What is the English title of the Verdi opera `Un Ballo in Maschera'?
"Giuseppe Verdi in 1859 as ""Un ballo in maschera"" (A Masked Ball), with the specifics changed under the pressure of censorship. It is widely agreed that the contribution and dedication of Gustav III to the performing arts in Sweden, notably the building of the theatre houses and the founding of a national theatre company, has been crucial to the Swedish culture. The era of opera during his time is referred to today as the ""Gustavian Opera"". It was under King Gustav III that Sweden gained the small Caribbean island of Saint-Barthélemy from France in 1785 (in exchange for French trading"
"Un ballo in maschera discography This is a discography of Giuseppe Verdi's opera, ""Un ballo in maschera"". It was first performed at the Teatro Apollo in Rome on 17 February 1859. However, prior to the version of the opera which appears in the recordings below, Verdi had been using the title of ""Gustavo III"" and, when he was prohibited from using that title and after he was forced to make significant changes, the original version disappeared. It has been reconstructed, performed, and recorded as ""Gustavo III (Verdi)"". On the 5 Oct 2013 broadcast of BBC 3'S CD Review - Building"
"of united Italy. Thus, """"Viva Verdi"""" was a rallying cry for patriots and often appeared in graffiti in Milan and other cities in what was then part of Austro-Hungarian territory. Verdi had problems with censorship before the unification of Italy. His opera ""Un ballo in maschera"" was originally entitled ""Gustavo III"" and was presented to the San Carlo opera in Naples, the capital of the Kingdom of the Two Sicilies, in the late 1850s. The Neapolitan censors objected to the realistic plot about the assassination of Gustav III, King of Sweden, in the 1790s. Even after the plot was changed,"
"Naples and planned for a production there and its premiere performance at the Teatro Apollo in Rome on 17 February 1859. In order to become the ""Un ballo in maschera"" which we know today, Verdi's opera (and his libretto) was forced to undergo a significant series of transformations and title changes. Based on the Scribe libretto and begun as ""Gustavo III"" set in Stockholm, it became ""Una vendetta in domino"" set in Stettin, and finally ""Un ballo in maschera"" set in Boston during the colonial era. These changes were caused by a combination of censorship regulations in both Naples and"
"1859, the Italian composer, Giuseppe Verdi, had his librettist, Antonio Somma, use Scribe's libretto as its basis. As a result of changes imposed by censors in both Naples and Rome, the title of the opera became ""Un ballo in maschera"" and it premiered in Rome on 17 February 1859. She is also mentioned in the famed novel ""The Queen's Tiara"" by Carl Jonas Love Almquist. Notes Sources Ulrica Arfvidsson Anna Ulrica Arfvidsson (1734–1801) was a professional Swedish fortune-teller during the reign of Gustav III of Sweden. She was commonly known as ""Mamsell Arfvidsson"". Ulrica Arfvidsson was the daughter of a"
"a Library, musicologist Roger Parker surveyed recordings of ""Un Ballo in Maschera"" and recommended the 1975 recording by the New Philharmonia Orchestra, Chorus of the Royal House Covent Garden, Haberdashers' Aske's School Girls’ Choir, Riccardo Muti (conductor), as the best available choice. Notes Sources Un ballo in maschera discography This is a discography of Giuseppe Verdi's opera, ""Un ballo in maschera"". It was first performed at the Teatro Apollo in Rome on 17 February 1859. However, prior to the version of the opera which appears in the recordings below, Verdi had been using the title of ""Gustavo III"" and, when"
"became ""Un ballo in maschera"", but with another location change (this time to Boston in colonial times) and further title and name changes. Overall, Somma then specialized in stage plays and wrote no further libretti. Notes Sources Antonio Somma Antonio Somma (born Udine, 28 August 1809 – died Venice, 8 August 1864) was an Italian playwright who is most well known for writing the libretto of an opera which ultimately became Giuseppe Verdi's ""Un ballo in maschera"" in 1859. While a student, his tragedy, ""Parisina"", gave him quite a success. Initially, his contact with Verdi came about when the composer"
"courage and patience. Particularly with patience...Remember that under present conditions our best plan is to present the opera in Rome..."". Eventually, when the censors refused to allow a Duke, Somma came up with ""Riccardo Conte di Varvich (Warwick)"" and then refused to make other changes; that was acceptable to all. Once again, Somma refused to have his name appear on the libretto. By 11 September 1858, Verdi wrote to Somma accepting the revised changes in ""Gustavo III"", but renamed it as ""Un ballo in maschera"". Until his arrival in Rome in January 1859, Verdi was involved in completing and orchestrating"
"Antonio Somma Antonio Somma (born Udine, 28 August 1809 – died Venice, 8 August 1864) was an Italian playwright who is most well known for writing the libretto of an opera which ultimately became Giuseppe Verdi's ""Un ballo in maschera"" in 1859. While a student, his tragedy, ""Parisina"", gave him quite a success. Initially, his contact with Verdi came about when the composer was seeking to continue work on his proposed ""Re Lear"", an adaptation of the Shakespeare play, ""King Lear"", for the opera stage which had begun under his long-time collaborator Salvadore Cammarano who had died. Under Verdi's supervision,"
"Gustavo III (Verdi) Gustavo III is an opera by Giuseppe Verdi to a libretto begun in early 1857 by the Italian playwright Antonio Somma. Never performed as written, the libretto was later revised (or proposed to be revised) several times under two additional names – ""Una vendetta in domino"" and ""Adelia degli Adimari"" – during which the setting was changed to vastly different locations. Eventually, it was agreed that it could be called ""Un ballo in maschera"", the one by which it is known today, but Verdi was forced to accept that the location of the story would have to"
"nor under that title (until a re-created version was given in 2004). It was later performed in Rome with significant revisions to the plot and its location, while the title became ""Un ballo in maschera"". Among the conductors and composers appointed by the Teatro San Carlo was the famous and eccentric French harpist and composer Nicolas-Charles Bochsa, who was accompanied by his lover, the English prima donna Anna Bishop, with whom he was touring the world. He conducted several operas (1844–1845) in the San Carlo with Anna Bishop as prima donna. She sang there 327 times in 24 operas. The"
"Tutti in maschera Tutti in maschera (Everyone in Disguise) is an opera (called a ""commedia lirica"") by Carlo Pedrotti. The libretto is by Marco Marcelliano Marcello, based on the 1759 comedy ""L'impresario delle Smirne"" by Carlo Goldoni. It was premiered at the Teatro Nuovo, Verona, on 4 November 1856. ""Tutti in maschera"" was the twelfth of Pedrotti's eighteen operas and the tenth to be staged (the first two were never performed). Five of the previous eleven were opere serie (serious operas) and five were opere semiserie (operas combining drama and comedy). Only one, the one-act ""Il parrucchiere della reggenza"" (""The"
"written, he broke his contract. This resulted in litigation and counter-litigation; with the legal issues resolved, Verdi was free to present the libretto and musical outline of ""Gustave III"" to the Rome Opera. There, the censors demanded further changes; at this point, the opera took the title ""Un ballo in maschera"". Arriving in Sant'Agata in March 1859 Verdi and Strepponi found the nearby city of Piacenza occupied by about 6,000 Austrian troops who had made it their base, to combat the rise of Italian interest in unification in the Piedmont region. In the ensuing Second Italian War of Independence the"
"and a dramatist (""but also a neophyte in the libretto making trade"") approached Verdi with ideas for a libretto. He was instrumental in anonymously writing the original libretto for ""Gustavo III"", an opera which changed its name several times and which finally became ""Un ballo in maschera"" in 1859. However, in his letter to Somma of 22 April 1853, Verdi laid out some of his reasons for disliking the subjects which Somma had proposed, noting his reservations about repeating subject areas which he had already tackled and observing that ""I prefer Shakespeare to all dramatists, not excepting the Greeks"". Accordingly,"
"to all. ""The masked ball at La Fenice"" Everyone is in disguise - Vittoria as a flower-seller, Dorotea in the costume that Abdalà specified for Vittoria, and both Gregorio and Emilio are dressed as Abdalà. After a lot of confusion, everything is sorted out and Abdalà distributes contracts to the whole troupe, but Vittoria and Emilio opt to stay in Venice to cement their relationship. Pedrotti: ""Tutti in maschere"", Orchestra Sinfonica di Sanremo e Della Liguria Notes Sources Tutti in maschera Tutti in maschera (Everyone in Disguise) is an opera (called a ""commedia lirica"") by Carlo Pedrotti. The libretto is"
"appeared repeatedly in La Scala and at the leading opera houses including Covent Garden in London, the Vienna State Opera, Deutsche Oper am Rhein, Teatro Colon in Buenos Aires, Berlin, Munich, Hamburg, Bonn, New York, Rome, Paris, Zurich, Lausanne, Toronto, Pretoria, Tel Aviv, Monte Carlo, Nice, Marseille, Mexico City, Las Vegas, Kopenhagen, Salzburg, Athens, and many others. Michail Svetlev debuted in the United States in 1980 as Ricardo in Verdi's ""Un Ballo in Maschera"" in Washington, D.C. Further appearances included opera companies in San Francisco, Houston, Miami, Philadelphia, and Palm Beach. Throughout his career he was recognized not just for"
"Earl) of Warwick. At this point, the opera became ""Un ballo in maschera"" set in North America. ""Un ballo in maschera"" received its premiere performance at the Teatro Apollo in Rome on 17 February 1859 and was immediately successful. The opera was first seen in New York its US premiere on 11 February 1861 and in the UK on 15 June of that year. In the 20th century, especially after a 1935 production in Copenhagen, many modern stagings have restored the original Swedish setting and characters' names. On 7 January 1955, Marian Anderson, singing the role of Ulrica, broke the"
"in China, Oscar in Verdi's ""Un ballo in maschera"" at the NCPA Opera Festival Beijing. She also sang excerpts as Gilda in Verdi's ""Rigoletto"" and Luisa in ""Luisa Miller"" at gala concerts in Modena and Piacenza celebrating baritone Leo Nucci's career. She made her role debut as Gilda in Verdi's ""Rigoletto"" in December 2017 with Leo Nucci in the title role, in February 2018 she returned to the Teatro San Carlo in Naples in the title role of a new production of ""La traviata"" and in July 2018 she made her house debut at the Bolshoi Theatre of Moscow as"
"first prize in the Carlo Alberto Cappelli International Competition in Verona, one of the world's most important contests, open only to first-prize winners of other major competitions. In 1986, Jo made her European operatic debut as Gilda in Verdi's ""Rigoletto"" at the Teatro Comunale Giuseppe Verdi in Trieste. This performance drew the attention of Herbert von Karajan, who proceeded to cast her as Oscar in ""Un ballo in maschera"" opposite Plácido Domingo for the 1989 Salzburg Festival. Karajan's death during festival rehearsals prevented Jo from actually singing on stage under his baton (Georg Solti conducted the performances) but she did"
"Berdini, Afro Poli.) Conductor Bruno Bartoletti. Trieste, 1961. Gala GL 100.731 Notes Sources Le maschere Le maschere (""The Masks"") is an opera in a Prologue and three acts by Pietro Mascagni to an Italian libretto by Luigi Illica. The work was Mascagni's homage to Rossini and to the Italian opera buffa and commedia dell'arte traditions. It was premiered simultaneously in six Italian opera houses on 17 January 1901: La Scala (with Caruso as Florindo, Carelli as Rosaura, and Toscanini conducting); the Teatro Carlo Felice in Genoa; the Teatro Regio in Turin; the Teatro Costanzi in Rome; La Fenice in Venice;"
"to the famous series of broadcasts of other Verdi works, which were later issued on records by RCA Victor: ""Aida"" (1949, which was televised as well), Mrs Alice Ford in ""Falstaff"" (with Giuseppe Valdengo, 1950), the Requiem (with Fedora Barbieri, Giuseppe Di Stefano, and Cesare Siepi, 1951), and Amelia in ""Un ballo in maschera"" (with Jan Peerce and Robert Merrill, 1954), which were Toscanini's final operatic performances. When Toscanini died three years later, he left his protégée his baton in his will. In 1948, Nelli sang in Genoa (""La Gioconda"", conducted by Tullio Serafin) and at the Teatro alla Scala."
"in Saint Petersburg, Drigo was conducting the entire repertory of the Imperial Italian Opera, which at that time performed at the Imperial Mariinsky Theatre. He impressed the management a great deal, conducting such works as Verdi's ""Aida"" and ""Un ballo in maschera"" from memory. It was custom in Imperial Russia for all theatrical performances to be reported in detail in the newspapers, and Drigo's performances were always reported with praise — """" ... the young gentleman will stay here a long time ..."""" commented one columnist after attending an opera which Drigo conducted. The Imperial Italian Opera was disbanded by"
"and third nights, the reception improved considerably). With Strepponi, Verdi went to Naples early in January 1858 to work with Somma on the libretto of the opera ""Gustave III"", which over a year later would become ""Un ballo in maschera"". By this time, Verdi had begun to write about Strepponi as ""my wife"" and she was signing her letters as ""Giuseppina Verdi"". Verdi raged against the stringent requirements of the Neapolitan censor stating: ""I'm drowning in a sea of troubles. It's almost certain that the censors will forbid our libretto."" With no hope of seeing his ""Gustavo III"" staged as"
"Le maschere Le maschere (""The Masks"") is an opera in a Prologue and three acts by Pietro Mascagni to an Italian libretto by Luigi Illica. The work was Mascagni's homage to Rossini and to the Italian opera buffa and commedia dell'arte traditions. It was premiered simultaneously in six Italian opera houses on 17 January 1901: La Scala (with Caruso as Florindo, Carelli as Rosaura, and Toscanini conducting); the Teatro Carlo Felice in Genoa; the Teatro Regio in Turin; the Teatro Costanzi in Rome; La Fenice in Venice; and the Teatro Filarmonico in Verona. Two days later, it premiered at the"
"Sofia Scalchi Sofia Scalchi (November 29, 1850 – August 22, 1922) was an Italian operatic contralto who could also sing in the mezzo-soprano range. Her career was international, and she appeared at leading theatres in both Europe and America. Born in Turin in 1850, Scalchi studied voice with Augusta Boccabadati. In 1866, she made her stage debut in Mantua as Ulrica in Giuseppe Verdi's ""Un ballo in maschera"". Her first major international success came at the Royal Opera House, Covent Garden, where on November 5, 1868, she made her London debut as Azucena in ""Il trovatore"", also by Verdi. She"
"in ""Un ballo in maschera"", to the Vienna State Opera as Tosca, to Budapest and Mannheim as Leonora in ""La forza del destino"", to the Aalto Theatre in Essen in the title role of ""Norma"", made her Lisbon debut with Verdi's ""Messa da Requiem"", was Tosca at the Deutsche Oper Berlin, the Vienna State Opera, and the Prague State Opera, was in Tel Aviv as Leonora in ""Il trovatore"" and as ""La giocconda"", in Essen and Lecce as Aida, in Hamburg as Amelia in ""Un ballo in maschera"", and was heard with the Jerusalem Symphony in Verdi's ""Messa da Requiem""."
"Nel Chiostro, Batignano Festival, Italy) ""Rigoletto"" Verdi ('The Opera Company': Hackney Empire, London and UK tour) ""Madama Butterfly"" Puccini (Opera North, UK) ""Eugene Onegin"" Tchaikovsky (Opera North, UK) ""Don Pasquale"" Donizetti (Opera Zuid, Netherlands) ""Gambler"" Prokofiev (Opera Zuid, Netherlands) ""Un Ballo In Maschera"" Verdi (Lithuanian National Opera) ""I Pagliacci"" Leoncavallo (Congress Palace, Lithuania) ""Showcase"" (The Queen Elizabeth Hall, London) ""La Forza del Destino"" G.Verdi (Lithuanian National Opera and Israel National Opera) ""La Bohème"" Puccini (Congress Palace, Lithuania ) ""Die Zauberflöte"" Mozart (Congress Palace, Lithuania ) ""Werther"" Massenet (Congress Palace, Lithuania ) ""Sweeney Todd: the Demon Barber of Fleet Street"" Sondheim"
"Lauris Elms Lauris Margaret Elms AM OBE (born 20 October 1931) is an Australian contralto, renowned in opera and lieder. She was born in Springvale, Victoria, the elder daughter of Harry Britton Elms and Jean (née Halford) and trained with Katherine Wielaert in Melbourne. She first sang with the National Theatre Opera Company in 1952 in ""The Consul"". She had further study in Paris with Dominique Modesti. She made her Royal Opera, Covent Garden debut in 1957 as Ulrica in Verdi's ""Un ballo in maschera"", and was principal contralto at Covent Garden from 1957 to 1959. She appeared there in"
"her debut at the Philadelphia Lyric Opera Company as Oscar in ""Un ballo in maschera"" with Richard Tucker as Riccardo and Robert Merrill as Renato. She sang the same role for her debut at the Lyric Opera of Chicago in 1963 with Régine Crespin as Amelia and Grace Bumbry as Ulrica. That same year she made her European debut at the Zurich Opera as Blondchen in Mozart's ""Die Entführung aus dem Serail"". She remained committed to that house for the next several seasons, portraying such roles as Gilda in ""Rigoletto"", Nanetta in ""Falstaff"", Oscar in ""Un ballo in maschera"", and"
"Isabella d'Aspeno Isabella d'Aspeno is an opera in three acts composed by Pavlos Carrer. The author of its Italian-language libretto is credited only with the initials ""R.G.S."". The opera premiered at the Teatro San Giacomo in Corfu on 7 February 1854. The following year, the opera had its Italian premiere at Milan's Teatro Carcano where it achieved considerable success with multiple performances over two seasons. Set in Westphalia during the 14th Century, the plot of ""Isabella d'Aspeno"" bears several thematic similarities to Verdi's later opera, ""Un ballo in maschera"". Both involve the assassination of a sovereign by his political and"
"has also sung for the English National Opera, Zurich Opera, Opera Australia, Lausanne Opera, Royal Swedish Opera, and the Teatro Real in Madrid. Gavin has sung the role of Riccardo/Gustavo in Verdi's ""Un ballo in maschera"" several times in his career, most recently for the Opéra National de Bordeaux in 2008, but in 2002 he made the news for not singing it. Before rehearsals began, he withdrew from the English National Opera's notorious production by Calixto Bieito which included a chorus of men seated on toilets, a mass Nazi salute and a homosexual rape scene. He was widely quoted as"
"2013 Un ballo in maschera at Sydney Opera House in January, won the Helpmann Award for the opera stage direction in the season 2012/2013. This was a production between Sydney Opera House, Teatro Colón in Buenos Aires, Théâtre Royal de la Monnaie in Brussels and the Norwegian National Opera & Ballet of Oslo. Il prigioniero"" by Dallapiccola and Erwartung by Arnold Schoenberg opened in Justice & Injustice festival in the Opéra National de Lyon, Aida together with Carlus Padrissa, to open the centenary of the Arena di Verona 2014 Madama Butterfly the Opera Handa a mounting outdoors in the Bay"
"there were Aida, Amelia in Verdi's ""Un ballo in maschera"", Marta in Eugen d'Albert's ""Tiefland"", Myrtocle in d'Albert's ""Die toten Augen"", Rachel in ""La Juive"", Santuzza in Pietro Mascagni's ""Cavalleria rusticana"", Senta in ""The Flying Dutchman"", Valentine, and the title roles in Georges Bizet's ""Carmen"" and Puccini's ""Tosca"". She was committed again to the Berlin State Opera from 1924-1926 where she was heard in the title role of Puccini's ""Turandot"" for the work's Berlin premiere in 1926 under the baton of Bruno Walter. She then returned to the Deutsche Oper Berlin where she was active until her retirement from the"