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Giuseppe Verdi(1813-1901)

IndexAida 16Alzira 6Aroldo 17Attila 17Un ballo in maschera 18

La battaglia di Legnano 19Il corsaro 7Don Carlos / Don Carlo 19I due Foscari 21Ernani 5Falstaff 22

La forza del destino 23Un giorno di regno (Il finto Stanislao) 24Giovanna dArco 24

I Lombardi alla prima Crociata 25

Luisa Miller 8Macbeth 25, 27I masnadieri 28Messa da Requiem 14Nabucodonosor 4Oberto, Conte di San Bonifacio 28Otello 29

Rigoletto 10Simon Boccanegra 31Stiffelio 9

La traviata 12

Le Trouvre 32Il trovatore 11Les Vpres Siciliennes 33I vespri siciliani 34

Operas and Messa da Requiem

Materials for hire

W hen in 1839 Oberto Conte di San Bonifacio, the debut opera by a twenty-six-year-old from Busseto, held the stage of La Scala for fourteen performances, GiovanniRicordi wasted no time in acquiring the work. And when in February 1893 the almost

eighty-year-old Verdi presented his last masterpiece, Falstaff, at La Scala, GiulioRicordi (Giovannis grandson) was delighted to have been the architect of the artisticpartnership between the grand old man of Italian music and the brilliant librettistArrigo Boito, to have persuaded Verdi to resume work as an opera composer. In thecourse of the over half-century of career between those two dates, Verdi maintained aclose working relationship with Casa Ricordi, his principal publisher. The publisherscommitment, constant during the composers career, is still continuing today with themonumental copublication (with The University of Chicago Press) of the opera omniain critical edition.

Today the Ricordi catalogue makes available the performance materials of 27 operas

by Verdi, including a reworking (Le Trouvre), the reconstruction of the first versionofMacbeth, and the complete edition ofDon Carlos / Don Carlo, which provides theopportunity to perform all the different versions. TheMessa da Requiem is alsoavailable, in critical edition.

For generations Verdis operas have represented the basic repertoire of every operahouse. For the centenary of the composers death in 2001, theaters all over the worldare already preparing celebrations and opera seasons to honor one of the best lovedcomposers of all time. Casa Ricordi, Verdis publisher for almost 160 years, ispleased to be the point of reference for any kind of Verdian project.

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The Works of Giuseppe Verdiin critical edition

ontemporary performing materials of Verdis works were often realized underpressing deadlines in order to have a functional text rapidly ready for performance.Thus they were conditioned by an empirical publishing technique which corresponded

to then-current expectations of theaters and groups which produced and circulatedVerdis works. Yet even the scores printed in the early 20th century often reproducedan accumulation of arbitrary additions and revisions.

Considering these editions to be absolutely insufficient to meet present-day demandsfor accuracy in matters of musical philology and performing practice, Casa Ricordi, in

joint publication with The University of Chicago Press, has undertaken to publish theworks in critical edition, making use of all the available sources, from autographs tosketches, from early manuscript copies to the various editions produced duringVerdis lifetime, and contemporary orchestral parts.

The edition not only aims to reconstitute a text which is as faithful as possible to the

definitive state of the work, but also makes it possible with the aid of a substantialcritical apparatus to reconstruct the genesis of the text moment by moment and toclarify the gaps, the ambiguities and the contradictions of the autograph, providinginterpreters and scholars with the means to follow the processes by which Verdiscompositional ideas and dramatic vision took shape. In this way it is possible toreconstruct the original structure of a composition, follow the modifications made byVerdi himself at a later date and expunge spurious elements which derive from errorsor which have been arbitrarily introduced into the text. The editions also include, as anappendix, any unpublished pieces written at an earlier stage by the composer and thenreplaced or modified in the definitive version, as well as pieces added later on. The

new critical edition thus also offers new instruments for re-interpreting Verdis operasin the light of the advances of the most recent musical research.

Titles available:Nabucco,Ernani,Alzira,Il corsaro,Luisa Miller, Stiffelio,Rigoletto,La traviata,Il trovatore,Messa da Requiem.

In preparation:I masnadieri

Editorial Board

Philip Gossett (general editor) - Julian BuddenMartin Chusid - Francesco Degrada

Gabriele Dotto - Ursula GntherGiorgio Pestelli - Pierluigi Petrobelli

C

a copublication ofThe University of Chicago Press and RICORDI

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Critical Edition of the Works of Giuseppe Verdi

Dramma lirico in four partsCritical edition by Roger Parker

ABIGAILLE, s NABUCODONOSOR, br ZACCARIA,b Fenena, ms Ismaele, t Anna, s Abdallo, tThe High Priest of Baal, b

Chorus: women and men

Picc, 2 Fl, 2 Ob, 2 Cl, CorA, 2 Bn / 4 Hn, 2 Tpt, 3Trbn, Cimb / 2 Hrp / Timp, Dr, Trg, BD / StringsBanda

Scenes: 7 changes and 5 settingsJerusalem, 587 BC: inside the temple of Solomon

(I); Babylon: apartments in the royal palace, ahall in the palace (II); the Hanging Gardens,banks of the Euphrates (III); apartments in thepalace, the Hanging Gardens (IV)

Premiere: Milan, Teatro alla Scala, 9 March1842Librettist: Temistocle Solera

ForNabucodonosor, the title used by Verdi in theautograph but abbreviated by him toNabucco,the editor has reconstructed the musical text onthe basis of painstaking study of the autograph, a

document full of changes going from thecorrection of errors to the rethinking of wholepassages. The reconstruction of a large part of theprevious versions, two of which are reproducedin the Appendix, makes a valuable contribution tothe study of Verdis creative processes.

But the critical edition tackles another aspectwhich is fascinating for interpreters of thisrepertoire: the practice of vocal ornamentation ina period of transition between the glorious belcanto tradition and the establishment of modernmusical theater. As the editor observes, at the

time ofNabucco the custom of ornamenting thevocal parts was an almost exclusive prerogativeof women, such that Verdi very rarely wroteflorid parts for the male voices. The parts ofAbigaille and Fenena offer an interesting exampleof how Verdi conceived ornamentation: in theformer case he bound the ornamental aspectindissolubly to the imperiously dynamic characterof the part, leaving little room for the performerto make any contribution; in the case of Fenenahe himself provided an ornamented version of herPreghiera, reproduced in the Appendix of thisedition. Other valuable items, also in the

Appendix, are the autograph choral arrangementsof the two choruses Va pensiero and ImmensoJeovha.

Synopsis

PART I. Nabucco, King of Assyria, has attacked theIsraelites who, gathered in the temple of Solomon, pray forthe salvation of Israel. The High Priest encourages them tohave faith in their God, and says that he has a valuablehostage, Fenena, the daughter of Nabucco. Ismaelearrives, the nephew of the King of Jerusalem, to whomZaccaria entrusts Fenena when he learns that Nabucco ismaking a furious entry into the city. Ismaele and Fenena,in love with each other, attempt to flee, but Abigaille aslave believed to be Nabuccos first daughter bursts intothe temple at the head of a Banda of Babylonian warriorsdisguised as Israelites. Abigaille, who unrequitedly lovesIsmaele, accuses him of betraying his country but offers tosave him if he will return her love. Nabucco now entersthe temple but is confronted by Zaccaria, who threatens tokill Fenena if he profanes the sanctuary. As the HighPriest is about to stab her, Ismaele disarms him: Fenenathrows herself into the arms of Nabucco, who orders thedestruction of the temple in revenge. PART II. Havingreturned to Babylon, Abigaille learns from a documenttaken from Nabucco that she is a slave, and for this reasonhe has appointed Fenena regent in his absence. Furiouswith Nabucco and Fenena, who has been converted to theGod of Israel, she attempts to wrest the crown from herbut the King arrives and, snatching the crown fromAbigaille and repudiating both the God of Babylon and theGod of the Israelites, proclaims himself God. He isimmediately struck down by a thunderbolt, and

dementedly invokes Fenenas aid while Abigaille picks upthe crown. PART III. Abigaille, having seized the throne,orders the death of all the Israelites. Nabucco enters inragged clothing, claiming back the throne which Abigaillesays she has occupied for the good of Baal, as he isderanged. She forces him to sign the Israelites death-warrant, but when Nabucco realizes that he has thuscondemned Fenena he wants to retract. Abigaille isobdurate and has him led off to prison. On the banks of theEuphrates the Israelites, in chains, lament their fate. PARTIV. From prison Nabucco sees Fenena being dragged toher death and desperately begs forgiveness from the Godof the Israelites. Restored to sanity, he escapes with aBanda of faithful soldiers and saves his daughter. The idol

of Baal falls and shatters, and Nabucco extols the glory ofJehovah. Abigaille has taken poison but, on the point ofdeath, she begs Fenenas forgiveness and blesses her lovefor Ismaele, imploring Gods mercy. Nabucco is hailed byZaccaria as the king of kings.

Nabucodonosor Score and Critical Commentary available for purchase.Series I, vol. 3.

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Dramma lirico in four actsCritical edition by Claudio Gallico

ELVIRA, s ERNANI, t DON CARLO, brGiovanna, s Riccardo, t Don Ruy Gomez deSilva* , b Jago, b


Picc, Fl, 2 Ob, 2 Cl, BCl, 2 Bn / 4 Hn, 2 Tpt, 3Trbn, Cimb / Hrp / Timp, Dr, BD / StringsBandaoff stage: Hn, 6 Tpt, BD

Scenes: 5 changes and 5 settings

1519: mountains of Aragon, Elviras richlyappointed apartment in Silvas castle (I);a magnificent hall in Silvas castle (II);subterranean vaults containing the tomb ofCharlemagne at Aachen (Aix-la-Chapelle) (III);a terrace in the palace of Don Giovanni ofAragon in Saragossa (IV)

Premiere: Venice, Teatro La Fenice, 9 March 1844Librettist: Francesco Maria Piave

The critical edition ofErnani, in addition tooffering the text of the score carefully revised in

accordance with Verdis autograph and numeroussecondary sources, makes use of the recentdiscovery of some documents which arefundamental to the reconstruction of this operasrather eventful history. Among these is Verdisautograph copy of the complete libretto of

Ernani, used during composition, which as wellas being an important element in thereconstruction of the genesis of the opera hasmade it possible to include, in the preface to thecritical edition, the most complete series of stagedirections from any source, and to clarify some

equivocal points in the score.The Appendix contains, in addition to severalsketches and fragments, Silvas cabaletta Infinche un brando vindice which can be insertedinto the Act I finale, originally written by Verdifor the bass Ignazio Marini for someperformances ofOberto and then inserted by himinto performances ofErnani at La Scala inSeptember 1844, and an aria with chorus forErnani which could replace the concluding part ofthe Act II finale, composed by Verdi at Rossinisrequest for the revival of the opera in Parma inDecember 1844.

Of great interest to modern performers is theHistorical Introduction to the score, which

includes a section devoted to performancepractices based on the study of documents andrecords in La Fenices archive, addressed toanyone who is concerned with 19th-centuryItalian theater.

Synopsis

ACT I. The bandit Ernani, whose disguise conceals DonGiovanni of Aragon, has become an outlaw and is leadinga revolt against Don Carlo, King of Spain, to exactrevenge for the wrongs he has suffered. He comes to thecastle of the Silvas to see his beloved Elvira, the niece andbetrothed of Don Ruy Gomez de Silva, but is preceded byKing Carlo, who is also in love with Elvira and has arrived

at the castle in disguise. These three are surprised by Silva:the sovereigns identity is revealed and Silva pays homageto him, while Carlo magnanimously allows Ernani toescape. ACT II. Preparations are being made in the castlefor the wedding between Silva and Elvira when Ernaniarrives: the revolt against the King has failed, and he takesrefuge in the castle disguised as a pilgrim. Silva tells himthat he is about to marry Elvira, at which the dismayedErnani reveals his identity and offers his head to his rivalas a wedding present. Meanwhile Carlo, in pursuit ofErnani, comes to the castle demanding the bandit, butSilva, who has surprised Ernani with Elvira a short timebefore, wishes to take his own revenge and thereforerefuses to hand over Ernani and helps him to hide. Carlo

leaves the castle, inviting Elvira to follow him. Indesperation, Ernani tells Silva of the Kings love for Elviraand exhorts him to take revenge, thus taking revengehimself as well. Ernani, giving Silva a hunting-horn,makes a pact with him: when Silva wants Ernani to die, hewill sound the horn three times and Ernani will take hisown life. ACT III. The conspirators, including Silva andled by Ernani, are gathered in the vaults at Aachen whenthree cannon shots celebrate the election of Carlo asEmperor. Carlo emerges from hiding and orders the deathof the rebels, but he yields to Elviras pleas, sparing alltheir lives and consenting to the marriage of Ernani andElvira. Silva plans his revenge. ACT IV. In the palace ofDon Giovanni of Aragon in Saragossa, while wedding

celebrations are taking place, three blasts of the fatal hornare heard and Ernani, after trying in vain to move theinexorable Silva, honors the pact and kills himself. Elvirafalls fainting on his lifeless body.

Ernani Score and Critical Commentary available for purchase.Series I, vol. 5.

* Silva is a comprimario bass part which becomes a principal part whenthe cabaletta Infin che un brando vindice in the Act I finale is added;the cabaletta is in the Appendix of the edition.

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Tragedia lirica in three actsCritical edition by Stefano Castelvecchi

with the collaboration of Jonathan Cheskin

ALZIRA, s ZAMORO, t GUSMANO, brAlvaro, b Zuma, ms Ovando, t Otumbo, tAtaliba, b


Picc, 2 Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, Dr, Trg, BD / Hrp / StringsBandaoff stage: BD

Scenes: 6 changes and 6 settingsPeru, mid-16th century: a vast plain irrigated bythe river Rima (I); main square of Lima, Atalibasapartments in the Governors palace (II); insidethe fortifications of Lima, a desolate cave, a greathall in the Governors residence (III)

Premiere: Naples, Teatro San Carlo, 12 August1845Librettist: Salvadore Cammarano

Like all Verdis operas from the 1840s,Alziramust be regarded as a work that is to some extentexperimental, an opera of violent musicalcontrasts. Pieces closely tied to the meaning ofthe words which foreshadow the great season ofVerdis maturity vie with closed numbers intraditional forms, for the most part cabalettas,charged with driving rhythmic energy. Noorchestral score ofAlzira was ever published. Therare editions which circulated in the period afterthe Second World War were based on sourcesthat were distant from the autograph and were

vitiated by musical and textual imprecisions anderrors, now rectified in the critical edition. Thisnew edition, based on Verdis autograph score inthe archives of Casa Ricordi and on importantsecondary sources, makes a reliable score of thisopera available for the first time.

Synopsis

ACT I. A group of Incas led by the American warriorOtumbo drag Alvaro, Governor of Peru, in chains,condemned to death. The Peruvian tribal leader Zamoro,who was believed to be dead, suddenly arrives and ordersthe members of his tribe to release the prisoner. Having

imparted this lesson in civilized behavior, Zamoro givesvent to his hatred of the tyrant Gusmano, Alvaros son who has both his beloved Alzira and her father in hispower and sings a battle hymn. ACT II. Gusmano,taking command of the Spanish troops, negotiates a falsepeace with the Incas, asking Ataliba for the hand ofAlzira, formerly Zamoros lover, in exchange. AsAlziras heart is not yet free, Ataliba advises Gusmanonot to hurry the wedding, but the tyrant is notaccustomed to waiting and Alzira must decide to marryhim or there will be more bloodshed. Suddenly Alzirafinds Zamoro before her: they embrace, then Gusmanobursts in and discovers them, ordering his rivals arrestand execution. The Incas march to demand the release of

Zamoro, and Gusmano, urged by Alvaro who has notforgotten Zamoros generous deed, frees the prisoner.ACT III. The Spanish are celebrating their victory overthe Incas, and Zamoro is imprisoned once again. Inexchange for his release, Alzira promises Gusmano thatshe will marry him. Zamoro manages to escape due toOtumbos help, but he is utterly desolate because hecannot endure the idea of living apart from Alzira. Hethus decides to leave for Lima to exact his revenge. AsAlzira, in despair, is about to place her hand inGusmanos, Zamoro comes forward and stabs his rival.Dying, Gusmano gives the two lovers his blessing.

Alzira


Score and Critical Commentary available for purchase.

Series I, vol. 8.

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Melodramma tragico in three actsCritical edition by G. Elisabeth Hudson

GULNARA, s CORRADO, t SEID, br Medora, sA Eunuch, t A Slave, t Selimo, t Giovanni, b(Anselmo, a Corsair, silent)


Picc, Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, Trg, Cyms, BD, Cannon, Thunderand Lightning / Hrp / Strings

Scenes: 7 changes and 6 settingsBeginning of the 19th century: the corsairs

island in the Aegean, Medoras rooms (I); a roomin Seids harem, a pavilion on the shores of theharbor of Coron (II); Seids apartments, inside atower, a beach on the island (as in Act I) (III)

Premiere: Trieste, Teatro Grande, 25 October1848Librettist: Francesco Maria Piave

The full score ofIl corsaro was never printedeither during Verdis lifetime or when the workwas revived after the Second World War. Theperforming tradition ofIl corsaro was thus based

on some manuscript copies prepared without thecomposers direct control and without respectinghis intentions. The critical edition is above all aninstrument for performers who wish to work witha reliable text that is faithful to the autograph.Even a little-known opera such as Il corsaro has

Il corsaro

undergone a subtle process of change andadaptation to the tastes of the years when it hasbeen performed. The purpose of the criticaledition is not to stop this process, but to attest anddocument its point of departure: in the notes andin the instructions which Verdi set down on paperwhen he composed the opera.

Synopsis

ACT I. Corrado, captain of the corsairs, is tired of his lifeof exile and decides to attack the Turkish city of Coron.His young beloved Medora is in despair over theirimminent separation, having a foreboding that grief will

break her heart. ACT II. Seid, Pasha of Coron, has learnedof the corsairs plan, but pays no heed and celebrates hisforthcoming victory in his palace. A eunuch enters tooblige Gulnara, Seids favorite slave who secretly hateshim, to attend the Pashas banquet. Meanwhile Corrado,disguised as a dervish, asks to be brought before thePasha: once admitted, he reveals his identity and calls hismen to battle. The conflict is resolved in the Turks favor,and Corrado is condemned to death. ACT III. Gulnara, inlove with Corrado, tries to induce Seid to release him.From Gulnaras insistence the Pasha understands that sheloves the prisoner, and he erupts into invective against her.Going to Corrado in prison, Gulnara offers to obtain hisfreedom by killing the Pasha, but the corsair refuses out of

honor. So Gulnara kills Seid on her own initiative, theninvites Corrado to save her. They escape together but onreaching the island they find Medora close to death. Out offear of never seeing her beloved again she has takenpoison. Gulnara reveals her own love to Corrado, butwhen Medora dies the corsair, frantic in his despair,throws himself into the sea from a cliff.


Score and Critical Commentary available for purchase in

late 1998.

Series I, vol. 13.

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Melodramma tragico in three actsCritical edition by Jeffrey Kallberg

LUISA, s RODOLFO, t MILLER, br Federica, ACount Walter, b Wurm, b Laura, ms A Peasant, t


Picc, 2 Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Hrp / Timp, BD, Bell, Clock (of thecastle) / Org / Stringsoff stage: 4 Hn

Scenes: 7 changes and 5 settings.The Tyrol, early 17th century: a pleasant village,

a hall in Count Walters castle, inside Millershouse (I); inside Millers house, Waltersapartments in the castle, the castle gardens (II);Millers house (III).

Premiere: Naples, Teatro San Carlo, 8 December1849Librettist: Salvadore Cammarano

A short drama with plenty of interest, plenty ofaction, and a huge amount of passion [...] waswhat Verdi wanted from Salvadore Cammarano,and after various works had been sifted the

choice fell on Schillers play Kabale und Liebe,which becameLuisa Miller. The opera enjoyedgreat success, to such an extent that acontemporary critic, Abramo Basevi, claimed thatthis work inaugurated Verdis second manner.The preparation of the libretto, documented by adense correspondence between Verdi andCammarano, is an extremely interesting chapterin the study of Verdis dramaturgy and isdiscussed in detail in the Historical Introductionto the critical edition. The contents of theautograph, in addition to being faithfully

reproduced in the edition, are reconstructed fromthe smallest details to the recovery, wherepossible, of original versions, which are given inthe Appendix: the original version of Luisascantabile Tu puniscimi, o Signore and thealteration to the instrumental parts of the chorusQuale un sorriso damica sorte.

Synopsis

ACT I. Luisa Miller loves, and is loved by, Carlo, a youngman whose disguise conceals Rodolfo, the son of CountWalter. But the Counts steward Wurm wants to marryLuisa, and when the old soldier Miller, the girls father,

says that he will not go against his daughters wishes,Wurm reveals Carlos true identity to him. Wurm alsoreveals Rodolfos secret love to the Count, who intends hisson to marry his rich and noble cousin Federica. WhenFederica arrives to be introduced to Rodolfo, he confesses

the truth to her, without receiving the understanding he

hoped for. Meanwhile Miller reveals Carlos true identityto his daughter, adding that he is betrothed to anotherwoman. Rodolfo enters and, hearing Millers words,swears that he truly loves Luisa and declares her his wife.Miller doubts whether Rodolfo will be able to prevail overhis father, but the young man tells him that he can havepower over him by threatening to reveal a secret, namelythat he acquired his title and inheritance by murdering hiscousin. The Count arrives, accuses Luisa and her father ofdeception, and orders their arrest. Rodolfo instructs hisfather to free Luisa. ACT II. Left alone after the arrest ofher father, Luisa receives a visit from Wurm who, tellingher that Millers execution is imminent, proposes a deal:her fathers freedom in exchange for a letter in which she

declares she loves him and that she has deceived Rodolfoin the hope of personal gain. Luisa, after an indignantrefusal, is forced to follow Wurm to the castle to repeather confession before the Count and Duchess Federica.Having seen the letter Rodolfo decides to challenge Wurmto a duel, but the steward fires his pistol in the air, causingthe Count to come rushing to the scene; he suggests toRodolfo that he take revenge for Luisas trickery bymarrying Federica. ACT III. Luisa is rejoined at home byher father, who is free at last. She wants to kill herself, buther father dissuades her. Sounds of the weddingcelebrations for Rodolfo and Federica can be heard.Rodolfo arrives and secretly pours poison into a cup. Heasks Luisa if the letter to Wurm was written by her and,

after the girls admission, drinks the poisoned water fromthe cup which he then offers to Luisa. When Rodolfo tellsher that they are both about to die, Luisa confesses thetruth and expires, attended by her beloved and her father.Rodolfo sees Wurm appear on the threshold: he runs himthrough with his sword, then falls lifeless.

Luisa Miller


Score and Critical Commentary available for sale.

Series I, vol. 15.

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Dramma in three actsCritical edition by Kathleen K. Hansell

LINA, s STIFFELIO, t STANKAR, br Raffaele, tJorg, b Dorotea, ms Federico di Frengel, t


Picc, Fl, 2 Ob (2nd also CorA), 2 Cl, 2 Bn / 4 Hn,2 Tpt, 3 Trbn, Cimb / Timp, Dr, BD / Org /Strings

Scenes: 5 changes and 5 settingsGermany, the beginning of the 19th century: ahall on the ground floor of Count Stankars

castle, a reception hall in the castle (I); an ancientgraveyard (II); an antechamber with doorsleading to various apartments, the interior of aGothic church (III)

Premiere: Trieste, Teatro Grande, 16 November1850Librettist: Francesco Maria Piave

For over a hundred years, from 1857 until 1968,Stiffelio disappeared from the operatic repertoire.This oblivion was due to the difficulties createdby the censors and by the prevailing moral code

for a drama based on religion, sexuality, moralsand ethics. In the face of these difficulties Verdidecided to rework Stiffelio, and used a large partof its music in the score ofAroldo. Heconsequently prevented his publisher Ricordifrom hiring or selling material from Stiffelio. Thisdoes not mean that Verdi did not believe in theopera, as is attested by the fact that four years afterits premiere he wrote to a friend: Among myoperas which are not performed, some I abandonbecause the subjects are wrong, but there are twothat I would not like to be forgotten Stiffelio and

La battaglia di Legnano. Since the composerused large sections including three completenumbers of the autograph ofStiffelio into that of

Aroldo, it was long thought that the autograph ofStiffelio was lost. Revivals of the work weretherefore based on manuscript copies, some morereliable than others, until 1991, when a detailedexamination of theAroldo autograph led to theidentification of the Stiffelio sections that remainedintact within it. There remained the problem of thesections not used in the reworking. They wereidentified among the composers papers kept atSantAgata and put at the disposal of scholars by

Verdis heirs. Due to this patient job ofreconstruction, Stiffelio is now available in criticaledition.

Synopsis

ACT I. Stiffelio, alias Rodolfo Mller, the leader of theAhasuerian sect who in the past has had to flee fromreligious persecution, has returned to the castle of hisfather-in-law, Stankar. During the celebration organized inhis honor he recounts an incident he has been told aboutby a boatman, who was on the river at dawn and saw ayoung man, after a conversation with a woman, throwhimself into the water from a window of the castle,dropping some papers as he did so. Stiffelio shows thepapers to those present and, imagining that they constituteproof of guilt, consigns them to the flames. Lina, his wife,and Raffaele, recognizing themselves as the lovers, arealarmed. Stiffelio is troubled by Linas behavior, and herfather, Stankar, is also suspicious. His suspicion becomescertainty when he discovers Lina writing a letter ofconfession to Stiffelio. Stankar tells Lina to destroy it inorder not to grieve Stiffelio. Another letter, written byRaffaele which has come into the hands of Federico,Linas cousin who is believed to be her lover, and hasbeen intercepted by Stiffelio is destroyed by Stankar.Stiffelio vents his fury while Stankar secretly challengesRaffaele to a duel in the cemetery. ACT II. Having cometo the cemetery at night, Lina implores divine forgivenesson her mothers tomb. Raffaele arrives and declares hislove but Lina, repentant, asks him to give back herwedding ring. They are surprised by Stankar, who fightswith Raffaele. Stiffelio rushes to separate them and graspsRaffaeles hand in friendship. Stankar reproaches Raffaele

for shaking the hand of the man he has betrayed. Stiffeliowants to take revenge, but the elderly minister Jorgreminds him of his evangelical mission. Stiffelio faints.ACT III. Raffaele has fled. Stankar, in despair because hishonor has not been satisfied, contemplates suicide. Jorgarrives and announces that he has persuaded Raffaele toface Stiffelio. Having ascertained Raffaeles cowardliness,and after Lina has confessed to him her love and herweakness as a woman left on her own, of which Raffaelehas taken advantage, Stiffelio wants to take revenge butdiscovers that Raffaele has already been killed by Stankar.He is led by Jorg to the church; he passes through thecongregation, among whom he sees Lina and, opening theBible at the story of the woman taken in adultery, forgives

his wife. Amid a surge of emotion from the congregation,Lina falls at his feet.

Stiffelio


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Melodramma in three actsCritical edition by Martin Chusid

GILDA, s THE DUKEOF MANTUA, t RIGOLETTO,br Maddalena, a Sparafucile, b Giovanna, msCountess Ceprano, ms Page of the Duchess, t*

Borsa Matteo, t Count Monterone, br Marullo,br Count Ceprano, b Court Usher, b

Chorus: men

2 Fl (2nd also Picc), 2 Ob (2nd also CorA), 2 Cl, 2Bn / 4 Hn, 2 Tpt, 3 Trbn, Cimb / Timp, BD, Bell /StringsBandaoff stage: BD; on stage: String Orch

Scenes: 4 changes and 4 settingsMantua, the 16th century: a magnificent hall inthe ducal palace; the end of a blind alley (I); adrawing room in the ducal palace (II); dividedstage: a half ruined two-story house, and adeserted bank of the River Mincio (III)

Premiere: Venice, Teatro La Fenice, 11 March1851Librettist: Francesco Maria Piave

Rigoletto, composed in the period following thegeneral European uprisings of 1848-49, wasconsidered by censors to be a particularly suspectsubject, due to its political and moralimplications. An examination of the autographscore has revealed, for instance, that a key phrase,necessary to depicting the libertine character ofthe Duke, was altered: in the Scena e Canzone ofAct III, the Dukes original request toSparafucile, Tua sorella e del vino (bring mesome wine and your sister) was censored toUna stanza e del vino (some wine and a

room). But there are other aspects, equally andperhaps even more substantial, which the criticaledition has restored to their original form, such asthe original shape of the vocal lines, which havebeen cleared of spurious changes and additionsaccrued over the decades. Verdis concept for thevocal parts appears, in this new light, to reflectfar more closely the original dramatic idea of thework. Among the various changes made to thevocal parts, the most remarkable are to be foundin Gildas aria Caro nome, which hadundergone alterations over the years according tochanging tastes but which did not reflect Verdis

original text.

Synopsis

ACT I. The Duke of Mantua courts Countess Ceprano, buthe is also attracted by a girl he sees every Sunday when hegoes to church in disguise. Rigoletto, the hunchbackedcourt jester, provokes Count Ceprano and CountMonterone, whose daughter the Duke has seduced.Monterone curses Rigoletto. The jester, going homethrough the dark night, is thinking in dismay about thecurse when he is approached by Sparafucile, aprofessional assassin who offers him his services. Onreaching his house, Rigoletto urges Giovanna to take careof Gilda, his daughter, but it is Giovanna who allows theDuke to enter the house disguised as a student calledGualtier Mald, with whom Gilda is in love withoutknowing who he is. Meanwhile a group of courtiers whowant to abduct the girl, believing her to be Rigolettoslover, is surprised by the arrival of the jester, who istricked by the courtiers and blindfolded while Gilda iscarried off. Having realized what has happened, Rigolettoremembers Monterones curse and faints. ACT II. TheDuke is perturbed because, returning to Rigolettos houseat night, he did not find Gilda. He promises revenge butthinks above all of the girls sorrow. The courtiers arriveand announce that they have abducted Rigolettos loverand brought her to the palace: the Duke hurries to herexultantly. Meanwhile Rigoletto appears, looking for hisdaughter. Gilda runs to him and tells him how she came toknow the Duke, and that she has been deceived andabused by him. Rigoletto comforts her, but when he sees

Monterone being taken to prison he decides to takerevenge for both the old Count and himself, while Gildabegs for mercy for the Duke. ACT III. In a tavern on thebank of the River Mincio, Maddalena, Sparafuciles sister,has attracted the disguised Duke and he is courting her.Gilda arrives, accompanied by Rigoletto: he wants her tosee for herself that the Duke is unfaithful to her. WhileMaddalena laughs at the advances of her wooer, Gildaremembers the flattering words the Duke addressed to her;Rigoletto exhorts her to forget, and instructs her to leavefor Verona dressed as a man. When she has gone, hepromises Sparafucile ten scudi when the Dukes corpse ishanded over to him in a sack. Maddalena persuades herbrother to spare the young mans life: Sparafucile will kill

the first traveler who seeks hospitality at the tavern. Butthe first traveller is Gilda, who has listened to theirconversation without being seen, and decides to die for theDuke by going into the tavern. She is stabbed and herbody, in the throes of death, is put into a sack bySparafucile and handed over to Rigoletto. Rigoletto hearsthe Dukes voice singing in the distance: seized by analarming presentiment, he opens the sack and finds Gildawho, dying, invokes forgiveness for herself and herseducer.

Rigoletto

* At the premiere ofRigoletto this part was sung by awoman.



Series I, vol. 17.

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Dramma in four parts.Critical edition by David Lawton

LEONORA, s AZUCENA, ms MANRICO, t COUNTDE LUNA, br FERRANDO, b Ines, s Ruiz, tA Messenger, t An Old Gypsy, b


Picc, Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, Trg, BD, Hammers on anvils, Bell /Hrp / Stringsoff stage: 2 Hn, Dr, Org


Biscay and Aragon, early 15th century: a hall inthe Aliaferia palace, the palace gardens (I); aruined hovel, the cloister of a convent (II); amilitary encampment, a room adjoining thechapel at Castellor (III); a wing of the Aliaferiapalace, a grim prison (IV)

Premiere: Rome, Teatro Apollo, 19 January1853Librettist: Salvadore Cammarano

None of Verdis other operas, with the exceptionofErnani, enjoyed such a huge and immediate

success asIl trovatore. As was his habit with theoperas that were dear to him, he was veryprotective towards it; he exercised tight controlover revivals, denying his consent toperformances when the interpreters were not upto standard and above all refusing to makealterations requested by singers. This state ofaffairs means that, at the current stage ofresearch, no alternative performance materials areavailable. All the changes which Verdiintroduced can be deduced from study of theautograph, on which the critical edition is based.

Some of these revisions, made after the score hadbeen completed, are of particular interest in thatthey have never appeared in print before thisedition, even though they clearly representVerdis final decision. The passages whichunderwent substantial changes are reproduced inthe Appendix, which also contains anorchestration for wind instruments of the organpart which accompanies Manricos third-act aria:this is bound into the autograph, although it is notin Verdis hand, and was probably used at theoperas premiere to obviate objections from theRoman censors to the presence of the organ in the

theater. It may be of use to theaters which do nothave an appropriate organ. A complete andexhaustive Historical Introduction and a CriticalCommentary complement the musical text. Of

immediate interest to interpreters are the sectionsof the Introduction devoted to performancepractices, which consider metronome markings with particular reference to their function withinVerdis dramaturgy as well as vocal style andornamentation.

Synopsis

ACT I. Ferrando narrates to Count de Lunas retainers thestory of a gypsy who was condemned to the stake forwitchcraft, whose daughter took revenge by snatching oneof the Counts two sons from his cradle and burning him.In the palace gardens Leonora, a lady-in-waiting to thePrincess of Aragon, waits in vain to meet the unknownknight who comes at night to sing verses accompanied bya lute below her window. Seeing the light burning inLeonoras room, Count de Luna, the son of the count ofthe same name whose baby was stolen, longs to see herbecause he is in love with her, but at that moment theTroubadour arrives. Overcome with fury, the Countdemands to know his rivals name. He declares that he isManrico, a follower of the heretic Urgel. Leonora faintsand the two men go off to fight a duel. ACT II. On amountain in Biscay the gypsy Azucena tells Manricoabout how her mother, condemned to the stake, asked herbefore she died to avenge her. Azucena therefore abducteda son of Count de Luna, but due to a tragic error she threwher own son into the flames instead. Manrico is perturbed:

is he not then Azucenas son? The gypsy reassures him byreminding him of how she has always been a loving

Il trovatore Score and Critical Commentary available for purchase.Series I, vol. 18 A.

(continued)

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Melodramma in three actsCritical edition by Fabrizio Della Seta

VIOLETTA VALERY, s ALFREDO GERMONT, tGIORGIO GERMONT, br Flora Bervoix, msGastone, t Baron Douphol, br Annina, sGiuseppe, t Marchese dObigny, b DoctorGrenvil, b Servant, b Commissioner, b


2 Fl (2nd also Picc), 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2Tpt, 3 Trbn, Cimb / Timp, Trg, BD / Hrp / StringsBandaoff stage: 2 Picc, 4 Cl, 2 Hn, 2 Trbn, Cast, Tamb;on stage: Dr, Pikes

Scenes: 4 changes and 4 settingsIn and around Paris, about 1850: a salon inViolettas house (I); a country house near Paris, asalon in Floras town house (II); Violettasbedroom (III)

Premiere: Venice, Teatro La Fenice, 6 March1853Librettist: Francesco Maria Piave

It is well known that the premiere ofLa traviata

was a fiasco. Convinced of the operas value,Verdi decided to brave the Venetian public againin May of the following year at the Teatro SanBenedetto, and for the occasion he made somealterations to the score. This is how the composercommented on the favorable outcome of thisrevival, with a subtle implication regarding thereliability of the critics: Everything that was inthe opera at the Fenice is now in it at the S.Benedetto. Then it was afiasco: now it hascreated afurore. Draw your own conclusions!!.In fact changes were made between the two

versions, including some that are fairlysubstantial. To document these alterations, thecritical edition contains a voluminous appendixconcerning the numbers which were changedbetween the 53 and 54 versions: in Act II theVioletta-Germont scene and duet, Violettasscene, Germonts aria and the finale; in Act IIIthe Violetta-Alfredo duet and the finale. Inaddition to revising the entire score in accordancewith the autograph and a complete examinationof the sketches, which had never before beenstudied in depth, the critical edition deals in theHistorical Introduction with the problem of the

cuts and additions made to the musical text fromthe 19th century up to the present day: some19th-century sources bear witness to aninterpretative tradition which entailed the cutting

La traviata

mother to him and how she nursed him after a battle with

Count de Luna. Manrico recalls that in his duel with theCount, although he had wounded him, he could not bringhimself to strike the mortal blow; Azucena makes himswear that, if he should ever fight the Count again, he willnot be restrained by mercy. A messenger arrives: Leonora,thinking that Manrico is dead, is about to enter a convent.Manrico throws himself in the path of the Count, who isabout to abduct Leonora; having repulsed his rival,Manrico takes Leonora away with him. ACT III. TheCount is besieging Castellor, which is defended byManrico. Azucena is found wandering near the camp:Ferrando recognizes her as the gypsy who burned Countde Lunas brother. She is tortured and invokes the aid ofher son Manrico, which makes the Count even more

ferocious. Meanwhile in Castellor Manrico and Leonoraare about to be married, when Ruiz brings the news thatthe Count has already lit the pyre on which Azucena is tobe burned. Manrico rushes to save his mother. ACT IV.Leonora comes at night to the wing of the palace wherethe Count has imprisoned Manrico. She hears the voice ofher beloved, invoking death and sending her his finalgreeting, and the Miserere of a chorus of monks. Leonoraoffers herself to the Count in exchange for Manricos life.Meanwhile, in the prison with Manrico, Azucenaalternates between delirium and sleep. Leonora arrives andtells Manrico that he is free; but when he discovers theprice he inveighs against her, repenting of his words whenshe reveals that she has taken poison. The Count finds

Leonora on the point of death, and orders Manricosexecution. As soon as this has been carried out Azucenareveals to the Count that Manrico was his brother,abducted by her as a baby.

(Il trovatore)

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of many passages, including memorable phrasesfor the protagonists. But 19th-century traditionwas not limited to cuts; it also included additions,such as a danced divertissementinserted into theAct II finale after the chorus of Spanish matadors.In modern times the practice of insertions hasbeen completely abandoned in favor of itsopposite: the performing tradition of our centurycontinues to embrace various types of cut in spiteof the recent tendency towards completeperformances. This aspect, of immediate interestespecially to interpreters and scholars, isdiscussed and examined in depth by the editor,

who sets the problem in its context by startingfrom carefully considered observations about thehistory of the reception of the sections that havetraditionally been amputated, and a study of theirstructural functions.

Synopsis

ACT I. A party at Violetta Valerys house: amongpleasure-seeking aristocrats and obliging ladies there is anew guest, Alfredo Germont, who has been brought by hisfriend Gastone to meet the hostess with whom he issecretly in love. When told of the passion Alfredo has forher, she calls for a toast to distract attention. The party

then proceeds with dancing, but a fit of coughing preventsVioletta from taking part, and Alfredo helps her. He offersher his love which she, amused, declines to accept, tellinghim to avoid her as she can only offer him friendship.After the party Violetta is left alone and is disturbed whenshe thinks of Alfredos words, asking herself whether a

true love has entered her life, but rejecting the idea in the

name of her freedom as an independent pleasure-seeker.ACT II. Alfredo is enjoying the serenity of love withVioletta in a house in the country. Annina, Violettasservant, comes back from Paris, having been sent by hermistress to sell her remaining possessions to finance hernew life, now that she receives no gifts from protectors.On finding out about this, Alfredo rushes to Paris to makeamends. Violetta comes in, unaware of what hashappened: she receives an invitation from Flora to a partyand reflects on how distant her past life is from the one sheleads now. But this happy atmosphere is shattered by thearrival of Alfredos father, Giorgio Germont, who asks herto break off her relationship with his son because theirsinful cohabitation brings such shame on his family that it

risks compromising the imminent marriage of Alfredossister. Violetta yields to Germonts insistent pleas: she willfind a way to end the relationship but entreats him, whenshe is dead, to reveal the truth to her beloved. While she iswriting the lying letter to Alfredo, he surprises her:Violetta diverts his attention and, in torment, begs himdesperately to love her. She then flees to Paris, instructinga commissioner to deliver the letter. Having read it, andhaving seen on the table Floras invitation to the party,Alfredo decides to go there to take revenge for the insult.When he sees Violetta arrive with Baron Douphol, andafter she has told him she loves the Baron, Alfredo callseveryone together and publicly denounces her behaviour,contemptuously throwing a purse of money at her feet.

Violetta faints; Germont unexpectedly enters andcondemns his sons behavior. ACT III. Violetta is in bedsuffering from consumption; she is helped by Annina andthe doctor. A letter arrives from Giorgio Germont, tellingher that Alfredo has gone abroad and that, having beeninformed by his father of the true course of events, he isnow returning to ask his beloveds forgiveness. Violettascondition worsens until the arrival of Alfredo, with whomshe is immediately reconciled. But this is not enough tomake Violetta recover: after Germont has also arrived tooffer comfort, she dies.

Score and Critical Commentary available for sale.

Series I, vol. 19.

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FORTHE ANNIVERSARYOFTHE DEATHOFMANZONI, 22 MAY 1874Critical edition by David Rosen

Soloists: s, ms, t, bChorus: women and men

Picc (Fl), 2 Fl, 2 Ob, 2 Cl, 4 Bn / 4 Hn, 4 Tpt, 3Trbn, Oph / Timp, BD / Stringsin the distance: 4 Tpt

Premiere: Milan, Church of San Marco, 22 May1874

The critical edition of theMessa da Requiem is ofparticular importance: it is the only full score,after the manuscript copy prepared by thepublisher while Verdi was alive, to be basedprimarily on the autograph. The first sources, infact, left unacceptable inconsistencies unresolvedand failed to seek solutions to the mostcomplicated problems, a situation which led tothe passing on, from edition to edition, of a seriesof errors and misunderstandings which only thecritical edition has undertaken to rectify andclarify. It is also true that, in the case of the

Requiem, Verdi himself checked the manuscriptcopy prepared by Ricordi, the first edition of thevocal score and the printed performancematerials. Given this state of affairs, it islegitimate to ask whether the autograph should beconsidered more authoritative than thesesubsequent sources. The editor has tackled theproblem analytically and concluded that theautograph remains the primary source and carries

Messa da Requiem

absolute authority.Two versions of the Liber scriptus are given

in the critical edition: the one which appears inthe autograph, which is a fugue for four-partchorus and orchestra, composed for the firstperformance in 1874, reproduced in theAppendix, and the substitute version, a piece forsolo mezzo-soprano, written by Verdi thefollowing year for a performance of the Requiemin London in May 1875. Since Verdi intendedthis replacement to be definitive he was notcompletely satisfied with the 1874 version, andmoreover the mezzo-soprano was the only voice

of the quartet without a solo the critical editiondeviates in this case from the first version bygiving the 1875 version in the main text, whileproviding the opportunity to perform the 1874version, which was excluded from all the editionsproduced after the introduction of this change.

Another part of the Requiem which appears intwo versions is the Libera me. In the summer of1869 Verdi composed a Libera me as theconcluding number of a composite mass tocommemorate the first anniversary of the death ofGioachino Rossini. The performance of this mass,

whose composition had been promoted by Verditogether with Ricordi, never took place. Verdigave the autograph of the Libera me to Ricordi an autograph to which he referred constantlyduring preparation of the corresponding piece fortheMessa da Requiem. The modified version forthe 1874 performance is given in the main text ofthe critical edition, and the original 1869 versionin the Appendix.



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Other editions available

for hire

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Melodramma in four acts

AIDA, s AMNERIS, ms RADAMES, t AMONASRO,br RAMFIS, b A Messenger, t The King, b

3 Fl (2nd also Picc), 2 Ob, CorA, 2 Cl, BCl, 2 Bn /4 Hn, 2 Tpt, 3 Trbn, Cimb / Timp, Trg, Cyms,Tam-t, BD / 2 Hrp / StringsBandaon or off stage: 2 Hrp, 3 Egyptian Tpt in A flat, 3Egyptian Tpt in B, 4 Tpt in C, 4 Trbn, BD

Chorus: women and menBallet

Scenes: 6 changes and 6 settingsA hall in the Kings palace in Memphis, insidethe temple of Vulcan in Memphis (I); a room inAmneriss apartments, one of the city gates ofThebes (II); the banks of the Nile (III); a hall inthe Kings palace, scene divided on two levels:the upper level represents the interior of thetemple of Vulcan, the lower level a vault (IV)

Premiere: Cairo, Opera House, 24 December 1871Librettist: Antonio Ghislanzoni

Aida

Synopsis

The action takes place in Memphis and Thebes during thereign of the Pharaohs. The Ethiopians, led by their kingAmonasro, are at war with Egypt. Radams, the captain ofthe royal guards, is chosen as commander of the Egyptianarmy: he hopes to conquer Ethiopia and thus give ahomeland to Aida, the young Ethiopian slave with whomhe is in love, the daughter of Amonasro. When Amneris,the Pharaohs daughter who is in love with Radams,discovers that Aida returns his love, she utters dark threatsto her rival. Radams enters Thebes at the head of thevictorious army with a large number of Ethiopianprisoners, among whom is Amonasro. As his reward forvictory, he requests the liberation of all the prisoners. TheKing grants the request, but decides to keep Amonasro andAida as hostages, and offers Radams the hand of hisdaughter Amneris. Amonasro, having discovered the lovebetween his daughter and Radams, insists that she findout from him which route the Egyptians will follow so thatthe Ethiopians can be waiting to fall on their enemy.Amneris witnesses Radams involuntary betrayal: as hehands himself over to the Priests, Amonasro and Aidamanage to escape. Amonasro is later killed in the chase,Aida vanishes. Radams, imprisoned, refuses to defendhimself and is condemned to be buried alive. When he isenclosed in his tomb he finds Aida, who has stolen into thevault to die in his arms: they serenely face death together.

Other editions available for hire

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Dramma lirico in four acts

MINA, s AROLDO, t EGBERTO, br Godvino, tBriano, b profondo Elena, ms Enrico, t Jorg,silent


Picc, Fl, 2 Ob (2nd also CorA), 2 Cl, 2 Bn / 4 Hn,2 Tpt, 3 Trbn, Cimb / Timp, Dr, Cyms, BD / Org/ StringsBandaon stage: Bell


a drawing room in Egbertos home, a suite ofrooms illuminated for a grand celebration (I); theold graveyard of a castle in Kent (II); anantechamber in Egbertos home (III); a deepvalley in Scotland the shore of Loch Lomond isseen in the background (IV)

Premiere: Rimini, Teatro Nuovo, 16 August1857Librettist: Francesco Maria Piave

Synopsis

This opera is a reworking ofStiffelio, whose plot it largely

preserves but not its contemporary setting and its searingsubject. The action takes place around 1200 in a castle inKent (Acts I, II and III) and on the banks of Loch Lomondin Scotland (Act IV). Aroldo, a Saxon knight, returns froma crusade and embraces his wife Mina, the daughter ofEgberto, a vassal of Kent. Mina is deeply distressed:during her husbands absence she has betrayed him withGodvino, an adventurer knight. When Aroldo discoverswhat has happened he repudiates Mina, who begs in vainfor his forgiveness. Meanwhile Egberto has challengedGodvino to a duel and killed him. Aroldo retreats from theworld and lives with his friend Briano in pious solitude ina modest dwelling near the shore of a Scottish loch. Whena storm on the loch throws ashore a boat carrying Egberto

and Mina, she renews her request for forgiveness, andAroldo grants it.

Aroldo

Dramma lirico in a prologue and three acts

ODABELLA, s FORESTO, t EZIO, br ATTILA, bUldino, t Leone, b


2 Fl (2nd also Picc), 2 Ob (2nd also CorA), 2 Cl, 2Bn / 4 Hn, 2 Tpt, 3 Trbn, Cimb / Timp, Dr,Cyms, BD, Bell / Hrp / Stringsoff stage: 3 Tpt

Scenes: 8 changes and 6 settingsThe piazza of Aquileia, the Rio-Alto in theAdriatic lagoons (Prologue); near Rome: a wood

near Attilas camp, Attilas tent, Attilas camp (I);Ezios camp, Attilas camp as in Act I (II); awood as in Act I (III)

Premiere: Venice, Teatro La Fenice, 17 March1846Librettist: Temistocle Solera

Synopsis

The action is set in the middle of the 5th century. Led byAttila, the Huns invade Italy and put Aquileia to the fireand the sword. Among the survivors is Odabella, daughterof the lord of the city and leader of a Band of femalewarriors. She is loved by Foresto who, with a group offugitives, has retreated to the islands of the Adriaticlagoon promising revenge. The Roman general Ezioproposes to Attila that they divide the whole empirebetween them, but Attila refuses. Ezio promises renewedwar against the eternal enemy. The Huns march on Romebut are stopped before the walls of the city by BishopLeone. Ezio is in his camp: recalled to Rome, he will haveto renounce the fight against Attila. Some Huns arrivewith a message: the enemy king sets aside hostilities andinvites him to his wedding with Odabella. Ezio, togetherwith Foresto, nevertheless hatch a plot in an attempt to killAttila; it fails. Foresto is disheartened about the imminentwedding: he is convinced that Odabella has fallen in lovewith the barbarian. She has, on the contrary, only agreed

to marry Attila in order to avenge her father, who waskilled by the Hunnish leader. Odabella suddenly leaves thewedding procession and when Attila, alone, comes afterhis betrothed, she stabs him, while the Romans fall on theunarmed Huns.

Attila


Also available:

Romanza Floresto (t), Sventurato! Alla mia vitasol conforto

Revised from the autograph by Philip Gossett

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Melodramma in three acts

AMELIA, s OSCAR, light s ULRICA, ARICCARDO, t RENATO, br Samuel, b Tom, bA Judge, t Amelias Servant, t Silvano, b


2 Fl (2nd also Picc), 2 Ob (2nd also CorA), 2 Cl, 2Bn / 4 Hn, 2 Tpt, 3 Trbn, Cimb / Timp, Cyms,BD / Hrp / StringsBandaoff stage: Bell, Small Orch


In and around Boston: a hall in the Governorshouse, the fortune-tellers dwelling (I); a lonelyfield on the outskirts of Boston (II); a study inRenatos house, the Counts sumptuous study, avast and richly decorated ballroom (III)

Premiere: Rome, Teatro Apollo, 17 February1859Librettist: Antonio Somma

Synopsis

The story is set in Boston at the end of the 17th century.Riccardo, Governor of Boston, has decided to hold amasked ball. Among those who have been invited isAmelia, the wife of Renato, the Governors secretary andfriend, with whom Riccardo is secretly in love, notwithout feelings of remorse. When he goes to the fortune-teller Ulrica, Riccardo overhears Amelias confidences:she has come to the woman to ask for a potion that willrelease her from her overwhelming passion for a man whois not her husband. After Amelia has left, Ulrica predictsthat Riccardo will be killed by the first person who shakeshis hand. Everyone draws back, but Renato enters and,unaware of what has been said, warmly shakes his hand.Riccardo follows Amelia and forces her to admit that sheloves him. Renato arrives in search of his friend. When hediscovers that the veiled woman is his own wife, he is sofurious that he will not forgive her presumed betrayal.Then however he is moved to pity: it is really Riccardowho is guilty, and it is he who must be punished. Renatotherefore hatches a plot to assassinate the Governor.Having come to the ball although a letter from anunknown woman has warned him of a threat to his life,Riccardo meets Amelia who, masked as well, begs him toleave; he refuses to obey until she reveals who she is.Riccardo is about to go when Renato stabs him. As hisstrength ebbs Riccardo swears to him that Amelia isinnocent, forgives everyone, and dies.

Un ballo in maschera


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Tragedia lirica in four acts

LIDA, s ARRIGO, t ROLANDO, br FedericoBarbarossa, b Imelda, ms Arrigos Squire, tA Herald, t Marcovaldo, br 1st Consul, b2nd Consul, b Mayor of Como, b


Picc, Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, Dr, Cyms, BD / Hrp / Org / StringsBandaoff stage: Bell


A part of rebuilt Milan near the city walls, a placeshaded by groups of trees (I); a magnificent roomin the town hall of Como (II); subterranean vaultsin the basilica of SantAmbrogio in Milan,apartments in Rolandos castle, a room high inthe tower (III); a square in Milan (IV)

Premiere: Rome, Teatro Argentina, 27 January1849Librettist: Salvadore Cammarano

Synopsis

The opera, set in Milan and Como in 1176, revolves

around the patriotism of the Lombard and Venetian troopswho are allied for the purpose of driving out FedericoBarbarossa, the German Emperor who has invaded thecountry. Lida, betrothed to Arrigo, a warrior from Verona,believes he is dead and has married the Milanesecommander Rolando, Arrigos friend. Lida and Arrigo,who has been nursed back to health by his mother afterbeing badly wounded, meet each other many years later,when a German prisoner observes from their reactions thatthey are still in love. The prisoner intercepts a letter whichLida writes to Arrigo when she fears he is about to die inbattle, and Rolando takes it as proof of betrayal. Arrigo isimprisoned, but escapes and goes to fight at Legnano withthe warriors of the League. He kills Barbarossa in the

battle, but is mortally wounded and brought back to Milanwhile the people of the city are rejoicing over the victory.With his dying breath he swears by the fatherland thatLida is innocent, banishing Rolandos doubts about hiswifes fidelity.

La battaglia di Legnano

Grand-opra in five acts / Opera in four actsComplete edition of the various versions in 5 and

4 acts, including previously unpublished

material. Revised from the sources by Ursula

Gnther and Luciano Petazzoni. Original French

texts by Joseph Mry and Camille du Locle.

Italian translation by Achille de Lauzires and

Angelo Zanardini, with previously unpublished

material edited by Piero Faggioni

ELISABETHDE VALOIS / ELISABETTADI VALOIS, sTHIBAULT / TEBALDO, s LA PRINCESSE EBOLI /LA PINCIPESSA EBOLI, ms DON CARLOS / DON

CARLO, t RODRIGUE / RODRIGO, br PHILIPPE II /FILIPPO II, b LE GRAND INQUISITEUR / ILGRANDE INQUISITORE, b UN MOINE / UN FRATE,b [Une voix den haut] / [Una voce dal cielo], sLe Comte de Lerme / Il Conte di Lerma, t UnHrault Royal / Un Araldo reale, t DputsFlamands / Deputati fiamminghi, b Inquisiteurs /Inquisitori, b La Comtesse dAremberg / LaContessa dAremberg, silent [Une femme endeuil] / [Una donna in lutto], silent


Picc, 3 Fl, 2 Ob, CorA, 2 Cl, 4 Bn, DBn / 4 Hn, 2Crnt, 2 Tpt, 3 Trbn, Oph / Timp, Trg, Tamb, Cast,BD, Bell, Cannon / Hrp / Harm / StringsBanda

Scenes

Version in 5 acts: 9 changes and 8 settingsFrance, 1560: the Forest of Fontainebleau (I);Spain: the cloister of the Yuste monastery, apleasant spot outside the gates of the Yustemonastery (II); the Queens gardens, anenchanted cave of mother-of-pearl and coral(ballet La Prgrina), a large square in front of

Valladolid Cathedral (III); the Kings study atValladolid, Carloss prison (IV); the cloister ofthe Yuste monastery (V).

Version in 4 acts: 7 changes and 6 settingsSpain, 1560: the cloister of the Yuste monastery,a pleasant spot outside the gates of the Yustemonastery (I); the Queens gardens, a largesquare in front of Valladolid Cathedral (II); theKings study at Valladolid, Carlos prison (III);the cloister of the Yuste monastery (IV)

Version in 5 acts

Premiere: Paris, Thtre de lAcadmieImpriale de Musique, 11 March 1867

Don Carlos/Don Carlo


(continued)

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Version in 4 acts

Premiere: Milan, Teatro alla Scala, 10 January1884

Librettists: Joseph Mry and Camille du Locle

Version in 4 acts: revision of the French text byCamille du Locle, Italian translation by AngeloZanardini based on that of the original version byAchille de Lauzires

Don Carlos was born as a grand-opra in 5 actsin French with a ballet, and this is how it wasperformed for the first time in 1867, although

some cuts were imposed by the conventions ofFrench theater. In 1882-83 Verdi transformed theoriginal version into an opera in 4 acts without aballet, thus eliminating about half of the 1867edition. This revised version, although publishedin French, was performed in Italian right from itspremiere in Milan in 1884. Two years later, in1886, a new edition in 5 acts in Italian wasproduced by Ricordi which combined thebeginning of the first version (Act I and thebeginning of Act II) with all the changes in theshortened version. The two original editions inFrench (1867 and 1882) were forgotten, while the

1884 Italian translation and the 1886 expandedItalian version became established in parallel.This gave rise to the erroneous belief that theoriginal version of the opera was the Italianedition in 5 acts.

From 1962 onwards important material relatingto both the music and the libretto was discoveredin the Paris archives and among Verdis papers atSantAgata. On the basis of this documentation ithas been possible to reconstruct five of the eightpieces cut at the premiere. The complete editionset itself the aim of reconstructing the exact

version on which rehearsals were based in 1866,which is the only one that corresponds to Verdisoriginal conception. This work was not howeverlimited to the reinstatement of the passages whichwere cut, but encompassed the revision of all theversions on the basis of the Paris and Milanoriginals.

This edition contains all the versions of theopera for which Verdis direct responsibility ishistorically documented, namely:- complete version of the rehearsals in 1866- version of the dress rehearsal on 24 February

1867- version of the premiere on 11 March 1867- version of the second performance on 13 March1867

- 1872 Italian version- version in 4 acts revised in 1882-83- 1886 version in 5 acts without ballet

Synopsis

ACT I. In the Forest of Fontainebleau a group ofwoodcutters complains of the misery caused by winter andthe war with Spain. Elisabeth de Valois enters, daughter ofKing Henry II of France, betrothed to Don Carlos, Infanteof Spain, and promises a quick end to hostilities. DonCarlos arrives incognito and gives Elisabeth a portrait ofher betrothed in which she recognizes the man before her.Don Carlos declares his love and Elisabeth is enraptured,but the happiness of the betrothed couple is shattered by

the announcement that, as a pledge of the end of theconflict, the King of France has promised Elisabeth aswife to the King of Spain, Philip II, father of Don Carlos.But the Count of Lerma announces that Philip II demandsthat his hand in marriage be voluntarily accepted byElisabeth. To save her people from further sufferingElisabeth agrees to marry Philip II. ACT II. SCENE I. Inthe Yuste monastery a chorus of monks prays at the tombof Charles V. Don Carlos, having come here to seek relieffrom the love that torments him, meets Rodrigue, Marquisof Posa, his close friend. Carlos confides in him but Posaexhorts him to drown his private grief in that of a wholepeople, encouraging him to leave Spain and respond to theneed of the Flemish people who are calling for freedom

from their oppressor. SCENE II. Awaited by PrincessEboli, Elisabeth comes out of the monastery and Rodriguegives her a note from Carlos, who wants to see her. TheQueen consents, and Carlos begs her to intercede with theKing so that he will be permitted him to go to Flanders as


(Don Carlos / Don Carlo)

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the air at court is suffocating him. Carlos tries to reawaken

in her the passion of their first meeting but Elisabeth,deeply distressed, rejects him. Philip enters and remainsalone with Rodrigue, who launches into an impassioneddefense of the people of Flanders, exhorting the King togrant them freedom. Philip is at first annoyed by theaudacity of Posas language, but ends by admiring theMarquiss pride and loyalty and decides to confide to himhis sorrows and his suspicions about his wife and his son.ACT III. SCENE I. In the Queens gardens festivities arein progress for the coronation of Philip II. Eboli sendsCarlos, with whom she is in love, an anonymous noteproposing a nocturnal rendezvous, to which she comesdressed as Elisabeth. After an impassioned exchange Ebolirealizes that Carlos thinks he has really been speaking to

Elisabeth and promises to take revenge. Rodrigueintervenes, then persuades Carlos to entrust somecompromising documents to him. SCENE II. A group ofheretics who have been condemned by the Inquisition isled to the stake, while the royal cortge for the coronationof Philip II comes out of the palace. Suddenly six Flemishdeputies appear, led by Don Carlos, and implore the Kingto save their country. Carlos urges Philip to send him asgovernor to Flanders and Brabant. The King treats thedeputies as rebels and Carlos draws his sword; Rodrigueintervenes to disarm the Infante. In recognition the Kingcreates him Duke. ACT IV. SCENE I. Philip is in hisstudy, and abandons himself to sorrowful reflections onhis life without love and without joy. The Grand Inquisitor

enters, and Philip asks if he would be absolved forcondemning Carlos to death. The Inquisitor demands thesacrifice of Rodrigue, whose liberal views he considersheretical. When the Inquisitor has left, Elisabeth entersand complains that someone at court has stolen her jewelcase, which has in fact been taken by Eboli and given tothe King. Philip opens it and finds a portrait of his son.Elisabeth admits that the portrait belongs to her, andreminds her husband that she was betrothed to Don Carlos.She tries in vain to convince the King that it is not a proofof love and, on being called an adulteress, she faints. Eboliis repentant for what she has done, asks Elisabeth toforgive her, and retreats to a convent. SCENE II. Rodriguetells the imprisoned Carlos that in order to save him he has

proclaimed himself responsible for the disturbances inFlanders, letting the Infantes incriminating documents befound in his possession as proof. A henchman of theInquisition shoots Rodrigue in the back with an arquebus,and he dies in his friends arms. The King arrives to freehis son, but Carlos blames him for Rodrigues death.Meanwhile the people, in revolt, are calling for theInfante, but the Grand Inquisitor intervenes, orderingeveryone to kneel before the King, who is protected byGod. ACT V. In the cloister of the Yuste monasteryElisabeth prays at the tomb of Charles V, invoking hisspirit that it might protect the Infante. Carlos, having cometo say his last farewell before leaving for Flanders, issurprised by Philip and the Inquisitor, who call the guards

and accuse him of various crimes, while Elisabeth andCarlos call on heaven to judge them. But the gate of thetomb opens and, to everyones consternation, Charles Vappears in the emperors crown and mantle and leads theInfante into the cloister.

Tragedia lirica in three acts

LUCREZIA CONTARINI, s JACOPO FOSCARI, tFRANCESCO FOSCARI, br Jacopo Loredano, bPisana, s Barbarigo, t Officer of the Council ofTen, t Servant of the Doge, b


Picc, Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, BD / Hrp / StringsBanda

Scenes: 8 changes and 6 settingsVenice: a hall in the Doges Palace, a hall in the

Foscari Palace, a hall as in the first scene, theDoges private rooms (I); the state prisons, thehall of the Council of Ten (II); the old piazzetta diSan Marco, the Doges private rooms as in Act I(III)

Premiere: Rome, Teatro Argentina, 3 November1844Librettist: Francesco Maria Piave

Synopsis

The action takes place in Venice in the year 1457.Accused of murder and exiled, Jacopo, son of the elderly

Doge Francesco Foscari, is permitted to return to Veniceto face a new trial. In the Council of Ten is JacopoLoredano, an implacable enemy of the Foscari family,whom he holds responsible for the poisoning of his father.The Doges authority and the pleas of the defendantswife, Lucrezia Contarini, count for nothing: FrancescoFoscari is forced to act with the greatest severity towardshis son, who is condemned to perpetual exile, but dies ashe is leaving. It is discovered too late that Jacopo wasinnocent and that the true culprit has confessed his crime.At this point his father is invited by the Council of Ten toabdicate, in consideration of his age. Before he has evenleft the palace the election of the new Doge is announced,and Francesco Foscari, after protesting strenuously, dies of

grief.

I due Foscari


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Commedia lirica in 3 actsRevised from the autograph by Alberto Zedda

with the collaboration of Fausto Broussard

Mrs. ALICE FORD, s NANNETTA, s Mrs.QUICKLY, ms FENTON, t Sir JOHN FALSTAFF, brFORD, br Mrs. Meg Page, ms Dr Cajus, tBardolfo, t Pistola, b Innkeeper at the Garter,silent Robin, silent Fords Page, silent


3 Fl (3rd also Picc), 2 Ob, CorA, 2 Cl, BCl, 2 Bn /4 Hn, 3 Tpt, 3 Trbn, BTrbn / Timp, Trg, Cyms,BD / Hrp / Stringsoff stage: Gtr, Nat Hn crooked in low A flat, Bell

Scenes: 6 changes and 5 settingsWindsor, during the reign of Henry IV ofEngland: inside the Garter Inn, a garden (I);inside the Garter Inn as in Act I, a room in Fordshouse (II); a square, Windsor Park (III)

Premiere: Milan, Teatro alla Scala, 9 February1893Librettist: Arrigo Boito

The score ofFalstaffposes extremely complex

problems from the philological point of view, inthat Verdi made changes during rehearsals for thepremiere, during the run of performances, whilethe score and parts were being engraved, whenthe opera was revived at the Teatro Costanzi inRome in April 1893 and when it was performedin Paris in 1894. Many changes are alsosuggested in letters to his publisher. Given thisstate of affairs, it is in some cases an extremelycomplicated task to establish the chronology ofthe alterations, and whether the autograph haspriority over the other musical and literary

sources.This edition starts from the assumption that theautograph must nonetheless be considered afundamental source, in that it represents thecomposers original ideas, except for those casesin which Verdi expressed his dissatisfaction withthe original version. The editors work hasinvolved the detailed consultation of thenumerous authentic secondary sources,integrating the changes made for the Romerevival.

Synopsis

ACT I. PART I. In the Garter Inn Dr Caius inveighsagainst Falstaff and his followers Bardolfo and Pistola,who have got him drunk and robbed him. After praising

Falstaff

his own corpulence, Falstaff announces his plan to court

Alice Ford and Meg Page, the wives of two rich Windsorgentlemen. To this end he gives two love letters identicalexcept for the address to Bardolfo and Pistola to deliverto the two women; they refuse as a point of honor, andFalstaff has to rely on his page as messenger. PART II.Alice, her daughter Nannetta, Meg and Quickly meet inthe garden outside Fords house. They read the twoidentical letters sent by Falstaff to Alice and Meg and lookforward to their revenge. Ford, Dr Caius, Nannettassuitor, and Fenton, Nannettas lover, enter followed byBardolfo and Pistola, who reveal Falstaffs intentions toFord: to seduce his wife and steal his money. WhileFenton and Nannetta exchange tender effusions, Aliceexpounds her plan: Quickly will go to the Garter Inn with

messages from Alice and Meg, and Falstaff will be drawninto a trap. ACT II. PART I. Quickly enters the Garter Innto bring Falstaff the message from Alice, who says she isprepared to meet him in her house when her husband isout. A certain Signor Fontana who is none other thanFord introduces himself to Falstaff, and confides to himthat he desires Alice. Falstaff confides to Ford that healready has an appointment with her. Ford is overcomewith jealous rage. PART II. In Fords house the womenare organizing the trick on Falstaff. He turns up at Aliceshouse but Ford arrives immediately after him at the headof a group of men, with the intention of avenging hiswounded honor. Falstaff hides behind a screen and Fordstarts to search the house. The women force Falstaff into

the laundry basket, which they then have tipped out of thewindow into the Thames. ACT III. PART I. Outside theGarter Inn Falstaff, dispirited, reflects on his nastyadventure. Quickly enters and manages to persuade him todisguise himself as the Black Huntsman and meet Alice inthe royal park under Hernes Oak, traditional meetingplace of spirits and fairies. Meanwhile, as Falstaff goes offwith Quickly, Alice, Nannetta, Meg and Ford plan the newjoke. Nannetta is to be the Fairy Queen, the children ofWindsor will be sprites and imps, and all will fall onFalstaff and beat him until he admits his faults. Fordmeanwhile arranges with Dr Caius that he will marry hisdaughter: he will perform the blessing himself. PART II. Itis night. Fenton comes to Windsor Park, and is joined by

Nannetta and then by Alice, who alters the disguises tothwart Fords plans for Dr Caius. At the first stroke ofmidnight Falstaff appears, wrapped in a voluminous cloakand with two enormous horns on his head. He is trying invain to embrace Alice when Meg announces the beginningof the tragedy. The fairies enter, led by Nannetta: Falstafflies face down on the ground in order not to meet theirlethal gaze, while the others, in disguise, start to goad him,beat him, insult him and order him to repent. Bardolfoshood falls back, the trick is exposed, and Falstaff admitsthat he has been a fool. Meanwhile the women put a bridalveil over Bardolfos head; Dr Caius takes him by the handand leads him before Ford, where they are joined byFenton and Nannetta in disguise. Ford blesses the two

couples, but when the veils are removed he discovers tohis dismay that he too has been tricked and has united hisdaughter with the suitor he opposed. Women and lovehave triumphed.


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Melodramma in four acts

DONNA LEONORA, s PREZIOSILLA, ms DONALVARO, t DON CARLODI VARGAS, br FRAMELITONE, br brillante PADRE GUARDIANO, bMastro Trabuco, t brillante Curra, ms ASurgeon, t The Marquis of Calatrava, b AnAlcalde, b


2 Fl (also 2 Picc), 2 Ob, 2 Cl (2nd also BCl), 2 Bn/ 4 Hn, 2 Tpt, 3 Trbn, Cimb / Timp, Dr, BD / 2Hrp / Org / Stringsoff stage: 6 Tpt, 4 Dr

Scenes: 9 changes and 9 settingsSeville: a room decorated with damask (I); thevillage of Hornachuelos and its surroundings: thelarge kitchen of an inn, a patch of level ground onthe slopes of a steep mountain, the church of OurLady of the Angels (II); Italy, near Velletri: awood, the quarters of a senior officer of theSpanish army, a military encampment nearVelletri (III); near Hornachuelos: inside themonastery of Our Lady of the Angels, a valleyamongst inaccessible rocks (IV)

Premiere: revised second version, Milan, Teatroalla Scala, 27 February 1869Librettist: Francesco Maria Piave, with additionsby Antonio Ghislanzoni for the revised secondversion

La forza del destino(1869 version)

Synopsis

The plot is set in Spain and Italy around the middle of the18th century. Leonora, daughter of the Marquis ofCalatrava, secretly loves Don Alvaro, a man whom theMarquis considers unworthy of her. Don Alvaro tries topersuade Leonora to elope with him, but the Marquissurprises them and threatens them. Don Alvaro throwsdown his pistol, which fires and mortally wounds theMarquis. The Marquiss son, Don Carlo, wants to avengehis father by killing his sister and Don Alvaro, and sets outto hunt them down. Leonora has in the meantime foundrefuge in a hermitage near the monastery of Our Lady ofthe Angels, under the protection of the Padre Guardiano.Near Velletri, Don Alvaro and Don Carlo, withoutknowing anything about their respective true identities,become involved in a brawl. Don Alvaro saves DonCarlos life, and they swear eternal friendship. Very soon,however, Don Carlo discovers his friends true identityand declares his intention of taking revenge, whichhappens five years later in a duel fought near thehermitage where Leonora lives. Don Carlo is fatallywounded, but before dying he manages to kill Leonorawhen she runs to him. Don Alvaro watches helplessly ashis beloved dies, exhorting him to have faith in divinemercy.


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Melodramma giocoso in two acts

THE MARCHESADEL POGGIO, s GIULIETTADIKELBAR, ms EDOARDODI SANVAL, t THECAVALIEREDI BELFIORE, br The Count Ivrea, tDelmonte, b The Baron Kelbar, buffo b SignorLa Rocca, buffo b


Picc, Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, Trg, Dr, BD / Strings

Scenes: 4 changes and 3 settingsGallery, garden, gallery as before (I); gallery, hall

on the ground floor (II)Premiere: Milan, Teatro alla Scala, 5 September1840Librettist: Felice Romani

Synopsis

The action takes place in France in 1733. In BaronKelbars castle two weddings are about to take place:lovely Giulietta, the Barons daughter, is to marry the oldand rich La Rocca, and the Marchesa del Poggio will wedCount Ivrea. The two women, however, love other men:Giulietta is the lover of Edoardo, La Roccas pennilessnephew, and the Marchesa is searching for her beloved,the Cavaliere Belfiore, a light-hearted aristocrat. Belfioreis in fact also one of the Barons guests, but disguised asStanislao, King of Poland. He has been obliged to play thispart by reasons of state, in order to enable the realsovereign to return to Warsaw unharmed. At the end aletter from the real Stanislao releases the Cavaliere fromhis impersonation, but before he reads it out he uses hisauthority as King for a Day to command the marriage ofEdoardo and Giulietta. Having revealed all, he claims theMarchesa as his own. Two weddings take place after all,but with different husbands from those planned at the start.

Un giorno di regno

(later Il finto Stanislao)

Dramma lirico in a prologue and three acts

GIOVANNA [JOANOF ARC] , s CARLO VII, tGIACOMO, br Delil, t Talbot, b


Picc, Fl, 2 Ob (2nd also CorA), 2 Cl, 2 Bn / 4 Hn,2 Tpt, 3 Trbn, Cimb / Timp, Dr, Trg or sistro,BD, Bell, Cannon / Hrp / Harm / Accd / StringsBanda

Scenes: 6 changes and 6 settingsA great hall in Dom-Rmy, a forest (Prologue); aremote place scattered with rocks, a garden in the

court of Reims (I); the main square in Reims (II);inside a fort in the English camp (III)

Premiere: Milan, Teatro alla Scala, 15 February1845Librettist: Temistocle Solera

Synopsis

The action takes place in the village of Dom-Rmy, whereGiovanna was born, then in Reims and near Rouen duringthe Hundred Years War, in 1429. Loosely based onhistorical events, the drama has as its protagonist theshepherdess Giovanna who, urged by a group of angelswho have appeared to her in a dream, persuades the King,Carlo VII, to put her in command of the French troops,which she leads to victory against the English. Suspectedof witchcraft by her father Giacomo, she is handed over byhim to the enemy to be burnt at the stake. She imploresGods help and Giacomo, realizing that he has accused herunjustly, frees her shortly before the decisive conflict.Giovanna rushes into the fray, and the French troops ledby her rout the enemy. But the Kings joy is short-lived, ashe is in love with the heroine: Giovanna is wounded inbattle, and before dying she sees the heavens open and theVirgin Mary coming to meet her.

Giovanna dArco


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I Lombardi alla prima

Crociata

Dramma lirico in four acts

GISELDA, s ORONTE, t PAGANO, b Arvino, tViclinda, s Sofia, s Prior of the City of Milan, tAcciano, b Pirro, b profondo


Picc, Fl, 2 Ob, 2 Cl, 2 Bn / 4 Hn, 2 Tpt, 3 Trbn,Cimb / Timp, Trg, Dr, BD / 2 Hrp / Org/ StringsBanda: Picc, SCl, 2 Cl, 3 Hn, 3 Tpt, 3 Trbn,Tuba, Dr, BD

Scenes: 11 changes and 11 settingsMilan: piazza di SantAmbrogio, a gallery in the

Folco palace (I); Antioch and surroundings: aroom in Accianos palace in Antioch, the mouthof a cave in the mountains, inside the harem (II);near Jerusalem: the valley of Jehoshaphat,Arvinos tent, inside a cave (III); The HolySepulchre: a cave, the Lombard tents nearRachels tomb, Arvinos tents (IV)

Premiere: Milan, Teatro alla Scala, 11 February1843Librettist: Temistocle Solera

Synopsis

The action takes place in the years 1095-97. The brothersArvino and Pagano both love Viclinda; she married theformer 18 years previously, and the latter is still intent onrevenge. Having entered Arvinos house, he kills his fatherFolco by mistake instead of his brother. To expiate hiscrime Pagano goes to the Holy Land, where Arvino laterarrives with the Lombard Crusaders. Meanwhile Giselda,the daughter of Arvino and Viclinda, has fallen into thehands of Acciano, the tyrant of Antioch. She loves, and isloved by, Accianos son Oronte. Several months later apious hermit, who is in fact Pagano, helps the LombardCrusaders to free Giselda. In the struggle, however,Acciano and Oronte are both killed, causing Giselda to goalmost mad with grief. The hermit is gravely wounded in

the battle for Jerusalem: he is brought to Arvinos tent and,before he dies, he reveals his identity to his brother, andrequests and is granted his forgiveness.

Melodramma in four partsComplete edition of the first version of 1847

Revised from the autograph by David Lawton

LADY MACBETH, s MACBETH, br Macduff, tBanco, b Lady-in-waiting to Lady Macbeth, sMalcolm, t Doctor, b Servant of Macbeth, bA Murderer, b A Herald, b Duncano, silentFleanzio, silent


Picc, Fl, 2 Ob, CorA, 2 Cl (2nd also BCl), 2 Bn / 4Hn, 2 Tpt, 3 Trbn, BTrbn / Timp, Cyms, Tam-t,BD / Hrp / StringsBandaoff stage: 2 Ob, 6 Cl, 2 Bn, DBn

Scenes: 10 changes and 9 settingsScotland: a wood, a room in Macbeths castle (I);a room in the castle, a park, a magnificent hall(II); a dark cavern (III); a deserted place on theborders of Scotland and England, a room inMacbeths castle as in Act I, another room in thecastle, a vast plain (IV)

Premiere: Florence, Teatro La Pergola, 14March 1847

Librettist: Francesco Maria Piave

Macbeth marks a fundamental stage in thedevelopment of Verdis musical dramaturgy: theencounter with Shakespeare enabled thecomposer to rise above the operatic routine thathad threatened to channel his invention. Thisedition presents the original version ofMacbeth,written in 1847, a version which the editor hasreconstructed by close study of the autograph andsecondary sources. Verdi produced a revisedversion of this work, eighteen years after the

premiere in Florence, for a revival at the ThtreLyrique in April 1865. A comparison between thetwo versions reveals that the original version ismore consistent in style than the revised one,which however as Julian Budden has written contains retouches of genius where Verdi hascontrived to re-enter and at the same time widenhis original conception of Shakespearean theater.It must be added that the firstMacbeth occupiedan important position among the Risorgimentooperas, whereas the later version had to wait untilthe Verdi revival in this century to take itsrightful place in the Italian repertoire.

The differences between the two versionsessentially concern Acts II, III and IV. In Act IILady Macbeths cabaletta Trionfai, securi

Macbeth(1847 version)


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alfine is replaced in the 1865 score by the ariaLa luce langue; the Finale of Act II is alsomodified. In the original version Lady Macbethdoes not appear in Act III, whereas in the revisedone she joins Macbeth for the duet Ora di mortee di vendetta in place of Macbeths cabalettaVada in fiamme e in polve cada. Also in ActIII, the only danced scene in the 47 version is thechorus Ondine e Silfidi, while in the 65version a ballet is added after the witches choruswhich opens the act. There are also changes to thebeginning of Act IV, and above all to the finale:the 47 version shows the death of Macbeth on

stage, in the adagio Mal per me che maffidai,replaced for Paris by an orchestral fugue, amusical translation of the battle, with Macbethbeing killed off stage.

Synopsis

ACT I. In a wood amid thunder and lightning a group ofwitches discusses the mischief they have perpetrated.Macbeth and Banco enter, generals in King Duncanosarmy: by way of prophecy, the witches greet Macbeth asThane of Glamis, Thane of Cawdor and King of Scotland,and Banco as the father of kings. They are disturbed,especially Banco, who is horrified by the veracity of the

witches predictions when the Kings messengers

announce that Macbeth has been made Thane of Cawdor.In the castle Lady Macbeth reads the letter in which herhusband tells her of his meeting with the witches, and shereflects that, in order for the prophecy to come true, KingDuncano will have to be killed. She incites Macbeth tocommit the crime, although he is the victim of terrifyingvisions. Duncano, spending the night in the castle as aguest, is assassinated. In the morning Macduff goes towake Duncano and comes back horrified by what he hasfound. Everyone rushes to the scene to condemn the act oftreason. ACT II. Since the witches predicted that Bancowould be the father of kings, Macbeth, seeing this as anobstacle to his own ambitious plan to rise to power,decides to kill his friend together with his son Fleanzio.

He entrusts the task to a group of murderers who ambushthem while they are going through a

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