42:
237:
651:
change of heart: (andante) "Si mostri a chi l'adora...". When Count Ivrea is announced, she takes a defiant stand (cabaletta): "Si, scordar saprò l'infido". Since
Eduardo has pledged to join the "King" when he goes to Poland, Giulietta is determined to get the King to rescind the commitment. The Count enters and the Marchesa once again states that she will marry the Count. However, Belfiore immediately forbids the marriage for 'reasons of state' and announces that he and the Count must leave for Poland to deal with state business.
2481:
602:
alliance by betrothing his daughter, Giulietta, to La Rocca, the
Brittany Treasurer, but Giulietta prefers La Rocca's nephew, Edoardo. Another undesired marriage involves Baron Kelbar's niece, the Marchesa del Poggio, a young widow who is in love with Belfiore. She has become engaged to the Count of Ivrea because Belfiore has been unable to commit himself to marrying her, in spite of the fact that he does love her.
2160:
561:
272:, Nicolai's version of Ivanhoe". Other factors which have been noted include the large size of La Scala itself (noted by George Martin as "too big for the piece") plus the rather old-fashioned nature of the work which was written in a style that was rapidly going out of fashion. In fact, in summary, Budden notes that "by the side of Donizetti's
606:
woman he loves. In addition, when the
Marchesa arrives and, upon being introduced to Belfiore as "the King", she pretends not to recognize him. Likewise, he pretends not to recognize her, but she is determined to test him by proclaiming her love for the Count: "Grave a core innamorato...Se dee cader la vedova".
641:
Belfiore, the
Treasurer, and Giulietta enter discussing the reasons for Baron Kelbar's opposition to his daughter's marriage to Eduardo. Giulietta explains that the young man's poverty is the main objection and so Belfiore immediately rules that the Treasurer must give up one of his castles and give
222:
and after
Merelli returned from Vienna in early 1840, he needed a comedy to be written for the autumn season. Asked to select a libretto by Romani which already existed, Verdi notes that he did not like any of them but "because the matter was of some urgency, I chose the one which seemed to me to be
623:
Maintaining his role as the King, Belfiore makes the
Treasurer an offer of advancement which would include marriage to a rich widow. By accepting, he agrees not to marry Giulietta. When the Treasurer tells Baron Kelbar that he refuses to marry his daughter, the Baron is affronted and challenges him
605:
Knowing of the
Marchesa's imminent arrival and concerned that she might reveal his false identity as the King, Belfiore writes to Stanislaw and asks to be released from his commitment. Edoardo reveals his predicament to the "King" and begs to be taken to Poland with him in order to forget about the
654:
All express their feelings, but things come to a halt when a letter arrives for
Belfiore. It is from King Stanislaw announcing his safe arrival in Warsaw and releasing Belfiore from his task of impersonating him. In return, the King has created him Marshal. Before dropping the disguise, the "King"
650:
Belfiore and the
Marchesa meet on the veranda, the former still unable to reveal who he really is. This incenses the lady, who boldly states that it is her intention to marry the Count of Ivrea. However, she cannot understand why Belfiore is taking so long to reveal himself and still hopes for his
257:
At the premiere Verdi was seated in the orchestra pit, and thus heard the audience reaction directly. Along with the critics, Verdi acknowledged that the failure was partly due to his own personal circumstances, since his two children (the first in 1838, the second in 1839) and then, in June 1840,
614:
Giulietta is alone with her attendants and expresses unhappiness in having to marry an old man: "Non san quant'io nel petto...Non vo' quel vecchio". When Baron Kelbar and
Treasurer La Rocca arrive, followed in succession by Belfiore and Edoardo and then the Marchesa (who was planning to help the
601:
Belfiore, impersonating the Polish king Stanislaus, is a guest at the home of Baron Kelbar and he comments to himself on his change of fortune: "Compagnoni di Parigi...Verrà purtroppo il giorno" / "Comrades in Paris...Unfortunately, the day will come". The Baron has recently arranged a political
354:
presented the new critical edition of the opera in March 2013, the 29th work of the complete Verdi canon (in all its versions) to be presented by the company. Dr. Francesco Izzo, Co-Director of the American Institute for Verdi Studies and the critical edition's editor, notes that:
203:
was first of the three, but he wrote the piece during a period when first his children and then his wife died and its failure in 1840 caused the young composer to almost abandon opera. It was not until he was enticed to write the music for the existing libretto of what became
637:
Following the "King's" pronouncement, the servants are mystified and they sing a carefree chorus which leads to Edoardo seeking their support and announcing his hope of still being able to marry Giulietta: "Pietoso al lungo pianto...Deh lasciate a un alma amante".
1093:, Vol. 40, No. 3, Fall 1999: Forbes notes: "Verdi's second opera has received many brickbats, but when performed with such zest by the singers and such rhythmic vitality by the Covent Garden Orchestra under conductor Maurizio Benini, it becomes irresistible."
247:
The first performance at La Scala on 5 September 1840 was a failure, and La Scala cancelled the remaining scheduled performances. They did not revive the work until 2001. Verdi would not attempt another operatic comedy until the end of his career with
655:
proclaims that Giulietta and Eduardo are to be married and, having received Baron Kelbar's consent, reads the true king's letter and reveals his true rank. He expresses his love for the Marchesa and all ends happily with the prospect of two weddings.
624:
to a duel. To add to the confusion all around, the Marchesa immediately proposes that Giulietta and Edoardo be married immediately. However, the false King returns and proposes that he will decide on a solution that will satisfy everyone.
576:
in 1709. He regained it in 1733, but was again deposed in 1736 and went into exile in France. The opera is set in 1733 when Stanislaw returned to Poland leaving a French officer, the Cavaliere di Belfiore, to impersonate him in France.
258:
his wife Margherita Barezzi had died, all during the period leading up to and during its composition. A contributing factor was that the only singers La Scala's impresario had available were those assembled for an opera seria,
671:. The haste in which the work was written may account for some of the uneven quality some critics have noted. With regard to the recitatives, Gossett notes that "only his youthful comic opera,
642:
over a sum of money to the young man, and then all will be well. The latter is somewhat reluctant to disobey his sovereign, but seeks a way out of his duel with Baron Kelbar.
704:", while "in Act 2, Scene 2, the duet for Belfiore and the Marchesa, 'Si mostri a chi l'adora', has an orchestral introduction of an astonishingly chromatic nature".
615:
lovers), Belfiore draws the Baron and Treasurer La Rocca away on the pretext of discussing state business, leaving the young lovers alone with the Marchesa.
333:
sang the "King" with John Del Carlo as Baron Kelbar; Susanne Mentzer sang Giuletta. This presentation was followed in 2001 with a staged production at the
359:
This edition corrects a number of inaccuracies and arbitrary alterations present in other scores of the opera, which has often circulated under the title
925:
Gossett, p. 37: Gossett goes on to note that "for many Italian librettists of the time, French operatic texts were a rich vein to be mined." (Although
1215:
1135:
268:, and they had no experience with comedy: "The cast had been assembled chiefly for the performance of the season's most successful novelty,
2230:
2534:
698:
in the servants' chorus which opens Act 2", and the "finale of the first act has already suggested a vein that Verdi was to exploit in
1564:
1606:
1574:
1171:
307:, in English at New York Town Hall. In the UK, the premiere took place on 21 March 1961 in Italian by the Impressario Society at
1624:
682:
A critic at the UK premiere found a "soprano solo with female chorus of a kind that looks back to 'O beau pays de Touraine' in
1558:
1569:
1460:
1228:
2428:
1155:
2509:
1546:
1525:
1494:
1477:
1443:
1426:
1412:
1394:
1386:
1372:
1347:
1330:
1312:
2504:
2106:
2052:
2456:
1086:
2328:
1670:
1579:
1431:
171:
87:
2529:
287:
Other productions in Italy during Verdi's lifetime seemed to fare better; it was given in Venice in 1845 (as
2449:
2208:
1599:
809:
344:-based ABAO society, one which plans to present all of Verdi's works, presented the opera under conductor
2188:
1986:
1210:
363:. I have done my very best to provide an edition that faithfully reflects Verdi's intentions throughout.
2298:
1950:
569:
452:
2318:
2159:
572:, an historical figure during the War of Succession, lost his throne after the Saxon invasion at the
1830:
2088:
1054:
1995:
2514:
2484:
2388:
2223:
2204:
2196:
2097:
1770:
1592:
1482:
1335:
835:
329:
in 1999, the Royal Opera gave a concert performance at the Royal Festival Hall. Russian baritone
2146:
2034:
1400:
274:
47:
41:
2308:
2200:
2079:
1284:
1070:
855:
840:
368:
1254:
2519:
2043:
1880:
1870:
1220:
1119:
784:
700:
308:
1977:
8:
2408:
2168:
2061:
1010:
1001:
2398:
2368:
2216:
2137:
2070:
1840:
1700:
1027:
196:
1465:
236:
2265:
1542:
1521:
1490:
1473:
1456:
1439:
1422:
1408:
1390:
1382:
1368:
1343:
1326:
1308:
1224:
1031:
813:
804:
789:
747:
573:
427:
414:
393:
322:
179:
160:
113:
2418:
2378:
2025:
1920:
1850:
1019:
694:
689:
676:
432:
330:
250:
241:
799:
2524:
2154:
2127:
1730:
1145:(Sarasota), 4 March 2013 online at arts.heraldtribune.com. Retrieved 9 March 2013
742:
508:
334:
315:
2237:
1968:
1720:
1710:
1640:
1615:
1318:
847:
752:
470:
351:
187:
164:
148:
143:
33:
28:
692:'s 'Come in quest" ora bruna'"; he also sensed an "extraordinary foretaste of
2498:
2348:
2279:
2272:
1690:
1300:
1206:
881:
794:
779:
684:
585:
490:
465:
345:
326:
156:
69:
2004:
1959:
1941:
1810:
1780:
1740:
1530:
1506:
1448:
280:
264:
259:
1750:
371:
presented the opera in a new English adaptation during the 2013 Festival.
2466:
2251:
2244:
1820:
1534:
759:
304:
1023:
890:(Recording of performances in November at the Teatro Flavio Vespasiano,
2338:
2258:
1890:
1760:
385:
1800:
1790:
1520:(1982), New York: Knopf, 1962, Chicago: University of Chicago Press.
668:
1501:
Vita aneddotica di Giuseppe Verdi con note ed aggiunte di Folchetto
409:
192:
152:
1660:
1584:
819:
664:
447:
206:
560:
303:
In the U.S., the opera received its premiere on 18 June 1960 by
1910:
1860:
1680:
341:
231:
1172:
Press release announcement of 2013 season on glimmerglass.org
891:
523:
485:
139:
1900:
1361:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
291:, where it did well), in Rome in 1846, and Naples (also as
972:: Background" in Sarasota Opera's 2013 program book, p. 75
1470:
Nineteenth-Century Italian Opera: From Rossini to Puccini
1359:
Baldini, Gabriele (1970), (trans. Roger Parker, 1980),
1305:
The Operas of Verdi, Volume 1: From Oberto to Rigoletto
1156:"A critically close look at a little-known Verdi opera"
1342:, London and New York: Oxford University Press, 1993
1381:. Chicago and London: University of Chicago Press.
1102:Arblaster, Anthony, "Opera: Comedy Fit for Kings:
1195:Scene titles taken from Budden, Vol. 1, pp. 78–87
950:Verdi quoted by Budden, p. 71; from Pougin, p. 43
646:Scene 2: A veranda overlooking the castle gardens
2496:
1489:, London and New York: Oxford University Press.
1455:, Oxford and New York: Oxford University Press.
1205:Parker, Roger (2001). "Giorno di regno, Un". In
1274:Hertzmann, Erich, "Reviews of Records – Verdi:
1216:The New Grove Dictionary of Music and Musicians
159:. Originally written for the Bohemian composer
1377:De Van, Gilles (trans. Gilda Roberts) (1998),
663:The music of the piece shows the influence of
597:Scene 1: A gallery in the home of Baron Kelbar
50:who is impersonated by the opera's protagonist
1600:
1379:Verdi's Theater: Creating Drama Through Music
1325:, Chicago: University of Chicago Press, 2008
929:was a verse drama, not an operatic libretto.)
2231:Orchestra Sinfonica di Milano Giuseppe Verdi
1323:Divas and Scholars: Performing Italian Opera
1066:
1064:
548:Servants, chambermaids, vassals of the Baron
232:Premiere and other 19th century performances
127:Un giorno di regno, ossia Il finto Stanislao
1453:The New Grove Guide to Verdi and His Operas
1278:, Radio Italiana; Alfredo Simonetto/Verdi:
1607:
1593:
1421:(1983), New York: Dodd, Mead and Company.
860:(Recording of a performance on 31 January)
298:
191:in 1839, Verdi received a commission from
178:was given its premiere performance at the
132:A One-Day Reign, or The Pretend Stanislaus
40:
1565:International Music Score Library Project
1191:
1189:
1061:
766:Orchestra Lirica e Coro della RAI Milano
559:
443:the Baron's niece, in love with Belfiore
235:
1282:; Radio Italiana; Mario Rossi; Verdi",
1130:
1128:
937:
935:
633:Scene 1: The gallery of Kelbar's castle
619:Scene 3: The gallery of Kelbar's castle
134:, but often translated into English as
2497:
1204:
1186:
999:
921:
919:
610:Scene 2: The Garden of Kelbar's castle
564:Felice Romani, librettist of the opera
226:
213:
185:After the success of his first opera,
1588:
1002:"Verdi Onstage in the United States:
888:Roma Sinfonietta and Belcanto Chorus,
1125:
932:
916:
863:DVD (Blu-ray, PAL): Unitel Classica
321:With the temporary shutdown of the
13:
1614:
1511:Giuseppe Verdi: His Life and Works
1407:, New York: Penguin Putnam, 2001.
584:Place: Baron Kelbar's castle near
14:
2546:
2535:Opera world premieres at La Scala
1552:
1288:, #38 (3), July 1952, pp. 498–500
405:impersonating Stanislao of Poland
210:that Verdi restarted his career.
2480:
2479:
2430:Giuseppe Verdi's Rigoletto Story
2158:
1438:, New York: Da Capo Press, Inc.
1419:Verdi: His Music, Life and Times
1472:, Portland, OR: Amadeus Press.
1268:
1247:
1238:
1198:
1177:
1165:
1148:
1113:
1096:
1080:
390:Premiere cast, 5 September 1840
318:'s June 1981 "Verdi Festival".
1671:I Lombardi alla prima crociata
1641:Oberto, Conte di San Bonifacio
1539:Verdi: The Man and His Letters
1046:
993:
984:
975:
962:
953:
944:
535:esquire to the false Stanislao
240:Portrait of Verdi, 1839–40 by
172:Alexandre-Vincent Pineux Duval
163:the libretto was based on the
88:Alexandre-Vincent Pineux Duval
1:
1367:: Cambridge University Press.
1140:a clever, charming production
905:
707:
182:, Milan on 5 September 1840.
2450:Casa di Riposo per Musicisti
2195:Theatres named after Verdi (
1162:(Sarasota), 23 February 2013
1120:2012 events page on abao.org
1089:, "United Kingdom: London",
1073:. St Pancras Arts Festival.
854:Orchestra and Chorus of the
810:Royal Philharmonic Orchestra
499:Treasurer to the Estates of
284:, it cuts a clumsy figure".
199:to write three more operas.
7:
2189:Memorials to Giuseppe Verdi
1503:. Milan, 1881. (In Italian)
1436:The Complete Opera of Verdi
1405:The New Penguin Opera Guide
555:
10:
2551:
2299:Portrait of Giuseppe Verdi
1541:, New York, Vienna House.
1399:Kimbell, David (2001), in
453:Antonietta Marini-Rainieri
102:5 September 1840
2476:
2441:
2360:
2319:Verdi, the King of Melody
2289:
2180:
2147:String Quartet in E minor
2118:
2015:
1932:
1631:
1622:
1575:Brief synopsis in English
1307:. London: Cassell, 1984.
1174:. Retrieved 27 March 2013
568:The Polish monarch, King
546:
439:The Marchesa del Poggio,
170:written by the Frenchman
97:
83:
75:
65:
55:
39:
26:
21:
2510:Operas by Giuseppe Verdi
1987:Libiamo ne' lieti calici
1483:Phillips-Matz, Mary Jane
1336:Phillips-Matz, Mary Jane
1219:(2nd ed.). London:
1122:. Retrieved 6 April 2013
968:Martin, George (2013), "
658:
627:
591:
374:
311:conducted by Hans Ucko.
2505:Italian-language operas
2224:Giuseppe Verdi Monument
1951:Bella figlia dell'amore
1771:La battaglia di Legnano
1110:(London), July 16, 2001
1106:: Buxton Opera House",
1000:Martin, George (2003).
836:Anna Caterina Antonacci
519:engaged to the Marchesa
401:Cavaliere di Belfiore,
299:20th century and beyond
16:Opera by Giuseppe Verdi
1831:Les vêpres siciliennes
1077:, May 1961, p.345-346.
565:
365:
244:
48:Stanislaus I of Poland
1996:Un dì, felice, eterea
1285:The Musical Quarterly
1058:, August 1960, p.545.
990:Phillips-Matz, p. 184
856:Teatro Regio di Parma
841:Alessandra Marianelli
731:orchestra and chorus
570:Stanisław Leszczyński
563:
517:Commandant of Brest,
459:Giulietta di Kelbar,
369:Glimmerglass Festival
357:
340:In October 2012, the
239:
2530:Operas set in France
2458:Verdi Transcriptions
2108:Un ballo in maschera
2054:La forza del destino
1881:La forza del destino
1871:Un ballo in maschera
1625:List of compositions
1221:Macmillan Publishers
785:Wladimiro Ganzarolli
701:Un Ballo in Maschera
461:the Baron's daughter
309:St Pancras Town Hall
2290:Cultural depictions
2169:Quattro pezzi sacri
2017:Opera discographies
1011:The Opera Quarterly
528:Giuseppe Vaschetti
477:Edoardo di Sanval,
314:It was part of the
227:Performance history
214:Composition history
155:written in 1818 by
2217:Milan Conservatory
2138:Inno delle nazioni
2119:Other compositions
1841:I vespri siciliani
1651:Un giorno di regno
1560:Un giorno di regno
1487:Verdi: A Biography
1340:Verdi: A Biography
1276:Un giorno di regno
1104:Un Giorno di Regno
1004:Un giorno di regno
970:Un giorno di regno
877:Alice Quintavalla,
771:Cat: 8573-82664-2
764:Alfredo Simonetto,
688:" and "forward to
673:Un giorno di regno
566:
542:Napoleone Marconi
479:a young official,
421:Barone di Kelbar,
361:Il finto Stanislao
293:Il finto Stanislao
289:Il finto Stanislao
245:
144:melodramma giocoso
60:Il finto Stanislao
29:Melodramma giocoso
22:Un giorno di regno
2492:
2491:
2332:(1982 miniseries)
2329:The Life of Verdi
2266:Verdi, California
1978:La donna è mobile
1513:, New York: Knopf
1461:978-0-19-531314-7
1230:978-1-56159-239-5
1087:Forbes, Elizabeth
1043:Subscription only
1024:10.1093/oq/19.1.3
927:Le faux Stanislas
903:
902:
886:Gabriele Bonolis,
814:Ambrosian Singers
805:Lamberto Gardelli
790:Fiorenza Cossotto
748:Sesto Bruscantini
574:Battle of Poltava
553:
552:
481:la Rocca's nephew
415:Raffaele Ferlotti
403:a French officer
394:Eugenio Cavallini
323:Royal Opera House
180:Teatro alla Scala
168:Le faux Stanislas
161:Adalbert Gyrowetz
123:
122:
114:Teatro alla Scala
92:Le faux Stanislas
2542:
2483:
2482:
2469:
2462:
2452:
2442:Related articles
2434:
2424:
2414:
2404:
2394:
2384:
2374:
2361:Film adaptations
2353:
2343:
2333:
2323:
2313:
2303:
2282:
2275:
2268:
2261:
2254:
2247:
2240:
2233:
2226:
2219:
2212:
2191:
2173:
2163:
2162:
2155:Messa da Requiem
2150:
2142:
2132:
2111:
2102:
2093:
2084:
2075:
2066:
2057:
2048:
2039:
2030:
2018:
2008:
1999:
1990:
1981:
1972:
1963:
1954:
1945:
1925:
1915:
1905:
1895:
1885:
1875:
1865:
1855:
1851:Simon Boccanegra
1845:
1835:
1825:
1815:
1805:
1795:
1785:
1775:
1765:
1755:
1745:
1735:
1725:
1715:
1705:
1695:
1685:
1675:
1665:
1655:
1645:
1609:
1602:
1595:
1586:
1585:
1563:: Scores at the
1466:Pistone, Danièle
1432:Osborne, Charles
1417:Martin, George,
1289:
1272:
1266:
1265:
1263:
1261:
1251:
1245:
1242:
1236:
1234:
1202:
1196:
1193:
1184:
1181:
1175:
1169:
1163:
1154:Carrie Seidman,
1152:
1146:
1134:Gayle Williams,
1132:
1123:
1117:
1111:
1100:
1094:
1084:
1078:
1068:
1059:
1052:News - America.
1050:
1044:
1042:
1040:
1038:
997:
991:
988:
982:
979:
973:
966:
960:
957:
951:
948:
942:
939:
930:
923:
852:Donato Renzetti,
831:Guido Loconsolo,
769:CD: Warner-Fonit
712:
711:
690:Maria Boccanegra
677:secco recitative
433:Raffaele Scalese
379:
378:
331:Vladimir Chernov
275:L'elisir d'amore
223:the least bad".
117:
109:
107:
44:
19:
18:
2550:
2549:
2545:
2544:
2543:
2541:
2540:
2539:
2495:
2494:
2493:
2488:
2472:
2465:
2455:
2448:
2437:
2427:
2417:
2407:
2397:
2387:
2377:
2367:
2356:
2346:
2336:
2326:
2316:
2306:
2296:
2285:
2278:
2271:
2264:
2257:
2250:
2243:
2236:
2229:
2222:
2215:
2194:
2187:
2176:
2166:
2153:
2145:
2135:
2128:Suona la tromba
2125:
2114:
2105:
2096:
2087:
2078:
2069:
2060:
2051:
2042:
2033:
2024:
2016:
2011:
2002:
1993:
1984:
1975:
1966:
1957:
1948:
1939:
1928:
1918:
1908:
1898:
1888:
1878:
1868:
1858:
1848:
1844:(December 1855)
1838:
1828:
1818:
1808:
1798:
1788:
1778:
1768:
1758:
1748:
1738:
1728:
1718:
1708:
1701:Giovanna d'Arco
1698:
1688:
1678:
1668:
1658:
1648:
1638:
1627:
1618:
1613:
1555:
1516:Walker, Frank,
1319:Gossett, Philip
1292:
1273:
1269:
1259:
1257:
1253:
1252:
1248:
1244:Gossett, p. 605
1243:
1239:
1231:
1203:
1199:
1194:
1187:
1182:
1178:
1170:
1166:
1153:
1149:
1136:"Opera review:
1133:
1126:
1118:
1114:
1108:The Independent
1101:
1097:
1085:
1081:
1069:
1062:
1051:
1047:
1036:
1034:
998:
994:
989:
985:
980:
976:
967:
963:
958:
954:
949:
945:
940:
933:
924:
917:
908:
898:
889:
887:
880:
878:
876:
875:Simone Alberti,
874:
864:
859:
853:
846:
844:
839:
834:
832:
822:
808:
798:
793:
788:
783:
770:
765:
758:
756:
751:
746:
743:Renato Capecchi
730:
725:
723:
721:
719:
718:Cast (Belfiore,
710:
661:
630:
594:
558:
518:
509:Agostino Rovere
500:
480:
442:
441:a young widow,
404:
391:
377:
335:Buxton Festival
316:San Diego Opera
301:
234:
229:
216:
147:in two acts by
119:
118:
112:
110:
105:
103:
51:
17:
12:
11:
5:
2548:
2538:
2537:
2532:
2527:
2522:
2517:
2515:Drammi giocosi
2512:
2507:
2490:
2489:
2477:
2474:
2473:
2471:
2470:
2463:
2453:
2445:
2443:
2439:
2438:
2436:
2435:
2425:
2415:
2405:
2395:
2385:
2375:
2364:
2362:
2358:
2357:
2355:
2354:
2344:
2334:
2324:
2314:
2309:Giuseppe Verdi
2304:
2293:
2291:
2287:
2286:
2284:
2283:
2276:
2269:
2262:
2255:
2248:
2241:
2238:Verdi (crater)
2234:
2227:
2220:
2213:
2192:
2184:
2182:
2178:
2177:
2175:
2174:
2164:
2151:
2143:
2133:
2122:
2120:
2116:
2115:
2113:
2112:
2103:
2094:
2085:
2076:
2067:
2058:
2049:
2040:
2031:
2021:
2019:
2013:
2012:
2010:
2009:
2000:
1991:
1982:
1973:
1969:Di quella pira
1964:
1955:
1946:
1936:
1934:
1933:Opera excerpts
1930:
1929:
1927:
1926:
1916:
1906:
1896:
1886:
1876:
1866:
1856:
1846:
1836:
1826:
1816:
1806:
1796:
1786:
1776:
1766:
1756:
1746:
1736:
1726:
1716:
1706:
1696:
1686:
1676:
1666:
1656:
1646:
1635:
1633:
1629:
1628:
1623:
1620:
1619:
1616:Giuseppe Verdi
1612:
1611:
1604:
1597:
1589:
1583:
1582:
1577:
1572:
1567:
1554:
1553:External links
1551:
1550:
1549:
1528:
1514:
1504:
1497:
1480:
1463:
1446:
1429:
1415:
1401:Holden, Amanda
1397:
1375:
1351:
1350:
1333:
1316:
1301:Budden, Julian
1291:
1290:
1267:
1255:"CLVEGIOR.HTM"
1246:
1237:
1229:
1207:Sadie, Stanley
1197:
1185:
1183:Budden, p. 70.
1176:
1164:
1160:Herald-Tribune
1147:
1143:Herald-Tribune
1138:King for a Day
1124:
1112:
1095:
1079:
1060:
1045:
992:
983:
974:
961:
952:
943:
931:
914:
907:
904:
901:
900:
899:Cat: TC812290
895:
884:
873:Mikheil Kiria,
871:
867:
866:
861:
850:
848:Paolo Bordogna
829:
825:
824:
816:
802:
777:
773:
772:
767:
762:
753:Lina Pagliughi
740:
736:
735:
732:
727:
716:
709:
706:
660:
657:
629:
626:
593:
590:
589:
588:
582:
557:
554:
551:
550:
544:
543:
540:
537:
530:
529:
526:
521:
512:
511:
506:
503:
494:
493:
488:
483:
474:
473:
471:Luigia Abbadia
468:
463:
456:
455:
450:
445:
436:
435:
430:
425:
418:
417:
412:
407:
398:
397:
388:
383:
376:
373:
352:Sarasota Opera
300:
297:
233:
230:
228:
225:
215:
212:
151:to an Italian
149:Giuseppe Verdi
136:King for a Day
121:
120:
111:
101:
99:
95:
94:
85:
81:
80:
77:
73:
72:
67:
63:
62:
57:
53:
52:
45:
37:
36:
34:Giuseppe Verdi
24:
23:
15:
9:
6:
4:
3:
2:
2547:
2536:
2533:
2531:
2528:
2526:
2523:
2521:
2518:
2516:
2513:
2511:
2508:
2506:
2503:
2502:
2500:
2487:
2486:
2475:
2468:
2464:
2461:
2459:
2454:
2451:
2447:
2446:
2444:
2440:
2432:
2431:
2426:
2422:
2421:
2416:
2412:
2411:
2406:
2402:
2401:
2396:
2392:
2391:
2386:
2382:
2381:
2376:
2372:
2371:
2366:
2365:
2363:
2359:
2351:
2350:
2349:Risorgimento!
2345:
2341:
2340:
2335:
2331:
2330:
2325:
2321:
2320:
2315:
2311:
2310:
2305:
2301:
2300:
2295:
2294:
2292:
2288:
2281:
2280:Verdi, Nevada
2277:
2274:
2273:Verdi, Kansas
2270:
2267:
2263:
2260:
2256:
2253:
2249:
2246:
2242:
2239:
2235:
2232:
2228:
2225:
2221:
2218:
2214:
2210:
2206:
2202:
2198:
2193:
2190:
2186:
2185:
2183:
2179:
2171:
2170:
2165:
2161:
2156:
2152:
2148:
2144:
2140:
2139:
2134:
2130:
2129:
2124:
2123:
2121:
2117:
2110:
2109:
2104:
2101:
2100:
2095:
2092:
2091:
2086:
2083:
2082:
2077:
2074:
2073:
2068:
2065:
2064:
2059:
2056:
2055:
2050:
2047:
2046:
2041:
2038:
2037:
2032:
2029:
2028:
2023:
2022:
2020:
2014:
2006:
2001:
1997:
1992:
1988:
1983:
1979:
1974:
1970:
1965:
1961:
1956:
1952:
1947:
1943:
1938:
1937:
1935:
1931:
1923:
1922:
1917:
1913:
1912:
1907:
1903:
1902:
1897:
1893:
1892:
1887:
1883:
1882:
1877:
1873:
1872:
1867:
1863:
1862:
1857:
1853:
1852:
1847:
1843:
1842:
1837:
1833:
1832:
1827:
1823:
1822:
1817:
1813:
1812:
1807:
1803:
1802:
1797:
1793:
1792:
1787:
1783:
1782:
1777:
1773:
1772:
1767:
1763:
1762:
1757:
1753:
1752:
1747:
1743:
1742:
1737:
1733:
1732:
1727:
1723:
1722:
1717:
1713:
1712:
1707:
1703:
1702:
1697:
1693:
1692:
1691:I due Foscari
1687:
1683:
1682:
1677:
1673:
1672:
1667:
1663:
1662:
1657:
1653:
1652:
1647:
1643:
1642:
1637:
1636:
1634:
1630:
1626:
1621:
1617:
1610:
1605:
1603:
1598:
1596:
1591:
1590:
1587:
1581:
1580:Aria database
1578:
1576:
1573:
1571:
1568:
1566:
1562:
1561:
1557:
1556:
1548:
1547:0-8443-0088-8
1544:
1540:
1536:
1532:
1531:Werfel, Franz
1529:
1527:
1526:0-226-87132-0
1523:
1519:
1518:The Man Verdi
1515:
1512:
1508:
1507:Toye, Francis
1505:
1502:
1498:
1496:
1495:0-19-313204-4
1492:
1488:
1484:
1481:
1479:
1478:0-931340-82-9
1475:
1471:
1467:
1464:
1462:
1458:
1454:
1450:
1449:Parker, Roger
1447:
1445:
1444:0-306-80072-1
1441:
1437:
1433:
1430:
1428:
1427:0-396-08196-7
1424:
1420:
1416:
1414:
1413:0-14-029312-4
1410:
1406:
1402:
1398:
1396:
1395:0-226-14370-8
1392:
1388:
1387:0-226-14369-4
1384:
1380:
1376:
1374:
1373:0-521-29712-5
1370:
1366:
1363:. Cambridge,
1362:
1358:
1357:
1356:
1355:
1354:Other sources
1349:
1348:0-19-313204-4
1345:
1341:
1337:
1334:
1332:
1331:0-226-30482-5
1328:
1324:
1320:
1317:
1314:
1313:0-304-31058-1
1310:
1306:
1302:
1299:
1298:
1297:
1296:
1295:Cited sources
1287:
1286:
1281:
1277:
1271:
1256:
1250:
1241:
1232:
1226:
1222:
1218:
1217:
1212:
1211:Tyrrell, John
1208:
1201:
1192:
1190:
1180:
1173:
1168:
1161:
1157:
1151:
1144:
1141:
1139:
1131:
1129:
1121:
1116:
1109:
1105:
1099:
1092:
1088:
1083:
1076:
1072:
1071:Mann, William
1067:
1065:
1057:
1056:
1049:
1033:
1029:
1025:
1021:
1017:
1013:
1012:
1007:
1005:
996:
987:
981:Budden, p. 74
978:
971:
965:
959:Budden, p. 71
956:
947:
941:Budden, p. 73
938:
936:
928:
922:
920:
915:
913:
912:
896:
893:
885:
883:
882:Marco Frusoni
872:
869:
868:
862:
857:
851:
849:
842:
837:
833:Andrea Porta,
830:
827:
826:
821:
817:
815:
811:
806:
803:
801:
800:José Carreras
796:
795:Jessye Norman
791:
786:
781:
780:Ingvar Wixell
778:
775:
774:
768:
763:
761:
754:
749:
744:
741:
738:
737:
733:
728:
717:
714:
713:
705:
703:
702:
697:
696:
691:
687:
686:
685:Les Huguenots
680:
678:
675:(1840), uses
674:
670:
666:
656:
652:
648:
647:
643:
639:
635:
634:
625:
621:
620:
616:
612:
611:
607:
603:
599:
598:
587:
586:Brest, France
583:
580:
579:
578:
575:
571:
562:
549:
545:
541:
538:
536:
532:
531:
527:
525:
522:
520:
515:Count Ivrea,
514:
513:
510:
507:
504:
502:
496:
495:
492:
491:Lorenzo Salvi
489:
487:
484:
482:
476:
475:
472:
469:
467:
466:mezzo-soprano
464:
462:
458:
457:
454:
451:
449:
446:
444:
438:
437:
434:
431:
429:
426:
424:
420:
419:
416:
413:
411:
408:
406:
400:
399:
395:
389:
387:
384:
381:
380:
372:
370:
364:
362:
356:
353:
349:
347:
346:Alberto Zedda
343:
338:
336:
332:
328:
327:Covent Garden
324:
319:
317:
312:
310:
306:
296:
294:
290:
285:
283:
282:
277:
276:
271:
267:
266:
261:
255:
253:
252:
243:
238:
224:
221:
211:
209:
208:
202:
198:
194:
190:
189:
183:
181:
177:
173:
169:
166:
162:
158:
157:Felice Romani
154:
150:
146:
145:
141:
137:
133:
129:
128:
115:
100:
96:
93:
89:
86:
82:
78:
74:
71:
70:Felice Romani
68:
64:
61:
58:
54:
49:
43:
38:
35:
31:
30:
25:
20:
2478:
2457:
2429:
2419:
2409:
2399:
2389:
2379:
2369:
2352:(2011 opera)
2347:
2337:
2327:
2317:
2307:
2297:
2181:Recognitions
2167:
2136:
2126:
2107:
2098:
2090:Il trovatore
2089:
2080:
2071:
2062:
2053:
2044:
2035:
2026:
2005:Va, pensiero
1960:Celeste Aida
1942:Anvil Chorus
1919:
1909:
1899:
1889:
1879:
1869:
1859:
1849:
1839:
1829:
1819:
1811:Il trovatore
1809:
1799:
1789:
1781:Luisa Miller
1779:
1769:
1759:
1749:
1741:I masnadieri
1739:
1729:
1719:
1709:
1699:
1689:
1679:
1669:
1659:
1650:
1649:
1639:
1559:
1538:
1535:Stefan, Paul
1517:
1510:
1500:
1499:Pougin, A.,
1486:
1469:
1452:
1435:
1418:
1404:
1389:(hardback),
1378:
1364:
1360:
1353:
1352:
1339:
1322:
1304:
1294:
1293:
1283:
1280:Luisa Miller
1279:
1275:
1270:
1258:. Retrieved
1249:
1240:
1214:
1200:
1179:
1167:
1159:
1150:
1142:
1137:
1115:
1107:
1103:
1098:
1091:Opera Canada
1090:
1082:
1074:
1053:
1048:
1035:. Retrieved
1015:
1009:
1003:
995:
986:
977:
969:
964:
955:
946:
926:
910:
909:
879:Angela Nisi,
865:Cat: 720304
845:Ivan Magri,
823:Cat: 422429
757:Laura Cozzi,
699:
693:
683:
681:
672:
662:
653:
649:
645:
644:
640:
636:
632:
631:
622:
618:
617:
613:
609:
608:
604:
600:
596:
595:
567:
547:
534:
516:
498:
478:
460:
440:
422:
402:
392:(Conductor:
366:
360:
358:
350:
339:
337:in England.
320:
313:
302:
292:
288:
286:
281:Don Pasquale
279:
273:
270:Il templario
269:
265:Il templario
263:
260:Otto Nicolai
256:
249:
246:
219:
217:
205:
200:
186:
184:
175:
167:
142:
135:
131:
126:
125:
124:
91:
59:
27:
2520:1840 operas
2467:Villa Verdi
2390:La Traviata
2342:(1985 play)
2322:(1953 film)
2312:(1938 film)
2252:Verdi Range
2245:Verdi Inlet
2172:(1889–1897)
2099:La traviata
1834:(June 1855)
1821:La traviata
1037:3 September
1018:(1): 3–15.
760:Juan Oncina
423:the usurper
305:Amato Opera
295:) in 1859.
195:impresario
56:Other title
2499:Categories
2460:(Finnissy)
2339:After Aida
2259:3975 Verdi
2036:Don Carlos
1894:(1867/84)
1891:Don Carlos
1884:(1862/69)
1761:Il corsaro
1734:(1847/65)
906:References
897:CD: Tactus
729:Conductor,
724:Giulietta,
708:Recordings
581:Time: 1733
533:Delmonte,
497:La Rocca,
386:Voice type
106:1840-09-05
66:Librettist
2081:Rigoletto
1854:(1857/81)
1801:Rigoletto
1791:Stiffelio
1751:Jérusalem
1032:192073800
726:Edoardo)
722:Marchesa,
669:Donizetti
242:Molentini
201:Un giorno
176:Un giorno
174:in 1808.
90:'s play,
2485:Category
2205:Florence
2197:Brindisi
2045:Falstaff
1921:Falstaff
1570:Libretto
1537:(1973),
1509:(1931),
1485:(1993),
1468:(1995),
1451:(2007),
1434:(1969),
1260:16 April
1213:(eds.).
812:and the
695:Falstaff
556:Synopsis
501:Brittany
410:baritone
251:Falstaff
193:La Scala
153:libretto
140:operatic
138:) is an
98:Premiere
84:Based on
76:Language
2410:Macbeth
2209:Trieste
2201:Busseto
2157:(1874)
2063:Macbeth
1914:(1887)
1904:(1871)
1874:(1859)
1824:(1853)
1814:(1853)
1804:(1851)
1731:Macbeth
1661:Nabucco
1403:(Ed.),
820:Philips
720:Kelbar,
665:Rossini
448:soprano
207:Nabucco
197:Merelli
116:, Milan
104: (
79:Italian
2525:Operas
2433:(2005)
2423:(1987)
2413:(1987)
2403:(1986)
2400:Otello
2393:(1983)
2383:(1953)
2373:(1906)
2370:Otello
2302:(1886)
2149:(1873)
2141:(1862)
2131:(1848)
2072:Otello
1924:(1893)
1911:Otello
1864:(1857)
1861:Aroldo
1794:(1850)
1784:(1849)
1774:(1849)
1764:(1848)
1754:(1847)
1744:(1847)
1724:(1846)
1721:Attila
1714:(1845)
1711:Alzira
1704:(1845)
1694:(1844)
1684:(1844)
1681:Ernani
1674:(1843)
1664:(1842)
1654:(1840)
1644:(1839)
1632:Operas
1545:
1524:
1493:
1476:
1459:
1442:
1425:
1411:
1393:
1385:
1371:
1365:et al.
1346:
1329:
1311:
1227:
1030:
734:Label
539:tenor
342:Bilbao
220:Oberto
218:After
188:Oberto
1075:Opera
1055:Opera
1028:S2CID
911:Notes
892:Rieti
715:Year
659:Music
628:Act 2
592:Act 1
524:tenor
505:bass
486:tenor
382:Role
375:Roles
46:King
2420:Aida
2380:Aida
2027:Aida
1901:Aida
1543:ISBN
1533:and
1522:ISBN
1491:ISBN
1474:ISBN
1457:ISBN
1440:ISBN
1423:ISBN
1409:ISBN
1391:ISBN
1383:ISBN
1369:ISBN
1344:ISBN
1327:ISBN
1309:ISBN
1262:2017
1225:ISBN
1039:2007
870:2013
828:2010
818:CD:
776:1973
739:1951
667:and
428:bass
367:The
165:play
1020:doi
679:".
278:or
262:'s
32:by
2501::
2207:-
2203:-
2199:-
1338:,
1321:,
1303:,
1223:.
1209:;
1188:^
1158:,
1127:^
1063:^
1026:.
1016:19
1014:.
1008:.
934:^
918:^
396:)
348:.
325:,
254:.
2211:)
2007:"
2003:"
1998:"
1994:"
1989:"
1985:"
1980:"
1976:"
1971:"
1967:"
1962:"
1958:"
1953:"
1949:"
1944:"
1940:"
1608:e
1601:t
1594:v
1315:.
1264:.
1235:
1233:.
1041:.
1022::
1006:"
894:)
858:,
843:,
838:,
807:,
797:,
792:,
787:,
782:,
755:,
750:,
745:,
130:(
108:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
