The Cambridge Companion to Verdi Cambridge Companions to Music 1st Edition by Scott L Balthazar ISBN 0521632285 9780521632287

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ISBN 10: 0521632285 
ISBN 13: 9780521632287
Author: Scott L Balthazar

This 2004 Companion provides a biographical, theatrical and social-cultural background for Verdi’s music, examines in detail important general aspects of its style and method of composing, and synthesizes stylistic themes in discussions of representative works. Aspects of Verdi’s milieu, style, creative process and critical reception are explored in essays by highly reputed specialists. Individual chapters address themes in Verdi’s life, his role in transforming the theater business, and his relationship to Italian Romanticism and the Risorgimento. Chapters on four operas representative of the different stages of Verdi’s career, Ernani, Rigoletto, Don Carlos and Otello synthesize analytical themes introduced in the more general chapters and illustrate the richness of Verdi’s creativity. The Companion also includes chapters on Verdi’s non-operatic songs and other music, his creative process, and scholarly writing about Verdi from the nineteenth-century to the present day.

The Cambridge Companion to Verdi Cambridge Companions to Music 1st Table of contents:

Part one Personal, cultural, and political context
1 Verdi’s life: a thematic biography
The child, the village, and the land
Education, music, and politics
Opera as an art and a trade
The composer and his librettists
Singers and impresarios
The view from the top
The gentleman farmer, the Deputy, the philanthropist
The grand old man
2 The Italian theatre of Verdi’s day
3 Verdi, Italian Romanticism, and the Risorgimento
In search of Romanticism
The myth of “Va pensiero”
“Diglich’è sangue italico”
Part two The style of Verdi’s operas and non-operatic works
4 The forms of set pieces
Arias
Duets
Central finales and mid-act trios and quartets
Beginnings
Endings
Choruses
5 New currents in the libretto
Dramatic structure
Poetic structure
Literary structure
Luisa Miller (1849)
La traviata (1853)
Aida (1871)
Falstaff (1893)
6 Words and music
“To make music one needs stanzas”
“Words that carve out a situation or a character”
“Singing a madrigal”
7 French influences
Aria forms
Chorus and ballet
Instrumentation and accompaniment
Melodic style
8 Structural coherence
9 Instrumental music in Verdi’s operas
10 Verdi’s non-operatic works
Songs and other vocal music
Instrumental music
Choral works
Part three Representative operas
11 Ernani: the tenor in crisis
Finding one’s voice
A self-centered hero
Ernani’s identity crisis
12 “Ch’hai di nuovo, buffon?” or What’s new with Rigoletto
Musical structure
Genesis
Novelty
“La donna è mobile”
13 Verdi’s Don Carlos: an overview of the operas
14 Desdemona’s alienation and Otello’s fall
Part four Creation and critical reception
15 An introduction to Verdi’s working methods
Periods of composition
The seven stages of Verdi’s working methods
Subject, cast, and contract
The libretto
Sketches and continuity drafts
Skeleton score, orchestration, and rehearsals
Staging, set and costume designs
Commercial publications and other printed sources
Revisions
16 Verdi criticism
Notes
1 Verdi’s life: a thematic biography
2 The Italian theatre of Verdi’s day
3 Verdi, Italian Romanticism, and the Risorgimento
4 The forms of set pieces
5 New currents in the libretto
6 Words and music
7 French influences
8 Structural coherence
9 Instrumental music in Verdi’s operas
10 Verdi’s non-operatic works
11 Ernani: the tenor in crisis
12 “Ch’hai di nuovo, buffon?” or What’s new with Rigoletto
13 Verdi’s Don Carlos: an overview of the operas
14 Desdemona’s alienation and Otello’s fall
15 An introduction to Verdi’s working methods
16 Verdi criticism

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