a battlefield after being caught in ambush. Manrico tells Azucena that he
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Then, in July 1852, by way of an announcement in a theatrical journal, Verdi received news of
Cammarano's death earlier that month. This was both a professional and a personal blow. The composer learned that Cammarano had completed Manrico's third-act aria, "Di quella pira" just eight days before his
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Things were put on hold for several months as Verdi became preoccupied with family matters, which included the illnesses of both his mother (who died in July) and father, the estrangement from his parents with communications conducted only between lawyers, and the administration of his newly acquired
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In the recent years the some "Il trovatore" excepts have gained massive popularity, specially "Miserere". The most important aspects of this increase in appreciation could be sourced from a revitalisation of interest in ancient 78rpm records, and the introduction of this fragment in the "Stage 3" LP
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His main aim, having changed his mind about the distribution of characters in the opera, was to enhance the role of
Leonora, thus making it "a two-women opera" and he communicated many of these ideas ahead of time via letters to De Sanctis over several months. Leonora now was to have a cantabile for
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Verdi also writes that if there were no standard forms – "cavatinas, duets, trios, choruses, finales, etc. and if you could avoid beginning with an opening chorus...." he would be quite happy. Correspondence continued between the two men for the following two months or so, including another letter
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While neither of the two princes who actually took part in the war appears in the opera – neither is even referred to by name, and only Urgell is referred to by his title – the fortunes of their followers mirror those of their princes. Thus, with his military success,
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From this position, Budden comments on the distinct differences in an era where vocal registers were less defined and which extend into
Leonora's and Azucena's music "where greater verbal projection of the lower voice turned to advantage" and where "the polarity between the two female roles into
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two-part arias, the use of the chorus, etc., which Verdi had originally asked
Cammarano to ignore, are evident. But Verdi wanted something else: "the freer the forms he presents me with, the better I shall do," he wrote to the librettist's friend in March 1851. It was not what he received from his
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There then arose the question of where the opera would eventually be presented. Verdi had turned down an offer from Naples, but became concerned about the availability of his preferred
Azucena, Rita Gabussi-De Bassini. She turned out not to be on the Naples roster, but expressed an interest in the
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Over the last century there has been an increase in interest and appreciation for Verdi's music. Remarkably, there has been a lot of interest in the excerpt "Miserere" and "Di Quella Pira", and since the dawn of recorded music there have been tenths of recordings of these fragments, rangning from
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During the period to follow, in spite of his preoccupations but especially after he had begun to overcome them, Verdi had kept in touch with the librettist. In a letter around the time of his intended departure for France, he wrote encouragingly to
Cammarano: "I beg you with all my soul to finish
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Thus it is that the fictitious troubadour Manrico can gain his rags-to-riches background, having risen from the obscurity of a Biscayan gypsy camp to become Urgel's chief general, a knight and a master swordsman in his own right, good enough to defeat Di Luna himself in a personal duel, or win a
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woman was wrongfully accused of having bewitched the youngest of the di Luna children; the child had fallen sick, and for this the gypsy had been burnt alive as a witch, her protests of innocence ignored. Dying, she had commanded her daughter Azucena to avenge her, which she did by abducting the
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Budden describes one of the musical qualities as the relationship between the "consistent dramatic impetus" of the action being caused by the "propulsive quality" of the music which produces a "sense of continuous forward motion". Parker describes it as "sheer musical energy apparent in all the
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The opera's immense popularity – albeit a popular success rather than a critical one – came from some 229 productions worldwide in the three years following its premiere on 19 January 1853, and is illustrated by the fact that "in Naples, for example, where the opera in its first three years had
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near his hometown of Busseto), where he had established his parents. But his relationship with his parents, albeit legally severed, as well as Strepponi's situation living with the composer in an unmarried state, continued to preoccupy him, as did the deterioration of his relationship with his
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With regard to the chosen librettist's strength as a poet in preparing verse for opera, Budden also comments that his approach was very traditional, something which began to become clear during the preparation of the libretto and which appears in the correspondence between the two men.
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every field of comparison." He then sums up the musical relationship which exists between the two female characters, the men having simply been defined as being representative of their own voice types, something evident and very striking in Verdi's significant use of voice types in
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1664:, bastard son of Martin the Younger, whose legitimization had been sought from the Pope unsuccessfully. As part of the compromise for withdrawing his own claim in favour of Ferdinand, Frederic was granted the County of Luna, one of the lesser titles that his father had held.
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Verdi also clearly recognizes the importance of the role of Azucena. Remembering that the composer's initial suggestion to Cammarano was that he wanted to name the opera after her, Budden notes that this character "is the first of a glorious line" and he names Ulrica (from
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father-in-law, Antonio Barezzi. Finally, in April 1851, agreement was reached with the elder Verdis on the payment of debts mutually owed and the couple were given time to resettle, leaving Sant'Agata for Verdi and Strepponi to occupy for the next fifty years.
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of 1844. Regarding Leonora, Budden describes her music as "mov in long phrases most characterized by a soaring 'aspiring' quality" whereas "Azucena's melodies evolve in short, often commonplace phrases based on the repetition of short rhythmic patterns".
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When considering setting GarcĂa GutiĂ©rrez's play, Verdi turned to work with Cammarano, "the born operatic poet" (according to Budden). Their correspondence began as early as January 1850, well before Verdi had done anything to develop a libretto with
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Here he, like many other writers, notes the elements of musical form (then often described as "closed forms") which characterize the opera and make it appear to be something of a return to the language of earlier times, "the veritable apotheosis of
1228:/ "Lord, thy mercy on this soul") by begging di Luna for mercy and offers herself in place of her lover. She promises to give herself to the count, but secretly swallows poison from her ring in order to die before di Luna can possess her (Duet:
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notes that "the extreme formalism of the musical language has been seen as serving to concentrate and define the various stages of the drama, above all channeling them into those key confrontations that mark its inexorable progress".
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Ferrando, the captain of the guards, orders his men to keep watch while Count di Luna wanders restlessly beneath the windows of Leonora, lady-in-waiting to the Princess. Di Luna loves Leonora and is jealous of his successful rival, a
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in Rome on 19 January 1853, where it "began a victorious march throughout the operatic world", a success due to Verdi's work over the previous three years. It began with his January 1850 approach to Cammarano with the idea of
1462:) as followers in the same vocal range and with the same expressive and distinct qualities which separate them from the other female role in the opera in which they feature. He quotes from a letter which Verdi wrote to
1544:. As Manrico sings his battle cry in "Di quella pira", the performance is interrupted by the answering cries of Italian nationalists on the upper balcony who shower the stalls area below with patriotic leaflets. In
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is the four greatest singers in the world. On many occasions, this opera and its music have been featured in various forms of popular culture and entertainment. Scenes of comic chaos play out over a performance of
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baby. Although the burnt bones of a child were found in the ashes of the pyre, the father refused to believe his son's death. Dying, the father commanded his firstborn, the new Count di Luna, to seek Azucena.
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is that "it is as though Verdi had decided to do something which he had been perfecting over the years, and to do it so beautifully that he need never to do it again. Formally, it is a step backward after
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was a young poet from Naples who was beginning his career; eventually he wrote more than 15 librettos before 1880. Composer and librettist met in Rome around 20 December 1852 and Verdi began work on both
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670:. This version was published by Ricordi and the University of Chicago Press in 2001. An updated version of this critical edition by Lawton was published by Ricordi in 2018, and given its premiere at the
1281:/ "Rather than live as another's"). The count has heard Leonora's last words and orders Manrico's execution. Azucena awakens and tries to stop di Luna. Once she finds out Manrico is dead, she cries:
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Inside the castle, Manrico and Leonora are preparing to be married. She is frightened; the battle with di Luna is imminent and Manrico's forces are outnumbered. He assures her of his love (Aria:
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including the addition of music for the ballet in act 3 which followed the soldiers' chorus, where gypsies danced to entertain them. The quality of Verdi's ballet music has been noted by scholar
589:, he encountered some legal difficulties in dealing with Toribio Calzado, the impresario of the Théâtre des Italiens, and, with his contacts with the Opėra, agreed to prepare a French version of
184:, which gave the composer the opportunity to propose significant revisions, which were accomplished under his direction. These revisions are seen largely in the expansion of the role of Leonora.
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is one of the most-recognized pieces of classical music. It "has transcended the opera itself" and is often played in non-opera concerts. It appears in many cultural references as well.
1466:, the soprano who was due to sing the Leonora in Venice after the premiere, and who expressed reservations about her music. Here, Verdi emphasizes the importance of the role of Azucena:
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principal role; finer and more dramatic and more original than the other. If I were a prima donna (a fine thing that would be!), I would always rather sing the part of the Gypsy in
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that the composer was beginning to prepare an opera with a librettist but without a commission of any kind from an opera house. In his first letter to Cammarano, Verdi proposed
1094:/ "See! The endless sky casts off her sombre nightly garb...". Azucena, the daughter of the Gypsy woman burnt by the count, is still haunted by her duty to avenge her mother (
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from the composer of 9 April which included three pages of suggestions. But he also made concessions and expresses his happiness in what he is receiving in the way of verse.
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1197:/ "Ah, yes, my love, in being yours"), even in the face of death. When news of Azucena's capture reaches him, he summons his men and desperately prepares to attack (
180:. There followed, slowly and with interruptions, the preparation of the libretto, first by Cammarano until his death in mid-1852 and then with the young librettist
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1552:, with parallels between the opera's protagonists, Manrico and Leonora, and the film's protagonists, Ussoni and Livia. A staging of act 1, scene 2, of
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in March 1851. His personal affairs also limited his professional work. In May 1851, an additional commission was offered by the Venice company after
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since September 1849, had translated the play, as evidenced in a letter from her two weeks before the premiere urging him to "hurry up and give OUR
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May 1851 brought an offer for a new opera from the Venice authorities, and it was followed by an agreement with the Rome Opera company to present
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Manrico and Azucena are awaiting their execution. Manrico attempts to soothe Azucena, whose mind wanders to happier days in the mountains (Duet:
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While the story and most of the characters are fictitious, it is set towards the end of a real civil war in Aragon. Following the death of King
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in the United States using a new critical edition by musicologist, conductor, and Verdi scholar David Lawton. Recorded live for broadcast on
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s success there. Another commission came from Paris while he was visiting that city from late 1851 to March 1852. Before the libretto for
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For Verdi, the three years were filled with musical activity; work on this opera did not proceed while the composer wrote and premiered
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who states that the composer revealed that, after seeing the play, he immediately began to compose music for what would later become
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as the subject with "two feminine roles. The first, the gypsy, a woman of unusual character after whom I want to name the opera."
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was completed, before it was scored, and before it premiered, Verdi had four operatic projects in various stages of development.
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By November Verdi and Strepponi left Italy to spend the winter of 1851/52 in Paris, where he concluded an agreement with the
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whose identity he does not know. In order to keep the guards awake, Ferrando narrates the history of the count (Racconto:
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Restored version of Berliner Gramophone matrix 0572 ("Miserere"). Sung by Ferruccio Giannini and recorded in Oct 7, 1899
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364:, other projects consumed him, but a significant event occurred in February, when the couple attended a performance of
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Today, almost all performances use the Italian version and it is one of the world's most frequently performed operas.
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How and when Verdi acquired a copy of the GarcĂa GutiĂ©rrez play is uncertain, but Budden notes that it appears that
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1759:. The version portrayed is sung by Ferruccio Giannini and is recognisable by its extremely poor aural condition.
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Di Luna and his army are attacking the fortress Castellor where Manrico has taken refuge with Leonora (Chorus:
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The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914
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in Venice in March 1851. Within a matter of weeks, Verdi was expressing his frustration to a mutual friend,
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After the successful presentation of the opera in Italian in Paris, François-Louis Crosnier, director of l'
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Manrico has failed to free Azucena and has been imprisoned himself. Leonora attempts to free him (Aria:
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defeated di Luna in their earlier duel, but was held back from killing him by a mysterious power (Duet:
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numbers". And Budden gives many examples which show Verdi as "the equal of Bellini" as a melodist.
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Today, most opera scholars recognize the expressive musical qualities of Verdi's writing. However,
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Di Luna and his attendants intend to abduct Leonora and the Count sings of his love for her (Aria:
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1714:'s recording is considered to be the most mature. Though, for the first half of the 20th century,
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librettist, but he certainly demonstrated his total mastery over this style. Osborne's take on '
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in 1410, no fewer than six candidates staked a claim for the throne. A political meeting, the
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1141:/ "I must talk to you"), Manrico rushes away to prevent her from carrying out this intent.
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The couple returned to Sant'Agata by mid-March 1852 and Verdi immediately began work on
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2703:. Translated by Richard Salinger. Garden City, New York: Garden City Publishing.
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1548:, Millicent Marcus proposes that Visconti used this operatic paradigm throughout
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First preserved recording of "Di quella pira". Ferruccio Giannini, May 7, 1896
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is performed frequently and is a staple of the standard operatic repertoire.
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vocal interpretations to instrumental duets. For the early American market,
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describes as "a high flown, sprawling melodrama flamboyantly defiant of the
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Martin, George Whitney (Spring 2005). "Verdi Onstage in the United States:
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as the Count di Luna. The work's UK premiere took place on 10 May 1855 at
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160:. It was GarcĂa GutiĂ©rrez's most successful play, one which Verdi scholar
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Leonora confesses her love for the Troubadour to her confidante, Ines (
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death, but now he turned to De Sanctis to find him another librettist.
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3045:(1982), New York: Knopf, 1962, Chicago: University of Chicago Press.
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List of recordings in all languages on operadis-opera-discography.org
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and beginning to prepare a libretto with Piave for what would become
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1608:. Statements consisting only of original research should be removed.
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during the 1852/1853 Carnival season, specifically in January 1853.
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As the 19th century proceeded there was a decline in interest, but
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on 26 October 1883 the opera has been a staple of its repertoire.
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For the French premiere, Verdi made some changes to the score of
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in Brussels on 20 May 1856. There followed the production at the
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eleven stagings in six theaters, the performances totalled 190".
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233:
2534:
Queenship And Political Power In Medieval And Early Modern Spain
2465:
1936:
1520:(including a quotation, in the middle of the act 1 overture, of
616:
on 12 January 1857 after which Verdi returned to Italy. Emperor
3429:
3379:
3199:
1563:
1485:
1360:
955:
951:
936:
Leonora's friends, nuns, the Count's lackeys, warriors, Gypsies
579:
450:
194:
2606:
The Operas of Verdi: From Il trovatore to La forza del destino
442:
220:
1878:
Verdi to De Sanctis (their mutual friend), 29 March 1851, in
1420:
with its demands for vocal beauty, agility and range," notes
1364:
922:
890:
778:
677:
Rarely given in French, it was presented as part of the 1998
596:
A translation of Cammarano's libretto was made by librettist
168:, packed with all manner of fantastic and bizarre incident."
137:
38:
4201:
1960:
1948:
1924:
1501:
once said that all it takes for a successful performance of
3419:
2907:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
1710:'s arrangements may be notable, and for the Russian market
1377:
1335:
1306:
774:
a troubadour and officer in the army of the Prince of Urgel
470:
First given in Paris in Italian on 23 December 1854 by the
395:
4043:
3019:
Nineteenth-Century Italian Opera: From Rossini to Puccini
2489:
2209:
651:
309:
2221:
1285:/ "He was your brother ... You are avenged, oh mother!"
1972:
823:
noble lady, in love with Manrico and courted by Di Luna
282:
Verdi's time and energy were spent mostly on finishing
2453:
2197:
2094:
1538:
opera house for the opening sequence of his 1954 film
4190:
2948:. Chicago & London: University of Chicago Press.
2477:
2333:"Sarasota Opera repertoire of Verdi operas presented"
2185:
2112:
2043:
1207:/ "The horrid flames of that pyre"). Leonora faints.
252:
in Venice. At this time, it was also the first since
2632:
Vocal Apparitions: The Attraction of Cinema to Opera
1160:
2927:, Chicago and London: University of Chicago Press.
1797:
1785:
1773:
1017:'s sketch of Manrico's costume for a production at
3004:, Oxford & New York: Oxford University Press.
2778:. London & New York: Oxford University Press.
2628:
2471:
2274:
1224:/ "On the rosy wings of love"; Chorus & Duet:
577:from late July 1855, working on the completion of
377:. What followed is reported by Verdi's biographer
751:a nobleman in the service of the Prince of Aragon
4214:
1077:From act 2. Sung by Gabriella Besanzoni in 1920.
1556:is featured in Bernardo Bertolucci's 1979 film
1245:"Se m'ami ancor... Ai nostri monti ritorneremo"
974:Scene 1: The guard room in the castle of Luna (
2944:De Van, Gilles (trans. Gilda Roberts) (1998),
1283:Egli era tuo fratello! Sei vendicata, o madre.
547:'s 1902 revivals. From its performance at the
269:
4029:
3119:
2946:Verdi’s Theater: Creating Drama Through Music
2810:. Vol. 4. London: Macmillan Publishers.
2770:
2077:
1966:
1954:
1942:
1930:
1918:
1006:Scene 2: Garden in the palace of the princess
992:
689:'s "Verdi Cycle" of all the composer's work.
3750:Orchestra Sinfonica di Milano Giuseppe Verdi
2868:
2242:
1846:
730:
3002:The New Grove Guide to Verdi and His Operas
2971:Divas and Scholar: Performing Italian Opera
4036:
4022:
3126:
3112:
2987:(1983), New York: Dodd, Mead and Company.
2558:""Trubadur" Verdi A.M. Labinskii, undated"
2531:
2525:
2260:Jack A. Williams and Laven Sowell (1992).
2119:. University Rochester Press. p. 81.
2116:Verdi in America: Oberto Through Rigoletto
1857:
1855:
1169:Today's ruin of the castle Castellar near
496:on 2 May 1855 at the then-recently opened
49:
3086:International Music Score Library Project
2443:
2441:
2439:
2437:
2435:
2413:
2411:
1989:
1987:
1624:Learn how and when to remove this message
1048:
462:Baritone Giovanni Guicciardi sang di Luna
3062:New York: Oxford University Press: 1992
2973:, Chicago: University of Chicago Press.
2843:
2495:
2033:
2031:
1819:, p. 59. Her emphasis on the "OUR".
1732:
1718:'s version would be the most acclaimed.
1688:
1569:
1391:
1210:
1164:
1108:
1009:
658:as Leonore, Craig Sirianni as Manrique,
457:
449:
441:
433:
396:Death of Cammarano and work with Bardare
273:
219:
2745:
2723:
2676:Italian Film in the Light of Neorealism
2649:
2459:
2417:
2398:
2396:
2387:
2264:. Tulsa Historical Society. p. 82.
2203:
2100:
1917:Verdi to Cammarano, 1 October 1851, in
1852:
1845:Verdi to Cammarano, 2 January 1850, in
1815:Strepponi to Verdi, 3 January 1853, in
1562:. Music from the opera was featured on
1546:Italian Film in the Light of Neorealism
14:
4215:
2792:
2693:
2672:
2600:
2483:
2447:
2432:
2408:
2402:
2383:
2357:
2281:. Psychology Press. pp. 327–328.
2246:Le Trouvere' dazzles, despite the plot
2215:
2080:"The First Three Years of 'Trovatore'"
2049:
1993:
1984:
1978:
1905:
1892:
1879:
1874:
1872:
1870:
1861:
1828:
1816:
1803:
1791:
1779:
1660:, and rebelled. A third candidate was
1493:
421:
348:, although he had adapted his earlier
310:Preoccupations and delays in 1851–1852
215:
4017:
3107:
2824:
2370:
2238:
2236:
2227:
2191:
2037:
2028:
1904:Verdi to Cammarano, 26 June 1851, in
1891:Verdi to Cammarano, 4 April 1851, in
1721:
1033:/ "The peaceful night lay silent"...
654:, Lawton conducted the premiere with
492:was first performed in the US by the
232:, with whom Verdi had been living in
2393:
1573:
797:a gypsy, supposedly Manrico's mother
3021:, Portland, Oregon: Amadeus Press.
2925:Verdi’s Middle Period, 1849 to 1859
2629:Grover-Friedlander, Michal (2005).
2278:Giuseppe Verdi: A Guide to Research
1867:
24:
3133:
3036:Giuseppe Verdi: His Life and Works
2901:Baldini, Gabriele (1970), (trans.
2429:Verdi to De Sanctis, 29 April 1851
2233:
1288:
1232:/ "See the bitter tears I shed").
968:
699:Roles, voice types, premiere casts
494:Max Maretzek Italian Opera Company
25:
4259:
3073:
2807:The New Grove Dictionary of Opera
2243:Ellis Widner (November 5, 1990).
2078:Martin Chusid (January 1, 1987).
1161:Act 3: The Son of the Gypsy Woman
624:attended the latter performance.
446:Soprano Rosina Penco sang Leonora
438:Tenor Carlo Baucardé sang Manrico
360:for the stage. Including work on
306:as quickly as you possibly can."
4200:
3999:
3998:
3949:Giuseppe Verdi's Rigoletto Story
3677:
2985:Verdi: His Music, Life and Times
2507:Hillgarth, Jocelyn Nigel (1978)
1578:
1249:
1216:Scene 1: Before the dungeon keep
1189:Scene 2: A chamber in the castle
1145:Scene 2: In front of the convent
1106:/ "They dragged her in bonds").
1067:
1045:/ "The fire of jealous love" ).
543:saw a revival of interest after
319:property at Sant'Agata (now the
2850:. Manchester University Press.
2700:The Opera Goer's Complete Guide
2574:
2562:yalemusiclib.aviaryplatform.com
2550:
2501:
2423:
2376:
2363:
2350:
2325:
2313:
2295:
2268:
2253:
2163:
2133:
2106:
2071:
2055:
1911:
1898:
1153:/ "The light of her smile" ...
646:presented the first staging of
454:Mezzo Emilia Goggi sang Azucena
171:The premiere took place at the
4248:Operas set in the 15th century
3190:I Lombardi alla prima crociata
3160:Oberto, Conte di San Bonifacio
3060:The Oxford Dictionary of Opera
2923:Chusid, Martin, (ed.) (1997),
2913:: Cambridge University Press.
2878:Verdi: The Man and His Letters
2679:. Princeton University Press.
2673:Marcus, Millicent Joy (1986).
2635:. Princeton University Press.
2509:The Spanish Kingdoms 1250-1516
2113:George Whitney Martin (2011).
2064:, "Borghi-Mamo , Adelaide" in
1885:
1839:
1822:
1809:
1644:, found in favour of Martin's
1128:2014, act 2, scene 2
994:Di due figli vivea padre beato
604:and it was first performed at
278:Librettist Salvadore Cammarano
13:
1:
2829:. New York: Greenwood Press.
2513:1410-1516: Castilian hegemony
2382:The synopsis is adapted from
1762:
1749:Everywhere at the end of Time
1675:
1204:Di quella pira l'orrendo foco
1139:Ferma! Son io che parlo a te!
3969:Casa di Riposo per Musicisti
3714:Theatres named after Verdi (
2729:The Complete Operas of Verdi
2658:. New York: Penguin Putnam.
2586:Music History – 1750 to 1850
2532:Earenfight, Theresa (2005).
1523:Take Me Out to the Ball Game
679:Festival della Valle d'Itria
498:Academy of Music in New York
152:, based on the Spanish play
27:1853 opera by Giuseppe Verdi
7:
3708:Memorials to Giuseppe Verdi
2749:The Opera Lover's Companion
2731:. New York: Da Capo Press.
2656:The New Penguin Opera Guide
2369:List of singers taken from
2356:List of singers taken from
2275:Gregory W. Harwood (1998).
1604:the claims made and adding
1566:in Canada for commercials.
1275:Ai nostri monti ritorneremo
1195:Ah sì, ben mio, coll'essere
943:
270:Relationship with Cammarano
10:
4264:
3818:Portrait of Giuseppe Verdi
2880:. New York: Vienna House.
2065:
1679:
1054:Scene 1: The gypsies' camp
4052:
3995:
3960:
3879:
3838:Verdi, the King of Melody
3808:
3699:
3666:String Quartet in E minor
3637:
3534:
3451:
3150:
3141:
2844:Tambling, Jeremy (1987).
2752:. Yale University Press.
2746:Osborne, Charles (2007).
2088:New York University Press
1104:Condotta ell'era in ceppi
934:
713:Original Italian version,
674:in Parma that same year.
367:The Lady of the Camellias
104:19 January 1853
99:
85:
77:
63:
48:
37:
32:
18:Dei miei bollenti spiriti
4223:Operas by Giuseppe Verdi
3506:Libiamo ne' lieti calici
2847:Opera, Ideology and Film
2772:Phillips-Matz, Mary Jane
2386:, pp. 363–363, and
1847:Werfel & Stefan 1973
1387:
1279:Prima che d'altri vivere
1264:Ernestine Schumann-Heink
1151:Il balen del suo sorriso
1043:Di geloso amor sprezzato
963:Time: Fifteenth century.
838:Pauline Guéymard-Lauters
692:
685:appeared as part of the
158:Antonio GarcĂa GutiĂ©rrez
90:Antonio GarcĂa GutiĂ©rrez
4228:Italian-language operas
4154:La battaglia di Legnano
3743:Giuseppe Verdi Monument
3470:Bella figlia dell'amore
3290:La battaglia di Legnano
2650:Kimbell, David (2001).
2472:Grover-Friedlander 2005
2322:Retrieved 28 March 2013
1662:Frederic, Count of Luna
1236:Scene 2: In the dungeon
1183:Or co' dadi ma fra poco
1177:Scene 1: Di Luna's camp
1092:Vedi le fosche notturne
976:The Palace of AljaferĂa
726:Revised French version,
379:Mary Jane Phillips-Matz
3350:Les vĂŞpres siciliennes
2588:; accessed 2024.09.14.
2536:. Ashgate Publishing.
2262:Tulsa Opera Chronicles
1742:
1698:
1530:used a performance of
1464:Marianna Barbieri-Nini
1401:
1230:Mira, d'acerbe lagrime
1173:
1129:
1049:Act 2: The Gypsy Woman
1031:Tacea la notte placida
1022:
993:
731:
593:on 22 September 1855.
536:as the Conte di Luna.
463:
455:
447:
439:
403:Leone Emanuele Bardare
392:after a year's delay.
341:Les vĂŞpres siciliennes
279:
248:for what later became
225:
182:Leone Emanuele Bardare
72:Leone Emanuele Bardare
3515:Un dì, felice, eterea
2825:Pitou, Spire (1990).
1740:
1696:
1570:Historical references
1458:), and Amneris (from
1395:
1222:D'amor sull'ali rosee
1211:Act 4: The Punishment
1168:
1112:
1084:The gypsies sing the
1013:
662:as Le Comte de Luna,
461:
453:
445:
437:
338:to write what became
315:possibility of Rome.
277:
223:
3977:Verdi Transcriptions
3627:Un ballo in maschera
3573:La forza del destino
3400:La forza del destino
3390:Un ballo in maschera
3144:List of compositions
2303:"Verdi: Le trouvère"
1849:, pp. 149–150.
1517:A Night at the Opera
1470:..it's a principal,
1015:Alfredo Edel Colorno
867:Leonora's confidante
666:as Azucena, and the
637:Adelaide Borghi-Mamo
575:Giuseppina Strepponi
500:. The cast included
484:Adelaide Borghi-Mamo
478:, the cast included
230:Giuseppina Strepponi
166:Aristotelian unities
4243:Operas set in Spain
4074:L'assedio di Calais
4058:Lucia di Lammermoor
4046:Salvadore Cammarano
3809:Cultural depictions
3688:Quattro pezzi sacri
3536:Opera discographies
2390:, pp. 251–255.
2230:, pp. 158–159.
2218:, pp. 107–111.
2001:The Opera Quarterly
1945:, pp. 293–294.
1642:Compromise of Caspe
1494:Cultural references
1039:Deserto sulla terra
761:Giovanni Guicciardi
701:
600:under the title of
422:Performance history
286:which premiered at
216:Composition history
150:Salvadore Cammarano
148:largely written by
68:Salvadore Cammarano
4044:Opera libretti by
3736:Milan Conservatory
3657:Inno delle nazioni
3638:Other compositions
3360:I vespri siciliani
3170:Un giorno di regno
3100:, giuseppeverdi.it
3096:2017-09-17 at the
3091:Synopsis, libretto
2776:Verdi: A Biography
2608:. London: Cassell.
2309:. October 2, 2018.
2171:"Opera Statistics"
2145:Met Opera Archives
1967:Phillips-Matz 1993
1955:Phillips-Matz 1993
1943:Phillips-Matz 1993
1931:Phillips-Matz 1993
1919:Phillips-Matz 1993
1743:
1722:In popular culture
1699:
1658:Martin the Younger
1654:James II of Urgell
1589:possibly contains
1402:
1174:
1130:
1023:
886:Manrico's henchman
855:Arcangelo Balderi
723:: Emilio Angelini
697:
668:Tulsa Philharmonic
656:Margaret Jane Wray
534:Francesco Graziani
502:Balbina Steffenone
464:
456:
448:
440:
280:
226:
70:with additions by
4188:
4187:
4011:
4010:
3851:(1982 miniseries)
3848:The Life of Verdi
3785:Verdi, California
3497:La donna è mobile
3038:, New York: Knopf
3010:978-0-19-531314-7
2836:978-0-313-26218-0
2759:978-0-300-12373-9
2738:978-0-306-80072-6
2686:978-0-691-10208-5
2665:978-0-14-029312-8
2642:978-0-691-12008-9
2623:978-0-19-520450-6
2615:978-0-19-520068-3
2498:, pp. 62–63.
2151:on 12 August 2018
2068:, vol. 1, p. 549.
2062:Forbes, Elizabeth
2014:10.1093/oq/kbi018
1981:, pp. 65–66.
1738:
1694:
1634:
1633:
1626:
1591:original research
1254:
1155:Per me ora fatale
1126:Salzburg Festival
1072:
1063:"Stride la vampa"
941:
940:
911:Raffaele Marconi
895:Giuseppe Bazzoli
876:Francesca Quadri
614:Salle Le Peletier
514:Alessandro Amodio
510:Felicita Vestvali
506:Pasquale Brignoli
480:Lodovico Graziani
292:Cesare De Sanctis
224:Verdi around 1850
125:
124:
16:(Redirected from
4255:
4205:
4204:
4196:
4090:Roberto Devereux
4038:
4031:
4024:
4015:
4014:
4002:
4001:
3988:
3981:
3971:
3961:Related articles
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3943:
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3893:
3880:Film adaptations
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3084:: Scores at the
3058:and West, Ewan,
3015:Pistone, Danièle
2983:Martin, George,
2891:
2865:
2862:Internet Archive
2840:
2821:
2789:
2767:
2764:Internet Archive
2742:
2725:Osborne, Charles
2720:
2717:Internet Archive
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2335:. Archived from
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1864:, pp. 61–64
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1609:
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1582:
1581:
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1256:
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586:Simon Boccanegra
526:Enrico Tamberlik
520:in London, with
512:as Azucena, and
372:Alexandre Dumas
140:in four acts by
119:
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3363:(December 1855)
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3098:Wayback Machine
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2967:Gossett, Philip
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2466:
2458:
2454:
2446:
2433:
2428:
2424:
2416:
2409:
2401:
2394:
2381:
2377:
2373:, p. 1335.
2368:
2364:
2355:
2351:
2342:
2340:
2331:
2330:
2326:
2318:
2314:
2307:www.ricordi.com
2301:
2300:
2296:
2289:
2273:
2269:
2258:
2254:
2241:
2234:
2226:
2222:
2214:
2210:
2202:
2198:
2194:, p. 1333.
2190:
2186:
2176:
2174:
2169:
2168:
2164:
2154:
2152:
2139:
2138:
2134:
2127:
2111:
2107:
2099:
2095:
2076:
2072:
2060:
2056:
2048:
2044:
2036:
2029:
1992:
1985:
1977:
1973:
1965:
1961:
1953:
1949:
1941:
1937:
1929:
1925:
1916:
1912:
1903:
1899:
1890:
1886:
1877:
1868:
1860:
1853:
1844:
1840:
1827:
1823:
1814:
1810:
1802:
1798:
1790:
1786:
1778:
1774:
1765:
1733:
1724:
1689:
1687:
1678:
1630:
1619:
1613:
1610:
1595:
1583:
1579:
1572:
1496:
1454:), Eboli (from
1422:Charles Osborne
1390:
1291:
1289:Instrumentation
1271:
1270:
1269:
1268:
1267:
1257:
1250:
1247:
1213:
1163:
1114:Plácido Domingo
1100:Stride la vampa
1082:
1081:
1080:
1079:
1078:
1075:
1068:
1065:
1051:
971:
969:Act 1: The Duel
946:
859:Prosper DĂ©rivis
813:
749:Conte di Luna,
743:Narcisse Girard
740:
738:12 January 1857
737:
727:
719:
717:19 January 1853
716:
715:Premiere cast,
714:
698:
695:
633:Charles Osborne
532:as Azucena and
530:Pauline Viardot
522:Jenny BĂĽrde-Ney
482:as Manrico and
476:Salle Ventadour
472:Théâtre-Italien
424:
398:
312:
272:
218:
121:
120:
114:
112:
107:
105:
59:
28:
23:
22:
15:
12:
11:
5:
4261:
4251:
4250:
4245:
4240:
4235:
4230:
4225:
4210:
4209:
4186:
4185:
4183:
4182:
4174:
4166:
4158:
4150:
4142:
4134:
4130:Maria di Rohan
4126:
4118:
4110:
4102:
4094:
4086:
4078:
4070:
4062:
4053:
4050:
4049:
4041:
4040:
4033:
4026:
4018:
4009:
4008:
3996:
3993:
3992:
3990:
3989:
3982:
3972:
3964:
3962:
3958:
3957:
3955:
3954:
3944:
3934:
3924:
3914:
3904:
3894:
3883:
3881:
3877:
3876:
3874:
3873:
3863:
3853:
3843:
3833:
3828:Giuseppe Verdi
3823:
3812:
3810:
3806:
3805:
3803:
3802:
3795:
3788:
3781:
3774:
3767:
3760:
3757:Verdi (crater)
3753:
3746:
3739:
3732:
3711:
3703:
3701:
3697:
3696:
3694:
3693:
3683:
3670:
3662:
3652:
3641:
3639:
3635:
3634:
3632:
3631:
3622:
3613:
3604:
3595:
3586:
3577:
3568:
3559:
3550:
3540:
3538:
3532:
3531:
3529:
3528:
3519:
3510:
3501:
3492:
3488:Di quella pira
3483:
3474:
3465:
3455:
3453:
3452:Opera excerpts
3449:
3448:
3446:
3445:
3435:
3425:
3415:
3405:
3395:
3385:
3375:
3365:
3355:
3345:
3335:
3325:
3315:
3305:
3295:
3285:
3275:
3265:
3255:
3245:
3235:
3225:
3215:
3205:
3195:
3185:
3175:
3165:
3154:
3152:
3148:
3147:
3142:
3139:
3138:
3135:Giuseppe Verdi
3131:
3130:
3123:
3116:
3108:
3102:
3101:
3088:
3075:
3074:External links
3072:
3071:
3070:
3053:
3039:
3029:
3012:
2995:
2981:
2964:
2942:
2921:
2893:
2892:
2886:
2866:
2856:
2841:
2835:
2822:
2816:
2790:
2784:
2768:
2758:
2743:
2737:
2721:
2691:
2685:
2670:
2664:
2652:Holden, Amanda
2647:
2641:
2626:
2602:Budden, Julian
2591:
2590:
2573:
2549:
2542:
2524:
2500:
2488:
2486:, p. 182.
2476:
2464:
2462:, p. 502.
2452:
2431:
2422:
2407:
2392:
2375:
2362:
2349:
2324:
2312:
2294:
2287:
2267:
2252:
2232:
2220:
2208:
2206:, p. 259.
2196:
2184:
2162:
2141:"Il trovatore"
2132:
2125:
2105:
2103:, p. 993.
2093:
2070:
2054:
2052:, p. 107.
2042:
2040:, p. 1333
2027:
2008:(2): 282–302.
1983:
1971:
1969:, p. 307.
1959:
1957:, p. 303.
1947:
1935:
1933:, p. 287.
1923:
1921:, p. 306.
1910:
1897:
1884:
1866:
1851:
1838:
1821:
1808:
1796:
1784:
1771:
1764:
1761:
1746:of the album "
1723:
1720:
1680:Main article:
1677:
1674:
1632:
1631:
1586:
1584:
1577:
1571:
1568:
1495:
1492:
1480:
1479:
1389:
1386:
1385:
1384:
1371:
1338:
1317:
1290:
1287:
1258:
1248:
1243:
1242:
1241:
1240:
1239:
1212:
1209:
1162:
1159:
1122:Francesco Meli
1076:
1066:
1061:
1060:
1059:
1058:
1057:
1050:
1047:
970:
967:
966:
965:
960:
945:
942:
939:
938:
932:
931:
928:
925:
920:
916:
915:
912:
909:
904:
900:
899:
898:Étienne Sapin
896:
893:
888:
881:
880:
877:
874:
869:
862:
861:
856:
853:
848:
846:Luna's officer
841:
840:
835:
830:
825:
818:
817:
809:
804:
799:
792:
791:
789:Louis Guéymard
786:
784:Carlo Baucardé
781:
776:
769:
768:
763:
758:
753:
746:
745:
724:
711:
706:
694:
691:
687:Sarasota Opera
672:Festival Verdi
664:Barbara Conrad
660:Greer Grimsley
598:Émilien Pacini
567:Opéra de Paris
427:In Italian as
423:
420:
397:
394:
311:
308:
271:
268:
217:
214:
144:to an Italian
142:Giuseppe Verdi
123:
122:
113:
103:
101:
97:
96:
87:
83:
82:
79:
75:
74:
65:
61:
60:
54:
46:
45:
43:Giuseppe Verdi
35:
34:
26:
9:
6:
4:
3:
2:
4260:
4249:
4246:
4244:
4241:
4239:
4236:
4234:
4231:
4229:
4226:
4224:
4221:
4220:
4218:
4208:
4203:
4198:
4197:
4194:
4180:
4179:
4175:
4172:
4171:
4167:
4164:
4163:
4159:
4156:
4155:
4151:
4148:
4147:
4143:
4140:
4139:
4135:
4132:
4131:
4127:
4124:
4123:
4119:
4116:
4115:
4111:
4108:
4107:
4103:
4100:
4099:
4095:
4092:
4091:
4087:
4084:
4083:
4079:
4076:
4075:
4071:
4068:
4067:
4063:
4060:
4059:
4055:
4054:
4051:
4047:
4039:
4034:
4032:
4027:
4025:
4020:
4019:
4016:
4006:
4005:
3994:
3987:
3983:
3980:
3978:
3973:
3970:
3966:
3965:
3963:
3959:
3951:
3950:
3945:
3941:
3940:
3935:
3931:
3930:
3925:
3921:
3920:
3915:
3911:
3910:
3905:
3901:
3900:
3895:
3891:
3890:
3885:
3884:
3882:
3878:
3870:
3869:
3868:Risorgimento!
3864:
3860:
3859:
3854:
3850:
3849:
3844:
3840:
3839:
3834:
3830:
3829:
3824:
3820:
3819:
3814:
3813:
3811:
3807:
3800:
3799:Verdi, Nevada
3796:
3793:
3792:Verdi, Kansas
3789:
3786:
3782:
3779:
3775:
3772:
3768:
3765:
3761:
3758:
3754:
3751:
3747:
3744:
3740:
3737:
3733:
3729:
3725:
3721:
3717:
3712:
3709:
3705:
3704:
3702:
3698:
3690:
3689:
3684:
3680:
3675:
3671:
3667:
3663:
3659:
3658:
3653:
3649:
3648:
3643:
3642:
3640:
3636:
3629:
3628:
3623:
3620:
3619:
3614:
3611:
3610:
3605:
3602:
3601:
3596:
3593:
3592:
3587:
3584:
3583:
3578:
3575:
3574:
3569:
3566:
3565:
3560:
3557:
3556:
3551:
3548:
3547:
3542:
3541:
3539:
3533:
3525:
3520:
3516:
3511:
3507:
3502:
3498:
3493:
3489:
3484:
3480:
3475:
3471:
3466:
3462:
3457:
3456:
3454:
3450:
3442:
3441:
3436:
3432:
3431:
3426:
3422:
3421:
3416:
3412:
3411:
3406:
3402:
3401:
3396:
3392:
3391:
3386:
3382:
3381:
3376:
3372:
3371:
3366:
3362:
3361:
3356:
3352:
3351:
3346:
3342:
3341:
3336:
3332:
3331:
3326:
3322:
3321:
3316:
3312:
3311:
3306:
3302:
3301:
3296:
3292:
3291:
3286:
3282:
3281:
3276:
3272:
3271:
3266:
3262:
3261:
3256:
3252:
3251:
3246:
3242:
3241:
3236:
3232:
3231:
3226:
3222:
3221:
3216:
3212:
3211:
3210:I due Foscari
3206:
3202:
3201:
3196:
3192:
3191:
3186:
3182:
3181:
3176:
3172:
3171:
3166:
3162:
3161:
3156:
3155:
3153:
3149:
3145:
3140:
3136:
3129:
3124:
3122:
3117:
3115:
3110:
3109:
3106:
3099:
3095:
3092:
3089:
3087:
3083:
3082:
3078:
3077:
3069:
3068:0-19-869164-5
3065:
3061:
3057:
3056:Warrack, John
3054:
3052:
3051:0-226-87132-0
3048:
3044:
3043:The Man Verdi
3040:
3037:
3033:
3032:Toye, Francis
3030:
3028:
3027:0-931340-82-9
3024:
3020:
3016:
3013:
3011:
3007:
3003:
2999:
2998:Parker, Roger
2996:
2994:
2993:0-396-08196-7
2990:
2986:
2982:
2980:
2979:0-226-30482-5
2976:
2972:
2968:
2965:
2963:
2962:0-226-14370-8
2959:
2955:
2954:0-226-14369-4
2951:
2947:
2943:
2941:
2940:0-226-10659-4
2937:
2934:
2933:0-226-10658-6
2930:
2926:
2922:
2920:
2919:0-521-29712-5
2916:
2912:
2909:. Cambridge,
2908:
2904:
2900:
2899:
2898:
2897:
2896:Other sources
2889:
2887:0-8443-0088-8
2883:
2879:
2875:
2871:
2870:Werfel, Franz
2867:
2863:
2859:
2857:0-7190-2238-X
2853:
2849:
2848:
2842:
2838:
2832:
2828:
2823:
2819:
2817:0-333-73432-7
2813:
2809:
2808:
2803:
2802:Stanley Sadie
2799:
2795:
2794:Parker, Roger
2791:
2787:
2785:0-19-313204-4
2781:
2777:
2773:
2769:
2765:
2761:
2755:
2751:
2750:
2744:
2740:
2734:
2730:
2726:
2722:
2718:
2714:
2710:
2706:
2702:
2701:
2696:
2692:
2688:
2682:
2678:
2677:
2671:
2667:
2661:
2657:
2653:
2648:
2644:
2638:
2634:
2633:
2627:
2624:
2620:
2617:(hardcover);
2616:
2612:
2607:
2603:
2599:
2598:
2597:
2596:
2595:Cited sources
2587:
2583:
2577:
2563:
2559:
2553:
2545:
2539:
2535:
2528:
2522:
2521:0-19-822531-8
2518:
2514:
2510:
2504:
2497:
2496:Tambling 1987
2492:
2485:
2480:
2474:, p. 33.
2473:
2468:
2461:
2456:
2449:
2444:
2442:
2440:
2438:
2436:
2426:
2420:, p. 255
2419:
2414:
2412:
2405:, p. 827
2404:
2399:
2397:
2389:
2385:
2379:
2372:
2366:
2359:
2353:
2339:on 2013-04-04
2338:
2334:
2328:
2321:
2316:
2308:
2304:
2298:
2290:
2288:9780824041175
2284:
2280:
2279:
2271:
2263:
2256:
2248:
2247:
2239:
2237:
2229:
2224:
2217:
2212:
2205:
2200:
2193:
2188:
2172:
2166:
2150:
2146:
2142:
2136:
2128:
2126:9781580463881
2122:
2118:
2117:
2109:
2102:
2097:
2089:
2085:
2081:
2074:
2067:
2063:
2058:
2051:
2046:
2039:
2034:
2032:
2023:
2019:
2015:
2011:
2007:
2003:
2002:
1997:
1990:
1988:
1980:
1975:
1968:
1963:
1956:
1951:
1944:
1939:
1932:
1927:
1920:
1914:
1907:
1901:
1894:
1888:
1881:
1875:
1873:
1871:
1863:
1858:
1856:
1848:
1842:
1836:
1835:
1830:
1825:
1818:
1812:
1806:, p. 65.
1805:
1800:
1794:, p. 66.
1793:
1788:
1782:, p. 59.
1781:
1776:
1772:
1770:
1769:
1760:
1758:
1754:
1751:
1750:
1731:
1729:
1719:
1717:
1713:
1709:
1705:
1686:
1684:
1673:
1669:
1665:
1663:
1659:
1655:
1651:
1647:
1643:
1639:
1628:
1625:
1617:
1607:
1603:
1599:
1593:
1592:
1587:This section
1585:
1576:
1575:
1567:
1565:
1561:
1560:
1555:
1551:
1547:
1543:
1542:
1537:
1533:
1529:
1525:
1524:
1519:
1518:
1513:
1512:Marx Brothers
1509:
1504:
1500:
1499:Enrico Caruso
1491:
1488:
1487:
1477:
1473:
1469:
1468:
1467:
1465:
1461:
1457:
1453:
1447:
1443:
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1436:
1431:
1427:
1423:
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1413:
1410:
1407:
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1394:
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1379:
1375:
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1370:
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1362:
1358:
1354:
1350:
1346:
1342:
1339:
1337:
1333:
1329:
1325:
1321:
1318:
1316:
1312:
1308:
1304:
1300:
1296:
1293:
1292:
1286:
1284:
1280:
1276:
1265:
1261:
1260:Enrico Caruso
1246:
1238:
1237:
1233:
1231:
1227:
1223:
1218:
1217:
1208:
1206:
1205:
1200:
1196:
1191:
1190:
1186:
1184:
1179:
1178:
1172:
1167:
1158:
1156:
1152:
1147:
1146:
1142:
1140:
1136:
1127:
1123:
1119:
1118:Anna Netrebko
1115:
1111:
1107:
1105:
1101:
1097:
1093:
1089:
1088:
1064:
1056:
1055:
1046:
1044:
1040:
1036:
1032:
1028:
1020:
1016:
1012:
1008:
1007:
1003:
1000:
995:
990:
984:
983:
981:
977:
964:
961:
959:
957:
953:
948:
947:
937:
933:
929:
926:
924:
921:
918:
917:
913:
910:
908:
905:
903:An old gypsy
902:
901:
897:
894:
892:
889:
887:
883:
882:
878:
875:
873:
870:
868:
864:
863:
860:
857:
854:
852:
849:
847:
843:
842:
839:
836:
834:
831:
829:
826:
824:
820:
819:
816:
810:
808:
805:
803:
802:mezzo-soprano
800:
798:
794:
793:
790:
787:
785:
782:
780:
777:
775:
771:
770:
767:
766:Marc Bonnehée
764:
762:
759:
757:
754:
752:
748:
747:
744:
735:
733:
725:
722:
712:
710:
707:
704:
703:
690:
688:
684:
680:
675:
673:
669:
665:
661:
657:
653:
649:
645:
640:
638:
634:
630:
625:
623:
619:
615:
611:
607:
603:
599:
594:
592:
588:
587:
582:
581:
576:
572:
568:
563:
562:
561:
558:In French as
555:
552:
550:
546:
542:
537:
535:
531:
527:
523:
519:
518:Covent Garden
515:
511:
507:
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487:
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477:
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460:
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206:
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196:
192:
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185:
183:
179:
174:
173:Teatro Apollo
169:
167:
163:
162:Julian Budden
159:
155:
151:
147:
143:
139:
135:
131:
130:
117:
116:Teatro Apollo
102:
98:
95:
91:
88:
84:
80:
76:
73:
69:
66:
62:
58:
57:Luigi Morgari
52:
47:
44:
40:
36:
31:
19:
4178:Il trovatore
4177:
4176:
4168:
4162:Luisa Miller
4160:
4152:
4144:
4136:
4128:
4120:
4112:
4104:
4096:
4088:
4080:
4072:
4064:
4056:
3997:
3976:
3948:
3938:
3928:
3918:
3908:
3898:
3888:
3871:(2011 opera)
3866:
3856:
3846:
3836:
3826:
3816:
3700:Recognitions
3686:
3655:
3645:
3626:
3617:
3609:Il trovatore
3608:
3599:
3590:
3581:
3572:
3563:
3554:
3545:
3524:Va, pensiero
3479:Celeste Aida
3461:Anvil Chorus
3438:
3428:
3418:
3408:
3398:
3388:
3378:
3368:
3358:
3348:
3338:
3330:Il trovatore
3329:
3328:
3318:
3308:
3300:Luisa Miller
3298:
3288:
3278:
3268:
3260:I masnadieri
3258:
3248:
3238:
3228:
3218:
3208:
3198:
3188:
3178:
3168:
3158:
3081:Il trovatore
3080:
3059:
3042:
3035:
3018:
3001:
2984:
2970:
2956:(hardback),
2945:
2924:
2910:
2906:
2903:Roger Parker
2895:
2894:
2877:
2874:Stefan, Paul
2860:– via
2846:
2826:
2805:
2798:Il trovatore
2797:
2775:
2762:– via
2748:
2728:
2715:– via
2699:
2675:
2655:
2631:
2625:(paperback).
2605:
2594:
2593:
2585:
2582:Anvil Chorus
2576:
2565:. Retrieved
2561:
2552:
2533:
2527:
2512:
2508:
2503:
2491:
2479:
2467:
2460:Osborne 2007
2455:
2425:
2418:Osborne 1977
2388:Osborne 1977
2378:
2365:
2360:, p. 58
2352:
2341:. Retrieved
2337:the original
2327:
2315:
2306:
2297:
2277:
2270:
2261:
2255:
2245:
2223:
2211:
2204:Osborne 1977
2199:
2187:
2175:. Retrieved
2165:
2153:. Retrieved
2149:the original
2144:
2135:
2115:
2108:
2101:Kimbell 2001
2096:
2083:
2073:
2057:
2045:
2005:
1999:
1995:
1974:
1962:
1950:
1938:
1926:
1913:
1908:, p. 62
1900:
1895:, p. 61
1887:
1882:, p. 61
1841:
1833:
1824:
1811:
1799:
1787:
1775:
1767:
1766:
1747:
1744:
1728:Anvil Chorus
1725:
1700:
1683:Il trovatore
1682:
1670:
1666:
1635:
1620:
1614:January 2019
1611:
1588:
1557:
1554:Il trovatore
1553:
1549:
1545:
1539:
1532:Il trovatore
1531:
1521:
1515:
1508:Il trovatore
1507:
1503:Il trovatore
1502:
1497:
1484:
1481:
1476:Il trovatore
1475:
1471:
1459:
1455:
1451:
1448:
1444:
1439:
1435:Il trovatore
1434:
1424:. Thus, the
1417:
1414:
1409:Roger Parker
1406:musicologist
1403:
1398:Il trovatore
1397:
1396:Drawing for
1282:
1278:
1274:
1272:
1235:
1234:
1229:
1225:
1221:
1219:
1215:
1214:
1202:
1194:
1192:
1188:
1187:
1182:
1180:
1176:
1175:
1154:
1150:
1148:
1144:
1143:
1138:
1135:Mal reggendo
1134:
1131:
1103:
1099:
1091:
1087:Anvil Chorus
1085:
1083:
1053:
1052:
1042:
1038:
1035:Di tale amor
1034:
1030:
1024:
1005:
1004:
985:
973:
972:
962:
949:
935:
919:A messenger
885:
879:Mme Dameron
866:
845:
833:Rosina Penco
822:
807:Emilia Goggi
796:
773:
750:
729:
682:
681:and in 2002
676:
647:
641:
628:
626:
620:and Empress
618:Napoleon III
601:
595:
590:
584:
578:
564:
559:
557:
556:
553:
541:Il trovatore
540:
538:
528:as Manrico,
524:as Leonora,
508:as Manrico,
504:as Leonora,
490:Il trovatore
489:
488:
486:as Azucena.
469:
465:
429:Il trovatore
428:
426:
425:
416:
411:
407:
399:
389:
387:
382:
373:
365:
361:
355:
349:
344:, his first
339:
333:
328:
326:
317:
313:
303:
300:
296:
283:
281:
264:
259:
253:
249:
242:
237:
227:
210:Il trovatore
209:
207:
203:Il trovatore
202:
198:
188:
186:
178:Il trovatore
177:
170:
153:
129:Il trovatore
128:
127:
126:
93:
33:Il trovatore
4233:1853 operas
3986:Villa Verdi
3909:La Traviata
3861:(1985 play)
3841:(1953 film)
3831:(1938 film)
3771:Verdi Range
3764:Verdi Inlet
3691:(1889–1897)
3618:La traviata
3353:(June 1855)
3340:La traviata
2695:Melitz, Leo
2484:Marcus 1986
2448:Budden 1984
2403:Parker 1998
2384:Melitz 1921
2358:Budden 1984
2216:Budden 1984
2173:. Operabase
2084:Verdi Forum
2050:Budden 1984
1996:Le trouvère
1979:Budden 1984
1906:Budden 1984
1893:Budden 1984
1880:Budden 1984
1862:Budden 1984
1829:Budden 1984
1817:Budden 1984
1804:Budden 1984
1792:Budden 1984
1780:Budden 1984
1685:discography
1124:(Manrico),
1120:(Leonora),
1116:(di Luna),
927:Luigi Fani
814:Borghi-Mamo
741:Conductor:
732:Le trouvère
683:Le trouvère
648:Le trouvère
644:Tulsa Opera
629:Le trouvère
610:Paris Opera
602:Le trouvère
571:grand opera
560:Le trouvère
412:La traviata
383:La traviata
346:grand opera
336:Paris Opéra
321:Villa Verdi
260:El Trovador
154:El trovador
94:El trovador
4217:Categories
4122:La vestale
3979:(Finnissy)
3858:After Aida
3778:3975 Verdi
3555:Don Carlos
3413:(1867/84)
3410:Don Carlos
3403:(1862/69)
3280:Il corsaro
3253:(1847/65)
2567:2024-03-06
2543:075465074X
2371:Pitou 1990
2343:2013-03-29
2228:Pitou 1990
2192:Pitou 1990
2038:Pitou 1990
1763:References
1676:Recordings
1598:improve it
1456:Don Carlos
1353:tambourine
1341:Percussion
989:troubadour
844:Ferrando,
709:Voice type
606:La Monnaie
351:I Lombardi
284:Rigoletto,
199:Rigoletto'
156:(1836) by
134:Troubadour
108:1853-01-19
64:Librettist
55:Poster by
4066:Belisario
3600:Rigoletto
3373:(1857/81)
3320:Rigoletto
3310:Stiffelio
3270:JĂ©rusalem
2905:, 1980),
2796:(1998). "
2511:volume 2
2022:192135165
1834:King Lear
1712:Labinskii
1650:Ferdinand
1602:verifying
1536:La Fenice
1440:Rigoletto
1430:cabaletta
1426:cantabile
1418:bel canto
1369:bass drum
1357:castanets
1332:trombones
1311:clarinets
1295:Woodwinds
1199:Cabaletta
930:Cléophas
821:Leonora,
812:Adelaide
795:Azucena,
772:Manrico,
721:Conductor
591:Trovatore
545:Toscanini
408:Trovatore
390:Trovatore
362:Trovatore
357:JĂ©rusalem
329:Trovatore
304:Trovatore
288:La Fenice
250:Rigoletto
238:Trovatore
190:Rigoletto
136:') is an
4170:Virginia
4004:Category
3724:Florence
3716:Brindisi
3564:Falstaff
3440:Falstaff
3094:Archived
3034:(1931),
3017:(1995),
3000:(2007),
2969:(2006),
2876:(1973).
2774:(1993).
2727:(1977).
2697:(1921).
2604:(1984).
2155:26 March
1757:dementia
1704:Giannini
1652:. Count
1349:triangle
1328:trumpets
1315:bassoons
1226:Miserere
1171:Zaragoza
1027:Cavatina
1019:La Scala
982:, Spain)
980:Zaragoza
944:Synopsis
756:baritone
642:In 1990
146:libretto
100:Premiere
92:'s play
86:Based on
78:Language
4106:Poliuto
3929:Macbeth
3728:Trieste
3720:Busseto
3676:(1874)
3582:Macbeth
3433:(1887)
3423:(1871)
3393:(1859)
3343:(1853)
3333:(1853)
3323:(1851)
3250:Macbeth
3180:Nabucco
2804:(ed.).
2713:1102264
2709:5128391
2654:(ed.).
2177:30 July
1706:'s and
1648:nephew
1646:sororal
1596:Please
1559:La Luna
1510:in the
1382:strings
1361:cymbals
1345:timpani
1299:piccolo
1096:Canzone
1021:in 1883
958:(Spain)
950:Place:
914:Medori
872:soprano
828:soprano
622:Eugénie
474:at the
234:Busseto
208:Today,
106: (
81:Italian
4238:Operas
4193:Portal
4181:(1853)
4173:(1850)
4165:(1849)
4157:(1849)
4149:(1846)
4141:(1845)
4138:Alzira
4133:(1843)
4125:(1840)
4117:(1840)
4109:(1838)
4101:(1838)
4093:(1837)
4085:(1837)
4077:(1836)
4069:(1836)
4061:(1835)
3952:(2005)
3942:(1987)
3932:(1987)
3922:(1986)
3919:Otello
3912:(1983)
3902:(1953)
3892:(1906)
3889:Otello
3821:(1886)
3668:(1873)
3660:(1862)
3650:(1848)
3591:Otello
3443:(1893)
3430:Otello
3383:(1857)
3380:Aroldo
3313:(1850)
3303:(1849)
3293:(1849)
3283:(1848)
3273:(1847)
3263:(1847)
3243:(1846)
3240:Attila
3233:(1845)
3230:Alzira
3223:(1845)
3213:(1844)
3203:(1844)
3200:Ernani
3193:(1843)
3183:(1842)
3173:(1840)
3163:(1839)
3151:Operas
3066:
3049:
3025:
3008:
2991:
2977:
2960:
2952:
2938:
2931:
2917:
2884:
2854:
2833:
2814:
2800:". In
2782:
2756:
2735:
2707:
2683:
2662:
2639:
2621:
2613:
2540:
2519:
2515:p 229
2285:
2123:
2086:(15).
2020:
1716:Caruso
1564:Kijiji
1486:Ernani
1400:(1956)
1374:String
1365:anvils
1266:(1913)
956:Aragon
952:Biscay
884:Ruiz,
865:Ines,
580:Aroldo
255:Oberto
195:Venice
132:('The
118:, Rome
4207:Opera
4114:Saffo
2911:et al
2090:: 44.
2066:Sadie
2018:S2CID
1768:Notes
1708:Pryor
1550:Senso
1541:Senso
1514:film
1452:Ballo
1388:Music
1324:horns
1320:Brass
1307:oboes
1303:flute
999:gypsy
923:tenor
891:tenor
779:tenor
705:Role
693:Roles
354:into
302:this
246:Piave
138:opera
39:Opera
3939:Aida
3899:Aida
3546:Aida
3420:Aida
3064:ISBN
3047:ISBN
3023:ISBN
3006:ISBN
2989:ISBN
2975:ISBN
2958:ISBN
2950:ISBN
2936:ISBN
2929:ISBN
2915:ISBN
2882:ISBN
2852:ISBN
2831:ISBN
2812:ISBN
2780:ISBN
2754:ISBN
2733:ISBN
2705:OCLC
2681:ISBN
2660:ISBN
2637:ISBN
2619:ISBN
2611:ISBN
2538:ISBN
2517:ISBN
2283:ISBN
2179:2013
2157:2018
2121:ISBN
1726:The
1460:Aida
1378:harp
1336:tuba
1330:, 3
1326:, 2
1322:: 4
1313:, 2
1309:, 2
1305:, 2
1262:and
954:and
907:bass
851:bass
410:and
374:fils
2584:",
2010:doi
1998:".
1600:by
1534:at
1526:).
1472:the
1442:".
728:as
652:NPR
612:'s
549:Met
370:by
240:".
193:in
41:by
4219::
3726:-
3722:-
3718:-
2872:;
2711:,
2560:.
2434:^
2410:^
2395:^
2305:.
2235:^
2143:.
2082:.
2030:^
2016:.
2006:21
2004:.
1986:^
1869:^
1854:^
1380:,
1376::
1367:,
1363:,
1359:,
1355:,
1351:,
1347:,
1343::
1334:,
1301:,
1297::
1201::
1098::
1090::
1029::
978:,
736:,
414:.
385:.
4195::
4037:e
4030:t
4023:v
3730:)
3526:"
3522:"
3517:"
3513:"
3508:"
3504:"
3499:"
3495:"
3490:"
3486:"
3481:"
3477:"
3472:"
3468:"
3463:"
3459:"
3127:e
3120:t
3113:v
2890:.
2864:.
2839:.
2820:.
2788:.
2766:.
2741:.
2719:.
2689:.
2668:.
2645:.
2580:"
2570:.
2546:.
2346:.
2291:.
2249:.
2181:.
2159:.
2129:.
2024:.
2012::
1753:"
1627:)
1621:(
1616:)
1612:(
1594:.
1478:.
1428:-
110:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
