"performance. Following its failure, it is claimed Verdi vowed never to compose again, but in his ""Sketch"" he recounts how Merelli persuaded him to write a new opera. Verdi was to claim that he gradually began to work on the music for ""Nabucco"", the libretto of which had originally been rejected by the composer Otto Nicolai: ""This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written"", he later recalled. By the autumn of 1841 it was complete, originally under the title ""Nabucodonosor"". Well received at its first performance on 9"
"Giuseppina Strepponi Clelia Maria Josepha (Giuseppina) Strepponi (8 September 1815 – 14 November 1897) was a nineteenth-century Italian operatic soprano of great renown and the second wife of composer Giuseppe Verdi. She is often credited with having contributed to Verdi's first successes, starring in a number of his early operas, including the role of Abigaille in the world premiere of ""Nabucco"" in 1842. A highly gifted singer, Strepponi excelled in the bel canto repertoire and spent much of her career portraying roles in operas by Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, often sharing the stage with tenor and baritone"
"arrival and for Fenena's funeral march. Propulsive energetic rhythms are a notable feature of much of the music, contrasted with more lyrical moments, providing dramatic pace. Both the bass Zaccaria in his prayer ""Vieni o Levita"", a quiet piece with the unusual accompaniment of six cellos, and the baritone Nabucco in his mad scene and other passages, are given music of great expressiveness, providing outstanding opportunities for the singers, but the tenor role of Ismaele is comparatively minor, unusual for a Verdi opera. The music for Abigaille is extremely demanding, requiring a soprano who can sing both very low and"
"by Adelaide Dall'Argine who was particularly known for her portrayal of Abigaille in Verdi's ""Nabucco"". The two leading male roles were taken by Antonio Ghislanzoni, a baritone who later achieved his principal fame as a literary figure and opera librettist, and his cousin Giacinto Ghislanzoni, a tenor with an active operatic career in Northern Italy. The premiere evening also included what the Teatro Carcano's historian termed an ""extraordinary amusement"", a separate performance of songs accompanied by Johann Decker-Schenk on his newly invented pedal guitar. ""Isabella d'Aspeno"" had a notable success in Milan with multiple performances in the 1855 season and"
"title role, Justino Díaz as Méphistophélès, and Sherrill Milnes as Valentin in his debut at the Met. In 1966, Caballé made her first appearance with the Philadelphia Lyric Opera Company as Maddalena di Coigny in Giordano's ""Andrea Chénier"" and her Italian debut at the Maggio Musicale Fiorentino as Leonora in Verdi's ""Il trovatore"", followed by Bellini's ""Il pirata"" in 1967. She returned to Philadelphia in 1967 to sing the title roles in Puccini's ""Tosca"" and ""Madama Butterfly"", and to the Met to sing three Verdi heroines: Leonora alongside Richard Tucker as Manrico, Desdemona in ""Otello"" with James McCracken in the"
"include Abigail in ""Nabucco"", Amelia in Verdi's ""Un ballo in maschera"", Elvira in Bellini's ""I puritani"", Hélène in Verdi's ""Jérusalem"", Julia in Gaspare Spontini's ""La vestale"", Lady Macbeth in Verdi's ""Macbeth"", Leonora in Verdi's ""Il trovatore"", Leonora in Verdi's ""La forza del destino"", Madame Herz in Mozart's ""Der Schauspieldirektor"", Minnie in Puccini's ""La fanciulla del West"", Odabella in Verdi's ""Attila"", Paolina in Gaetano Donizetti's ""Poliuto"", Santuzza in Pietro Mascagni's ""Cavalleria Rusticana"", Viclinda in Verdi's ""I Lombardi alla prima crociata"", and the title roles in Donizetti's ""Anna Bolena"", Amilcare Ponchielli's ""La Gioconda"", Donizetti's ""Lucia di Lammermoor"", Luigi Cherubini's ""Médée"", Puccini's ""Suor"
"role, Luciano Pavarotti as Radamès, Olga Borodina as Amneris, and James Levine conducting. He has since been heard at the Met as Alfio in Pietro Mascagni's ""Cavalleria rusticana"", Carlo Gérard in ""Andrea Chénier"", Count Tomsky in ""The Queen of Spades"", Don Carlo in Verdi's ""La Forza del Destino"", the Messenger in Richard Strauss' ""Die Frau ohne Schatten"", Scarpia, and the title roles in Verdi's ""Nabucco"", Verdi's ""Rigoletto"", and Verdi's ""Simon Boccanegra"". Delavan has also sung roles with other leading American companies like the Houston Grand Opera, the Los Angeles Opera, the Lyric Opera of Chicago, the New York City Opera,"
"the Lyric Opera of Chicago, the Opéra de Monte-Carlo, the Sofia National Opera, the Teatro Colón, the Teatro Nacional de São Carlos, the Teatro Real, and the Vienna State Opera among others. Some of the roles Mattiucci performed on stage were Adalgisa in ""Norma"", Amneris in ""Aida"", Azucena in ""Il trovatore"", Beppe in ""L'amico Fritz"", Charlotte in ""Werther"", Climene in ""Saffo"", Dalila in ""Samson et Dalila"", Dorabella in ""Così fan tutte"", Fenena in ""Nabucco"", Giovanna in ""Anna Bolena"", Jocasta in ""Oedipus rex"", Laura Adorno in ""La Gioconda"", Leonor in ""La favorite"", Margarita in ""I quattro rusteghi"", Marina in ""Boris Godunov"","
"Reinaldo Censabella and Bruno D'Astoli, furthering her vocal technique with Horacio Amauri Pérez and her repertoire with Susana Cardonnet. Among her most notable performances were her roles as Nedda ""I Pagliacci"", Leonora ""Il Trovatore"", ""Madama Butterfly"" (title role), ""Francesca da Rimini"" (title role), ""Suor Angelica"" (title role), Abigail ""Nabucco"" (debut on 22 November 2009 in the Verdi opera) and Elisabetta ""Don Carlos"", among others. She died two days after a performance of Giuseppe Verdi's ""Requiem"" at San Juan City, after being operated on for a ACV in the Hospital Español of Godoy Cruz, city de Mendoza. Florencia Fabris María Florencia"
"Giuseppe Garibaldi's redshirts to fight the Austrian Empire for the annexation of Venice to the newly formed Kingdom of Italy in 1866. Franco Faccio was also responsible for two of the three ""Scapigliatura"" operas: ""I profughi fiamminghi"" (with a libretto by Emilio Praga) and ""Amleto"", set to a text by Boito. It was on the lukewarm premiere of the former in 1863 that Faccio was fêted with a banquet where Boito read his ode ""All'arte italiana"", which famously so offended Giuseppe Verdi that the composer refused to work with him when the publisher Ricordi first suggested a collaboration. The offending"
"Adelina (opera) Adelina is an opera farsa (described as a ‘medodramma sentimentale’) in one act, by the Italian composer Pietro Generali with words by Gaetano Rossi. It was first performed at the Teatro San Moisè in Venice on either 15 or 16 September 1810. It premiered just before the first of Rossini's farse at the same theatre. For the inspiration for his libretto Rossi turned to ""Lisbeth"", a drame lyrique with words by Edmond de Favières, set by André Grétry and first performed in 1797 at the Salle Favart in Paris. The libretto is permeated by the ideals of Rousseau"
"António D'Andrade António D'Andrade, or De Andrade, (13 April 1854 – 18 December 1942) was a Portuguese opera singer who sang leading tenor roles throughout the opera houses of Europe, often appearing with his younger brother, the baritone Francisco D'Andrade. He created the roles of Roberto in Puccini's ""Le Villi"" (1884) and Aben-Afan in Alfredo Keil's ""Donna Bianca"" (1888). D'Andrade was born in Lisbon where his father, José Justino de Andrade e Silva, was a prominent jurist. Like his brother Francisco, he initially trained as a lawyer, but also had a keen interest in opera and theatre. Both frequently attended"
"Giovanni"", Pamina in ""Die Zauberflöte"", Fiordiligi in ""Così fan tutte"", Cio-Cio-San in ""Madama Butterfly"", Angelica in ""Suor Angelica"", Leïla in ""Les pêcheurs de perles"", Violetta in ""La traviata"", Marguerite in ""Faust"", the Countess in ""The Marriage of Figaro"", Amelia Grimaldi (Maria Boccanegra) in ""Simon Boccanegra"", Marenka in ""The Bartered Bride"", The Mother in ""Amahl and the Night Visitors"", and Mimi and Musetta in ""La bohème"". Her vast opera repertoire also includes Nedda in ""Pagliacci"", Donna Anna in ""Don Giovanni"", Lauretta in ""Gianni Schicchi"", Despina in ""Così fan tutte"", Susanna in ""The Marriage of Figaro"", Micaëla in ""Carmen"", Antonia in ""Les"
"which were highly influential include its use of song (with a character who is a singer), the plot element of sleep, and especially the use of madness. Real or feigned madness was used in many operas in the next fifteen years, starting already in 1641 with ""Didone"" by Francesco Cavalli, and with the end of the craze in 1657 with ""Le fortune di Rodope e Damira"" by and Pietro Andrea Ziani, which was also the final role of Anna Renzi in Venice. While the story of Achilles in Scyros was known since ancient times, it was the first time that"
"Giuseppe Persiani Giuseppe Persiani (11 September 1799 – 13 August 1869) was an Italian opera composer. Persiani was born in Recanati. He wrote his first opera - one of 11 - in 1826 but, after his marriage to the soprano Fanny Tacchinardi Persiani, who was to become a significant singer in her time, he devoted much of his efforts to supporting her career. He worked in a variety of opera genres including ""opera buffa"" and wrote an oratorio named ""Abigaille"" and featuring the same character as in the popular Verdi opera, ""Nabucco"". He was noted for his ability to effectively"
"Milan. Her niece, Mirella Freni, also became a famous operatic soprano. Valentina Bartolomasi Valentina Bartolomasi (1889–1932) was an Italian soprano who had a major opera career from 1910 to 1927. Particularly successful in the dramatic soprano repertoire, she was Italy's leading Wagnerian soprano of her day. She notably appears on the first complete recordings made of Umberto Giordano's ""Andrea Chénier"" (as Maddalena de Coigny), Giacomo Puccini's ""Tosca"" (in the title role), and Giuseppe Verdi's ""Aida"" (in the title role). Bartolomasi was born in Modena and studied singing under her father, Bernardo Bartolomasi, a well known voice teacher. She made her"
"following season he went to La Fenice in Venice where he was heard as Idreno in Rossini's ""Semiramide"", the Duke of Mantua in ""Rigoletto"", the title role of Verdi's ""Stiffelio"", and in the premieres of several operas by minor Italian composers. In his second season there, on 6 March 1853, he created the role of Alfredo in Verdi's ""La traviata"". The production was poorly received, and Verdi, who was depressed and disappointed, described Graziani's singing as ""marmoreal"" and ""monotonous"", although most of the blame for the opera's lack of success was reserved for the baritone Felice Varesi, who sang Giorgio"
"Fenena in ""Nabucco"", Maddalena in ""Rigoletto"", Preziosilla in ""La forza del destino"", Mozart’s Dorabella in ""Così fan tutte"", Cherubino and Marcellina in ""Le nozze di Figaro"" and Sesto in ""La clemenza di Tito"", Rossini’s Berta in ""Il barbiere di Siviglia"", Tchaikovsky’s Olga in ""Eugene Onegin"", Bizet’s Mercedes in ""Carmen"", Mascagni‘s Lola in ""Cavalleria rusticana"", Martinů’s Filoména in ""Alexander Twice"", Gluck’s Orpheus in ""Orpheus and Eurydice"", Dvořák’s Witch in ""Rusalka"" and Kate in ""The Devil and Kate"", Smetana’s Radmila in ""Libuše"" and Háta in ""The Bartered Bride"", Handel’s Ulysses in ""Deidamia"", Purcell’s Witch in ""Dido and Aeneas"", Britten’s Miss Jessel in"
"Rossini's ""Il Barbiere di Siviglia"", Dorabella in Mozart's ""Così fan tutte"", Mélisande in Debussy's ""Pelléas et Mélisande"", Meg Page in Verdi's ""Falstaff"", Marcellina in ""The Marriage of Figaro"". She has also appeared at Lyric Opera of Chicago, the San Francisco Opera, the Houston Grand Opera, La Scala, Covent Garden, Vienna State Opera, the Cologne Opera the Opéra de Paris and at the Salzburg Festival. Besides the roles she has sung at the Metropolitan Opera, her operatic reportory includes Zerlina in Mozart's ""Don Giovanni"", the title role of Rossini's ""La Cenerentola"", Dido in Purcell's ""Dido and Aeneas"", Adalgisa in Bellini's ""Norma"""
"at La Scala), the title role in ""Fausta"", Pia in ""Pia de' Tolomei"", Eleonora in ""L'esule di Roma, ossia Il proscritto"", Antonina in ""Belisario"", Elena in ""Marino Faliero"", the title role in ""Maria Padilla"", Gemma in ""Gemma di Vergy"", Norina in ""Don Pasquale"", and Adina in ""L'elisir d'amore"". One of her earliest performances as Adina had been in Vienna in 1835. When she sang the role for the 1842 revival of ""L'elisir d'amore"" in Naples, Donizetti composed a completely new final cabaletta for her, ""Obblia le tue pene"". An early admirer of Verdi, she created the title role of ""Alzira"""
"concert appearances with the famous tenor. In 1995 she made her Metropolitan Opera debut as Mimì in Puccini's ""La bohème"". Nuccia Focile has appeared in many roles, such as Nannetta in ""Falstaff"" by Verdi, Nedda in ""Pagliacci"", Violetta in ""La Traviata"", Elisabeth in Verdi's ""Don Carlos"", Susanna in ""Le Nozze di Figaro"", the title role in ""Madama Butterfly"" and ""Katya Kabanova"", Tatiana in ""Eugene Onegin"", Amelia in ""Simon Boccanegra"", the title role in ""Jenufa"" for the Welsh National Opera, Despina in Mozart's ""Così fan tutte"" for both the Metropolitan Opera and Lyric Opera of Chicago, Adina in Donizetti's ""L'elisir d'amore"""
"Regio di Torino to name just a few. Other roles that Bakočević performed on stage during her career including: Adriana in Francesco Cilea's ""Adriana Lecouvreur"", Aida in Verdi's ""Aida"", Amelia in Verdi's ""Simon Boccanegra"", Antonida in Mikhail Glinka's ""A Life for the Tsar"", Beatrice in Bellini's ""Beatrice di Tenda"", Cherubino in Mozart's ""Le nozze di Figaro"", Desdemona in Verdi's ""Otello"", Elisabetta in Gaetano Donizetti's ""Roberto Devereux"", Elisabeth in Wagner's ""Tannhäuser"", Elvira in Verdi's ""Ernani"", Giulietta in Jacques Offenbach's ""Les Contes d'Hoffmann"", Iolanta in Tchaikovsky's ""Iolanta"", Jaroslavna in Alexander Borodin's ""Prince Igor"", Leonora in Verdi's ""La Forza del destino"", Lisa in"
"line"" and he names Ulrica (from ""Ballo""), Eboli (from ""Don Carlos""), and Amneris (from ""Aida"") as followers in the same vocal range and with the same expressive and distinct qualities which separate them from the other female role in the opera in which they feature. He quotes from a letter which Verdi wrote to Marianna Barbieri-Nini, the soprano who was due to sing the Leonora in Venice after the premiere, and who expressed reservations about her music. Here, Verdi emphasizes the importance of the role of Azucena: From this position, Budden comments on the distinct differences in an era where"
"operas on patriotic themes and many of the standard romantic sources: Friedrich Schiller (""Giovanna d'Arco"", 1845; ""I masnadieri"", 1847; ""Luisa Miller"", 1849); Lord Byron (""I due Foscari"", 1844; ""Il corsaro"", 1848); and Victor Hugo (""Ernani"", 1844; ""Rigoletto"", 1851). Verdi was experimenting with musical and dramatic forms, attempting to discover things which only opera could do. In 1887, he created ""Otello"" which completely replaced Rossini's opera of the same name, and which is described by critics as the finest of Italian romantic operas with the traditional components: the solo arias, the duets and the choruses fully integrated into the melodic and"
"Rondine), Tosca, Madama Butterfly, Ponchielli's ""Gioconda"" (La Gioconda), and Boito's ""Margareta/ Elena"" (Mefistofele) to Tchaikovsky's ""Lisa"" (The Queen of Spades) and Richard Wagner's ""Senta"" (The Flying Dutchman). It contains twelve Verdi-roles: La Traviata, ""Desdemona"" (Otello), Aida, ""Leonora"" (Il Trovatore and La forza del destino), ""Elisabetta"" (Don Carlo), ""Elena"" (I vespri siciliani), ""Amelia"" (Simon Boccanegra), ""Elvira"" (Ernani), ""Lady Macbeth"", ""Abigaille"" (Nabucco), ""Odabella"" (Attila) as well as the Requiem. A central part for her is Bellini's Norma; she has appeared in this role among others at Vienna Volksoper, at the Regio of Turin, in Montreal, Baltimore, Detroit, Denver, Washington, D.C. and at"
"which mounted a revised version of ""Amleto"" on 12 February that year. It was not a success, and was never performed again during Faccio's lifetime. At La Scala, he conducted the first Italian performance of ""Aida"" in 1872 and this was followed by the first performance of Verdi's ""Otello"" in 1887, which starred his long-time lover Romilda Pantaleoni as Desdemona, Francesco Tamagno as Otello and Victor Maurel as Iago. Other premieres of the revised versions which he conducted included ""Simon Boccanegra"" in 1881 and ""Don Carlo"" in 1884. Faccio helped to launch Puccini's career, conducting his graduation piece from the"
"return engagement in Naples. She was also celebrated in Naples that year as Adalgisa in Bellini's ""Norma"" and made her debut that year at the Opéra national de Montpellier. In 1988 Dragoni made her debut at La Scala as Fenena in Giuseppe Verdi's ""Nabucco"". She also made her debuts that year at the Opéra national de Lorraine and the Ravenna Festival in the title role of Giacomo Puccini's ""Turandot"". In 1989 she made her debut at the Macerata Opera Festival in the title role of Verdi's ""Aida"". She also had a triumphant debut that year at the Théâtre des Champs-Élysées"
"to ""Otello"", an Italian grand opera in four acts that was first performed at the Teatro alla Scala, Milan on 5 February 1887. It was Verdi's second to last opera (followed by another Shakespeare adaptation, ""Falstaff"") and is considered by many his greatest. The popular opera attracts world class singers and is found in the repertoire of prominent opera houses. Verdi and his librettist dispensed with the first act of the play. Franco Zeffirelli's 1986 film version of Verdi's opera starring Plácido Domingo as Othello was nominated for the BAFTA for foreign language film. However, it did not win the"
"ballo in maschera"", Pinkerton in ""Madama Butterfly"", Il Duca in ""Rigoletto"", Alvaro in ""La forza del destino"", Pollione in ""Norma"", Loris in ""Fedora"", ""Werther"", Maurizio in ""Adriana Lecouvreur"", Fernand in ""La Favorite"", and the title part in ""Fra Diavolo"". He also created the leading tenor parts in Boito's ""Nerone"", in 1924, Wolf-Ferrari's ""Sly"", in 1927, and Mascagni's ""Nerone"", in 1935. In all his La Scala roles, Pertile achieved compelling dramatic results despite possessing a voice that was not especially suave or beautiful. It was sometimes even described by critics as ""brutta"" (ugly). He was particularly effective in Verdi roles and"
"acclaimed role. From 1991 to 2003, she sang the Straussian role about 140 times. At that house, she performed dozens of roles, including: Maria in ""Maria Stuarda"", Giulietta in ""The Tales of Hoffmann"", Elettra in ""Idomeneo"", Donna Anna in ""Don Giovanni"", Salomé in ""Hérodiade"", Hélène in Verdi's ""Jérusalem"", Elena in ""I Vespri Siciliani"", Abigaille in ""Nabucco"", Tosca, Madama Butterfly, Liù in ""Turandot"", Lady Macbeth, Lina in ""Stiffelio"", Maddalena in ""Andrea Chénier"" and many other roles. She also performed as a guest artist at the Vienna Volksoper as Tatiana in ""Eugene Onegin"" and as Abigaille, in 1992; at the Bavarian State"
"(1855), and Rossini's ""Otello"" (1855). Eugenio Cavallini Eugenio Cavallini (16 June 1806 — 11 April 1881) was an Italian conductor, composer, violinist, and violist. In 1833 he became first violinist of the orchestra at La Scala, a post he held through 1855. He also served as a conductor at La Scala, notably leading the world premieres of Gaetano Donizetti's ""Lucrezia Borgia"" (1833), Donizetti's ""Gemma di Vergy"" (1834), Donizetti's ""Maria Stuarda"" (1835), Saverio Mercadante's ""Il giuramento"" (1837), Mercadante's ""Il bravo"" (1839), Giuseppe Verdi's ""Oberto"" (1839), Verdi's ""Un giorno di regno"" (1840), Donizetti's ""Maria Padilla"" (1841), Verdi's ""Nabucco"" (1842), Verdi's ""I Lombardi"
"of ""Stiffelio"", such as the opening drinking chorus which replaces a recitative for Jorg in the original version. Notes Cited sources Other sources Aroldo Aroldo () is an opera in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on and adapted from their earlier 1850 collaboration, ""Stiffelio"". The first performance was given in the Teatro Nuovo Comunale in Rimini on 16 August 1857. ""Stiffelio"" had provoked the censorship board because of “the immoral and rough” storylines of a Protestant minister deceived by his wife and also because making the characters German did not please"
"Jeanette Scovotti as Adele, Cilea's ""Adriana Lecouvreur"" with Renata Tebaldi in the title role and Franco Corelli as Maurizio, ""La sonnambula"" with Sutherland as Amina and Nicolai Gedda as Elvino, ""Tosca"" with Gabriella Tucci in the title role and Anselmo Colzani as Scarpia, ""The Magic Flute"" with Anna Moffo as Pamina and Gianna D'Angelo as the Queen of the Night, ""Ariadne auf Naxos"" with Gladys Kuchta in the title role and Roberta Peters as Zerbinetta, ""Aida"" with Birgit Nilsson in the title role, ""Don Pasquale"" with Fernando Corena in the title role, ""The Tales of Hoffmann"" with William Dooley playing"