Abramo Basevi published his study of Verdi’s operas in Florence in 1859, in the middle of the composer’s career. The first thorough, systematic examination of Verdi’s operas, it covered the twenty works produced between 1842 and 1857—from Nabucco and Macbeth to Il trovatore, La traviata, and Aroldo. But while Basevi’s work is still widely cited and discussed—and nowhere more so than in the English-speaking world—no translation of the entire volume has previously been available. The Operas of Giuseppe Verdi fills this gap, at the same time providing an invaluable critical apparatus and commentary on Basevi’s work. As a contemporary of Verdi and a trained musician, erudite scholar, and critic conversant with current and past operatic repertories, Basevi presented pointed discussion of the operas and their historical context, offering today’s readers a unique window into many aspects of operatic culture, and culture in general, in Verdi’s Italy. He wrote with precision on formal aspects, use of melody and orchestration, and other compositional features, which made his study an acknowledged model for the growing field of music criticism. Carefully annotated and with an engaging introduction and detailed glossary by editor Stefano Castelvecchi, this translation illuminates Basevi’s musical and historical references as well as aspects of his language that remain difficult to grasp even for Italian readers. Making Basevi’s important contribution to our understanding of Verdi and his operas available to a broad audience for the first time, The Operas of Giuseppe Verdi will delight scholars and opera enthusiasts alike.

A comprehensive guide to Verdi's A MASKED BALL, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto, with Italian/English side-by side, and over 30 music highlight examples.

A newly translated Libretto featuring foreign language/English side-by-side, and music examples interspersed throughout the text.

Rigoletto was first produced at the Teatro La Fenice, Venice, in 1851, and is generally seen as marking the beginning of Giuseppe Verdi's extraordinary middle period. It was followed in quick succession by Il trovatore and La traviata, and even after the great success of these two works Verdi regarded it as his 'best opera' up to that time. Based on Victor Hugo's play Le Roi s'amuse, which was banned after its premiere in Paris in 1832, the opera faced considerable difficulties with local censors before performance was permitted. In the story of the hunchbacked court jester and his beloved daughter, Verdi believed he had found "e;the greatest subject and perhaps the greatest drama of modern times"e;.The guide contains articles on the place of Rigoletto in Verdi's oeuvre and the background to its composition, a detailed examination of its musical structure and a survey of its performance history including discussions of some of its most distinguished interpreters. A further article highlights aspects of the opera's particularly Italian character. The guide also includes the full Italian libretto with English translation, sixteen pages of illustrations, a musical thematic guide, a bibliography and discography, and DVD and website guides.

A translation of Baldini's acclaimed study of verdi's operatic masterpieces, with new editorial additions.

A newly translated Libretto featuring foreign language/English side-by-side, and music examples interspersed throughout the text.

Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were they and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s operas, in spite of their alleged worthlessness? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain London journalists were positively hostile towards the most talked-about representative of Italian opera, only to change their tune in the years to come. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Yet by the 1850s, Victorian critics, however grudging, could neither deny nor ignore the popularity of Verdi’s operas. Over the final three decades of the nineteenth century, moreover, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualized and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of the Land of Song, referring to the now departed "palmy days of Italian opera." Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception.