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Updated: June 18, 2025
"The music of the present, Wagner's, Gounod's, even the later Verdi's, all tends toward this free expression of poetic emotion, and demands a vocalism totally unlike that required for Rossini's splendid roulades, or Bellini's suave melodies." Is there not even now, indeed, an evolution, a departure from the masters?
This opera, with Verdi's "Aida," are still, as given at the Royal Opera, the favourite operas of the Berlin public. Americans, like all other people, regard the Emperor with friendly feelings, but for a time this year their respect for him suffered some diminution owing to what was known as the Tower-Hill affair. When the American Ambassador in Berlin, Mr.
Petersburg, where it was sung in 1863; "Don Carlos," produced in London in 1867; and "Aida" in Grand Cairo in 1872. When the latter work was finished, Verdi had composed twenty-nine operas, beside lesser works, and attained the age of fifty-seven. Verdi's energies have not been confined to music.
Giuseppe Verdi who was to produce such streams of beautiful, sparkling music, needing an Act of Parliament to stop them, as once happened, was a very quiet, thoughtful little fellow, always good and obedient; sometimes almost sad, and seldom joined in the boisterous games of other children. That serious expression found in all of Verdi's portraits as a man was even noticeable in the child.
Lytton's work, although as vulgar as Verdi's is, in much the same fashion, sustained by a natural sense of formal harmony; but all that follows is decadent, an admixture of romance and realism, the exaggerations of Hugo and the homeliness of Trollope; a litter of ancient elements in a state of decomposition.
When 'Mefistofele' was originally produced in 1868, Verdi's genius was still in the chrysalis stage, and the novelty and force of Boito's music made 'Mefistofele, even in its fall for the first performance was a complete failure a rallying point for the Italian disciples of truth and sincerity in music.
Wagner he often listens to with pleasure, and especially the "Meistersinger," which is his pet opera. Of Italian operas Verdi's "Aida" and Meyerbeer's "Huguenots" are those he is most disposed to hear. He has been laughed at for once attempting musical composition.
From 1812 to 1851 Verdi's busy imagination produced a series of operas, which disputed the palm of popularity with the foremost composers of his time.
This Merelli had first become interested in Verdi from overhearing the singer Signora Strepponi praising Verdi's first opera. This was before the failure of the comic opera and the annihilation of Verdi's family. When Merelli had at length decoyed Verdi back to composition, his next work, "Nabucco," was a decided success, the principal part being taken by this same Strepponi.
One of Verdi's poetic assistants was Francesco Piave, who supplied the verses for "La Traviata," "Ernani" and several other of his operas. A question having arisen some years ago, as to the origin of the libretto of "Aida," the author of it, M. du Locle, wrote to a Roman paper that the first idea of the poem belongs to the celebrated Egyptologist, Mariette Bey.
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