Giuseppe Verdi: biography and creativity, famous works. The life and creative path of Giuseppe Verdi

Works by Giuseppe Verdi by genre, indicating title, year of creation, genre/performer, with comments.

Operas

1. “Oberto, Count Bonifacio” (“Oberto, conte di san Bonifacio”), libretto by A. Piazza and T. Soler. First production on November 17, 1839 in Milan, at the Teatro La Scala.
2. “The King for an Hour” (“Un giorno di regno”) or “Imaginary Stanislav” (“Il finto Stanislao”), libretto by F. Romani. First production on September 5, 1840 in Milan, at the Teatro La Scala.
3. “Nabucco” or “Nebuchadnezzar”, libretto by T. Soler. First production on March 9, 1842, in Milan, at the La Scala theater.
4. “The Lombards in the First Crusade” (“I Lombardi alla prima crociata”), libretto by T. Soler. First production February 11, 1843 in Milan, at the La Scala theater. The opera was later reworked for Paris under the title Jerusalem. Ballet music was written for the second edition. First production on November 26, 1847 in Paris, at the Grand Op?ra theater.
5. “Ernani”, libretto by F. M. Piave. First production March 9, 1844 in Venice, at the La Fenice theater.
6. “The Two Foscari” (“I due Foscari”), libretto by F. M. Piave. First production on November 3, 1844 in Rome, at the Argentina Theater.
7. “Giovanna d’Arco”, libretto by T. Soler. First production on February 15, 1845 in Milan, at the Teatro La Scala.
8. “Alzira”, libretto by S. Cammarano. First production on August 12, 1845 in Naples, at the Teatro San Carlo.
9. “Attila”, libretto by T. Soler and F. M. Piave. First production on March 17, 1846 in Venice, at the La Fenice theater.
10. “Macbeth”, libretto by F. M. Piave and A. Maffei. First production on March 14, 1847 in Florence, at the La Pergola theater. The opera was later revised for Paris. Ballet music was written for the second edition. First production in Paris on April 21, 1865 at the Théâtre Lyrique.
11. “The Robbers” (“I Masnadieri”), libretto by A. Maffei. First production on July 22, 1847 in London, at the Theater Royal.
12. “The Corsair” (“Il Corsaro”), libretto by F. M. Piave. First production on October 25, 1848 in Trieste.
13. “The Battle of Legnano” (“La Battaglia di Legnano”), libretto by S. Cammarano. First production on January 27, 1849 in Rome, at the Argentina Theater. Later, in 1861, the opera was performed with a revised libretto entitled “The Siege of Harlem” (“Assiedo di Harlem”).
14. “Luisa Miller”, libretto by S. Cammarano. First production on December 8, 1849 in Naples, at the San Carlo Theater.
15. “Stiffelio”, libretto by F. M. Piave. First production on November 16, 1850 in Trieste. The opera was later reworked under the title Aroldo. First production on August 16, 1857 in Rimini.
16. “Rigoletto” (“Rigoletto”), libretto by F. M. Piave. First production on March 11, 1851 in Venice, at the La Fenice theater.
17. “Il Trovatore” (“Il Trovatore”), libretto by S. Cammarano and L. Bardare. First production on January 19, 1853 in Rome, at the Apollo Theater. For the production of the opera in Paris, ballet music was written and the ending was reworked.
18. “La Traviata”, libretto by F. M. Piave. First production on March 6, 1853 in Venice, at the La Fenice theater.
19. “Sicilian Vespers” (“I vespri siciliani”), (“Les v?pres siciliennes”), libretto by E. Scribe and C. Duveyrier. First production on June 13, 1855 in Paris, at the Grand Op?ra theater.
20. “Simon Boccanegra”, libretto by F. M. Piave. First production on March 12, 1857 in Venice, at the La Fenice theater. The opera was later revised (libretto by A. Boito). First production on March 24, 1881 in Milan, at the Teatro La Scala.
21. “Un ballo in maschera”, libretto by A. Somme. First production on February 17, 1859 in Rome, at the Apollo Theater.
22. “The Force of Destiny” (“La Forza del destino”), libretto by F. M. Piave. First production on November 10, 1862 in St. Petersburg, at the Mariinsky Theater. The opera was later revised. First production in Milan on February 20, 1869, at the Teatro La Scala.
23. “Don Carlos” (“Don Carlo”), libretto by J. Mary and C. du Locle. First production on March 11, 1867 in Paris, at the Grand Opera. The opera was later revised. First production in Milan on January 10, 1881 at the Teatro La Scala.
24. “Aida” (“Aida”), libretto by A. Ghislanzoni. First production on December 24, 1871 in Cairo. An overture (unpublished) was written for the opera, performed during the production of “Aida” in Milan (La Scala) on February 8, 1872.
25. “Othello”, libretto by A. Boito. The first production was on February 5, 1887 in Milan, at the La Scala theater (for the production in Paris in 1894, ballet music was written: “Arabian Song”, “Greek Song”, “Hymn to Mohammed”, “Dance of the Warriors”).
26. “Falstaff”, libretto by A. Boito. First production on February 9, 1893 in Milan, at the La Scala theater.

Works for choir

• “Sound, trumpet” (“Suona la tromba”) to the words of the hymn by G. Mameli, for male choir and orchestra. Op. 1848
• "Anthem of the Nations" ("Inno delle nazioni"), cantata for high voice, choir and orchestra, to the words of A. Boito. Op. for the London World's Fair. First performance May 24, 1862

Church music

• “Requiem” (“Messa di Requiem”), for four soloists, choir and orchestra. First performance on May 22, 1874 in Milan, in the Church of San Marco.
• “Pater Noster” (text by Dante), for five-voice choir. First performance on April 18, 1880 in Milan.
• “Ave Maria” (text by Dante), for soprano and string orchestra. First performance on April 18, 1880 in Milan.
• “Four Sacred Pieces” (“Quattro pezzi sacri”): 1. “Ave Maria”, for four voices (op. ca. 1889); 2. “Stabat Mater”, for four voices mixed choir with orchestra (op. ca. 1897); 3. “Le laudi alla vergine Maria” (text from Dante’s “Paradise”), for unaccompanied four-voice female choir (late 80s); 4. “Te Deum”, for double four-voice choir and orchestra (1895-1897). First performance on April 7, 1898 in Paris.

Chamber instrumental music

• String quartet e-moll. First performance on April 1, 1873 in Naples.

Chamber vocal music

• Six romances for voice and piano. to the words of G. Vittorelli, T. Bianchi, C. Angiolini and Goethe. Op. in 1838
• “Exile” (“L’Esule”), ballad for bass with fp. to the words of T. Soler. Op. in 1839
• “Seduction” (“La Seduzione”), ballad for bass with fn. to the words of L. Balestra. Op. in 1839
• “Nocturno” (“Notturno”), for soprano, tenor and bass, accompanied by obligato flute. Op. in 1839
• Album - six romances for voice and piano. to words by A. Maffei, M. Maggioni and F. Romani. Op. in 1845
• “The Beggar” (“Il Poveretto”), romance for voice and piano. Op. in 1847
• “Abandoned” (“L’Abbandonata”), for soprano with fn. Op. in 1849
• “Flower” (“Fiorellin”), romance with lyrics by F. Piave. Op. in 1850
• “The Poet’s Prayer” (“La preghiera del poeta”), lyrics by N. Sole. Op. in 1858
• “Stornelle” (“Il Stornello”), for voice with piano. Op. in 1869 for an album in favor of F. M. Piave.

Youth essays

• Several orchestral overtures, including the overture to “The Barber of Seville” by Rossini. Marches and dances for the Busseto city orchestra. Concert pieces for piano and solo wind instruments. Arias and vocal ensembles(duets, trios). Masses, motets, laudi and other church compositions.
• “The Lamentations of Jeremiah” (according to the Bible, translated into Italian).
• “The Madness of Saul”, for voice and orchestra, lyrics by V. Alfieri. Op. until 1832
• Cantata for solo voice and orchestra in honor of the wedding of R. Borromeo. Op. in 1834
• Choruses for the tragedies of A. Manzoia and “Ode on the Death of Napoleon” - “May 5”, words by A. Manzoni, for voice and orchestra. Op. in the period 1835 - 1838

Verdi's work is the culmination of the development of Italian music of the XIX century. His creative activity, associated primarily with the genre of opera, spanned more than half a century: the first opera (“Oberto, Count Bonifacio”) was written by him at the age of 26, the penultimate (“Othello”) - at 74 years old, the last ( “Falstaff”) - at 80 (!) years old. In total, taking into account six new editions of previously written works, he created 32 operas, which to this day form the main repertoire of theaters around the world.

A certain logic can be seen in the general evolution of Verdi's operatic work. In terms of themes and plots, operas of the 40s stand out with priority to plot motifs designed for great socio-political resonance (Nabucco, The Lombards, The Battle of Legnano). Verdi turned to such events of ancient history that turned out to be consonant with the sentiments of contemporary Italy.

Already in the first operas by Verdi, created by him in the 40s, national liberation ideas that were so relevant for the Italian public of the 19th century were embodied: “Nabucco”, “The Lombards”, “Ernani”, “Joan of Arc”, “Atilla” , “The Battle of Legnano”, “The Robbers”, “Macbeth” (Verdi’s first Shakespearean opera), etc. - all of them are based on heroic-patriotic plots, glorify freedom fighters, each of them contains a direct political allusion to the social situation in Italy, fighting against Austrian oppression. The productions of these operas caused an explosion of patriotic feelings among the Italian listener and resulted in political demonstrations, that is, they became events of political significance.

The melodies of opera choirs composed by Verdi acquired the significance of revolutionary songs and were sung throughout the country. The last opera of the 40s - Louise Miller" based on Schiller's drama "Cunning and Love" - ​​opened a new stage in Verdi's work. The composer first addressed a new topic for himself - the topic of social inequality, which worried many artists of the second half of the 19th century century, representatives critical realism. Heroic stories are being replaced by personal drama due to social reasons. Verdi shows how unfair social order breaks human destinies. At the same time, poor, powerless people turn out to be much more noble, spiritually richer than representatives of the “high society”.

In his operas of the 50s, Verdi moved away from the civilian-heroic line and focused on the personal dramas of individual characters. During these years, the famous opera triad was created - “Rigoletto” (1851), “La Traviata” (1853), “Il Trovatore” (1859). The theme of social injustice, coming from “Louise Miller”, was developed in the famous opera triad of the early 50s - "Rigoletto" (1851), "Il Trovatore", "La Traviata" (both 1853). All three operas tell about the suffering and death of socially disadvantaged people, despised by “society”: a court jester, a beggar gypsy, a fallen woman. The creation of these works speaks of the increased skill of Verdi the playwright.

Compared to the composer’s early operas, a huge step forward is made here:

• the psychological principle associated with the revelation of bright, extraordinary human characters is strengthened;
• contrasts are intensified, reflecting life’s contradictions;
• traditional opera forms are interpreted innovatively (many arias and ensembles are transformed into freely organized scenes);
• in vocal parts the role of declamation increases;
• The role of the orchestra is increasing.

Later, in operas created in the second half of the 50s ( "Sicilian Vespers" - for the Paris Opera, Simon Boccanegra, Un ballo in maschera) and in the 60s ( "Force of Destiny" - commissioned by the St. Petersburg Mariinsky Theater and "Don Carlos" - for the Paris Opera), Verdi again returns to historical, revolutionary and patriotic themes. However, now socio-political events are inextricably linked with the personal drama of the heroes, and the pathos of the struggle and vivid crowd scenes are combined with subtle psychologism.

The best of these works is the opera Don Carlos, which exposes the terrible essence of the Catholic reaction. It is based on a historical plot borrowed from Schiller's drama of the same name. The events take place in Spain during the reign of the despotic King Philip II, who betrays his own son into the hands of the Inquisition. By making the oppressed Flemish people one of the main characters of the work, Verdi showed heroic resistance to violence and tyranny. This tyrant-fighting pathos of “Don Carlos”, consonant with political events in Italy, largely prepared “Aida”.

"Aida", created in 1871 by order of the Egyptian government, opens late period in the works of Verdi. This period also includes such peak works of the composer as musical drama "Othello" and comic opera "Falstaff" (both based on Shakespeare with libretto by Arrigo Boito).

These three operas combine the best features of the composer's style:

• deep psychological analysis of human characters;
• vivid, exciting display of conflict clashes;
• humanism aimed at exposing evil and injustice;
• spectacular entertainment, theatricality;
• democratic clarity of musical language, based on the traditions of Italian folk song.

In the last two operas created on the plots of Shakespeare - “Othello” and “Falstaff”, Verdi strives to find some new ways in opera, to give it a more in-depth study of the psychological and dramatic aspects. However, in terms of melodic weight and content (especially Falstaff), they are inferior to previously written operas. Let us add that in quantitative terms the operas are located along the line of “extinction”. Over the last 30 years of his life, Verdi wrote only 3 operas: i.e. one performance in 10 years.

Opera by Giuseppe Verdi "La Traviata"

Plot " Traviata" (1853) is borrowed from the novel "Lady of the Camellias" by Alexandre Dumas fils. As a possible opera material, it attracted the attention of the composer immediately after its publication (1848). The novel was a sensational success and the writer soon revised it into a play. Verdi attended its premiere and was finally confirmed in his decision to write the opera. He found in Dumas a theme close to his own - the tragedy of women's destiny ruined by society.

The theme of the opera caused heated controversy: the modern plot, costumes, and hairstyles were very unusual for the public of the 19th century. But the most unexpected thing was that for the first time on opera stage the main character, depicted with undisguised sympathy, was a “fallen woman” (a circumstance specifically emphasized by Verdi in the title of the opera - this is how the Italian “traviata” is translated). This novelty is the main reason for the scandalous failure of the premiere.

As in many of Verdi's operas, the libretto was written by Francesco Piave. Everything about it is extremely simple:

• minimum of characters;
• lack of intricate intrigue;
• the emphasis is not on the eventual, but on the psychological side - the spiritual world of the heroine.

The compositional plan is extremely laconic, it is concentrated on personal drama:

I day - exposition of the images of Violetta and Alfred and the beginning love line(Alfred’s recognition and the emergence of a reciprocal feeling in Violetta’s soul);

In the second episode, the evolution of the image of Violetta is shown, whose whole life was completely transformed under the influence of love. Already here a turn is made towards a tragic denouement (Violetta’s meeting with Georges Germont becomes fatal for her);

Chapter III contains the climax and denouement - the death of Violetta. Thus, her fate is the main dramatic core of the opera.

By genre"La Traviata" - one of the first samples lyrical-psychological operas. The routine and intimacy of the plot led Verdi to abandon the heroic monumentality, theatrical spectacle, and showiness that distinguished his first opera works. This is the composer's quietest chamber opera. The orchestra is dominated by string instruments; dynamics rarely go beyond R.

Much more widely than in his other works, Verdi relies on modern everyday genres. This is, first of all, the waltz genre, which can be called the “leutzhanre” of “La Traviata” (bright examples of the waltz are Alfred’s drinking song, the 2nd part of Violetta’s aria “To be free...”, the duet of Violetta and Alfred from the 3rd movement. “ We will leave the region." Alfred's love declaration in Act I also takes place against the background of the waltz.

Violetta's image.

The first characterization of Violetta is given in a short orchestral prelude, introducing the opera, where two opposing themes sound:

1 - the theme of the “dying Violetta”, anticipating the denouement of the drama. It is given in the muted sound of divizi violins, in a mournful b-moll, chorale texture, on second intonations. By repeating this theme in the introduction to Act III, the composer emphasized the unity of the entire composition (the “thematic arch” technique);

2 - “love theme” - passionate and enthusiastic, in the bright sonority of E-dur, combines the melodiousness of the melody with the smooth waltz rhythm. In the opera itself, she appears as Violetta in the 2nd act at the moment of her separation from Alfred.

IN I action(picture of the ball) Violetta’s characterization is based on the interweaving of two lines: brilliant, virtuoso, associated with embodiment external essence image, and lyrical-dramatic, conveying interior Violetta's world. At the very beginning of the action, the first one dominates - virtuoso. At the holiday, Violetta seems inseparable from her environment - the merry secular society. Her music is little individualized (characteristically, Violetta joins Alfred’s drinking song, which is soon taken up by the entire choir of guests).

After Alfred's love explanation, Violetta is in the grip of the most contradictory feelings: here is the dream of true love, and disbelief in the possibility of happiness. That's why its big portrait aria , which concludes Act I, is based on a contrasting comparison of two parts:

Part 1 - slow (“Aren’t you for me...” f-moll). It has a thoughtful, elegiac character. A smooth waltz-like melody is full of trepidation and tenderness, inner excitement (pauses, pp, restrained accompaniment). The theme of Alfred's love confession acts as a kind of chorus to the main melody. From now on this beautiful melody is very close to the topic love from the orchestral prelude, becomes the leading theme of the opera (the so-called 2nd volume of love). In Violetta's aria it sounds several times, first in her part, and then in Alfred, whose voice is given in the background.

Part 2 of the aria - fast (“To be free...” As-dur). This is a brilliant waltz, captivating with its swift rhythm and virtuoso coloratura. A similar two-part structure is found in many opera arias; however, Verdi brought Violetta’s aria closer to a free dream-monologue, including in it expressive recitative ligaments (they reflect Violetta’s spiritual struggle) and using the technique of two-dimensionality (Alfred’s voice from afar).

Having fallen in love with Alfred, Violetta left noisy Paris with him, breaking with her past. To emphasize the evolution of the main character, Verdi in Act II radically changes the features of her musical speech. External shine and virtuoso roulades disappear, intonations acquire songlike simplicity.

In the center Act II - duet of Violetta with Georges Germont , Alfred's father. This, in the full sense of the word, is a psychological duel of two natures: Violetta’s spiritual nobility is contrasted with the philistine mediocrity of Georges Germont.

Compositionally, the duet is very far from the traditional type of joint singing. This is a free stage, including recitatives, arioso, and ensemble singing. In the construction of the scene, three large sections can be distinguished, connected by recitative dialogues.

Section I includes Germont's arioso “Pure, with the heart of an angel” and Violetta's response solo "Will you understand the power of passion." Violetta's role is characterized by stormy excitement and sharply contrasts with Germont's measured cantilena.

The music of section 2 reflects the turning point in Violetta’s mood. Germont manages to instill in her soul painful doubts about the longevity of Alfred's love (Germont's arioso "Infatuation passes") and she gives in to his requests (“ Your daughter..."). Unlike the 1st section, the 2nd section is dominated by joint singing, in which the leading role belongs to Violetta.

Section 3 (“I will die, but in my memory”) dedicated to showing Violetta's selfless determination to renounce her happiness. His music follows the character of a harsh march.

The scene of Violetta’s farewell letter and her separation from Alfred that follows the duet is full of mental turmoil and passion, which culminates in the expressive sound of the so-called love from the orchestral prelude (in words “Oh, my Alfred! I love you so much").

The drama of Violetta, who has decided to leave Alfred, continues at Flora’s ball (finale 2 d. or 2 scene 2 d.) Again, as at the beginning of the opera, carefree dance music sounds, but now the motley bustle of the ball weighs on Violetta; She is painfully going through a breakup with her beloved. The climax of the finale of episode 2 is the grief of Alfred, who throws money at Violetta’s feet - payment for love.

Act III almost entirely dedicated to Violetta, exhausted by illness and abandoned by everyone. Already in the small orchestral introduction there is a feeling of an approaching catastrophe. It is based on the theme of the dying Violetta from the orchestral prelude to Act I, only in a more intense C minor. It is characteristic that in the introduction to Act III there is no second, contrasting theme - the theme of love.

Central episode Act III - Violetta's aria "Forgive me forever". This is farewell to life, to moments of happiness. Before the start of the aria, the 2nd volume of love appears in the orchestra (when Violetta reads a letter from Georges Germont). The melody of the aria is very simple, built on smooth singing motifs and song moves on the sixth. The rhythm is very expressive: accents on weak beats and long pauses evoke associations with difficulty breathing and physical exhaustion. The tonal development from A-minor is directed to parallel, and then to the major of the same name, the more sad is the return to minor. Verse form. The tragedy of the situation is aggravated by the festive sounds of the carnival, bursting through the open window (in the finale of “Rigoletto” the Duke’s song plays a similar role).

The atmosphere of approaching death is briefly illuminated by the joy of Violetta’s meeting with the returning Alfred. Their duet “We will leave the region” - This is another waltz, bright and dreamy. However, Violetta's strength soon leaves her. The music of the last farewell sounds solemn and mournful when Violetta gives Alfred her medallion (choral chords in ostinato rhythm on rrrrr - characteristic signs of a funeral march). Just before the denouement, the theme of love sounds again in the extremely quiet sonority of string instruments.

Opera "Rigoletto" by Giuseppe Verdi

This is Verdi's first mature opera (1851), in which the composer moved away from heroic themes and turned to conflicts generated by social inequality.

At the core plot- Victor Hugo's drama "The King Amuses himself", banned immediately after the premiere, as undermining the authority of royal power. To avoid clashes with censorship, Verdi and his librettist Francesco Piave moved the location from France to Italy and changed the names of the characters. However, these “external” alterations in no way diminished the power of social denunciation: Verdi’s opera, like Hugo’s play, exposes the moral lawlessness and depravity of secular society.

The opera consists of those actions during which a single storyline associated with the images of Rigoletto, Gilda and the Duke develops intensely and rapidly. Such a focus exclusively on the fate of the main characters is characteristic of Verdi's dramaturgy.

Already in Act I - in the episode of Monterone's curse - that fatal outcome is destined to which all the passions and actions of the heroes lead. Between these extreme points of the drama - the curse of Monterone and the death of Gilda - there is a chain of interconnected dramatic climaxes, inexorably approaching the tragic ending.

• the scene of Gilda's abduction in the finale of Act I;
• Rigoletto's monologue and the following scene with Gilda, in which Rigoletto swears revenge on the Duke (Act II);
• The quartet of Rigoletto, Gilda, the Duke and Maddalena is the culmination of Act III, opening the direct path to the fatal denouement.

The main character of the opera is Rigoletto- one of the brightest images created by Verdi. This is a person over whom, according to Hugo’s definition, there is a triple misfortune (ugliness, infirmity and a despised profession). In contrast to Hugo’s drama, the composer named his work after him. He managed to reveal the image of Rigoletto with the deepest truthfulness and Shakespearean versatility.

This is a man of great passions, possessing an extraordinary mind, but forced to play a humiliating role at court. Rigoletto despises and hates the nobility, he does not miss an opportunity to mock the corrupt courtiers. His laughter does not spare even the paternal grief of old man Monterone. However, alone with his daughter, Rigoletto is completely different: he is a loving and selfless father.

The very first theme of the opera, which opens a short orchestral introduction, is associated with the image of the main character. This leitmotif of the curse , based on the persistent repetition of one sound in a sharp-dotted rhythm, dramatic c-moll, in trumpets and trombones. The character is ominous, gloomy, tragic, emphasized by intense harmony. This theme is perceived as an image of fate, inexorable fate.

The second theme of the introduction was called the “theme of suffering.” It is based on sorrowful second intonations, interrupted by pauses.

IN I scene of the opera(ball in the Duke's palace) Rigoletto appears in the guise of a jester. His antics, antics, and lame gait are conveyed by the theme sounding in the orchestra (No. 189 by notes). It is characterized by sharp, “prickly” rhythms, unexpected accents, angular melodic turns, and “clownery” performances.

A sharp dissonance in relation to the entire atmosphere of the ball is the episode associated with Monterone's curse. His menacing and majestic music characterizes not so much Monterone as the state of mind of Rigoletto, shocked by the curse. On the way home, he cannot forget about it, so ominous echoes of the l-va curse appear in the orchestra, accompanying Rigoletto's recitative “I am forever cursed by that old man.” This recitative opens 2 picture of the opera, where Rigoletto participates in two duet scenes that are completely opposite in color.

The first, with Sparafucile, is an emphatically “businesslike”, restrained conversation between two “conspirators”, which did not require cantilena singing. It is designed in gloomy colors. Both parties are thoroughly recitative and never unite. The “cementing” role is played by a continuous melody in octave unison of cellos and double basses in the orchestra. At the end of the scene, the curse sounds again, like a haunting memory.

The second scene, with Gilda, reveals a different, deeply human side of Rigoletto’s character. Feelings of paternal love are conveyed through a wide, typically Italian cantilena, a striking example of which are Rigoletto's two ariosos from this scene - "Don't talk about her to me"(No. 193) and “Oh, take care of the luxurious flower”(address to the maid).

The central place in the development of the image of Rigoletto is occupied by him scene with courtiers after Gilda is kidnapped from 2 actions. Rigoletto appears singing jester's song without words, through the feigned indifference of which hidden pain and anxiety are clearly felt (thanks to the minor scale, the abundance of pauses and descending second intonations). When Rigoletto realizes that the Duke has his daughter, he drops his mask of feigned indifference. Anger and hatred, passionate plea are heard in his tragic aria-monologue "Courtesans, the fiends of vice."

The monologue has two parts. The first part is based on dramatic recitation, in it the expressive means of the orchestral introduction to the opera are developed: the same pathetic C minor, verbal expressiveness of the melody, energy of the rhythm. The role of the orchestra is extremely large - the non-stop flow of string figurations, the repeated repetition of the sigh motif, the excited pulsation of sextuplets.

Part 2 of the monologue is built on a smooth, soulful cantilena, in which rage gives way to prayer (“Gentlemen, have mercy on me).

The next step in the development of the image of the main character is Rigoletto the Avenger. This is how he appears for the first time in the new duet scene with her daughter in Act 2, which begins with Gilda's story of the kidnapping. Like the first duet of Rigoletto and Gilda (from the 1st movement), it includes not only ensemble singing, but also recitative dialogues and arioso. The change of contrasting episodes reflects different shades of the emotional state of the characters.

The final section of the entire scene is usually called the "revenge duet". The leading role in it is played by Rigoletto, who swears cruel revenge on the Duke. The nature of the music is very active, strong-willed, which is facilitated by a fast tempo, strong sonority, tonal stability, upward direction of intonations, persistently repeating rhythm (No. 209). The “Duet of Revenge” ends the entire 2nd act of the opera.

The image of Rigoletto the avenger is developed in the central issue 3 actions, brilliant quartet , where the fates of all the main characters are intertwined. The gloomy determination of Rigoletto is contrasted here with the frivolity of the Duke, and the mental anguish of Gilda, and the coquetry of Maddalena.

During a thunderstorm, Rigoletto makes a deal with Sparafucile. The picture of the storm has a psychological meaning; it complements the drama of the heroes. In addition, the most important role in Act 3 is played by the Duke’s carefree song “The Heart of Beauties,” acting as an extremely striking contrast to the dramatic events of the finale. The last performance of the song reveals to Rigoletto a terrible truth: his daughter has become a victim of revenge.

Rigoletto's scene with the dying Gilda, their last duet - this is the denouement of the whole drama. His music is dominated by declamation.

The opera's two other leading characters - Gilda and the Duke - are psychologically deeply different.

The main thing is in the image Gilda- her love for the Duke, for which the girl sacrifices her life. The characterization of the heroine is given in evolution.

Gilda first appears in a duet scene with her father in Act I. Her entrance is accompanied by a bright portrait theme in the orchestra. The fast tempo, cheerful C major, dance rhythms with “mischievous” syncopations convey both the joy of meeting and the bright, youthful appearance of the heroine. The same theme continues to develop in the duet itself, linking short, melodious vocal phrases.

The development of the image continues in the following scenes of Act I - the love duet of Gilda and the Duke and Gilda's aria.

Remembering a love date. The aria is built on one theme, the development of which forms a three-part form. In the middle section, the aria's melody is colored with virtuoso coloratura ornamentation.

Opera "Aida" by Giuseppe Verdi

The creation of Aida (Cairo, 1871) stems from an offer from the Egyptian government to write an opera for the new opera house in Cairo to commemorate the opening of the Suez Canal. Plot was developed by the famous French Egyptologist Auguste Mariette based on an ancient Egyptian legend. The opera reveals the idea of ​​the struggle between good and evil, love and hate.

Human passions and hopes collide with the inexorability of rock and fate. This conflict is first presented in the orchestral introduction to the opera, where two leading leitmotifs are compared and then polyphonically combined - the theme of Aida (the personification of the image of love) and the theme of the priests (the generalized image of evil, fate).

In its style, “Aida” is in many ways close "grand French opera":

• large scale (4 acts, 7 scenes);
• decorative pomp, brilliance, “spectacle”;
• an abundance of mass choral scenes and large ensembles;
• a large role for ballet and ceremonial processions.

At the same time, elements of “grand” opera are combined with features lyrical-psychological drama, since the basic humanistic idea is strengthened by psychological conflict: all the main characters of the opera, who make up the love “triangle,” experience acute internal contradictions. So, Aida considers her love for Radames a betrayal of her father, brothers, and homeland; in the soul of Radamès military duty and love for Aida are fighting; Amneris rushes between passion and jealousy.

The complexity of the ideological content and the emphasis on psychological conflict determined the complexity dramaturgy , which is characterized by emphasized conflict. "Aida" is truly an opera of dramatic clashes and intense struggle not only between enemies, but also between lovers.

1 scene of Act I contains exposition all the main characters of the opera, except Amonasro, Aida's father, and the beginning love line, which is literally at the very beginning of the opera. This trio of jealousy(No. 3), where the complex relationships between the participants in the “love triangle” are revealed - the first ensemble scene of the opera. In his impetuous music one can hear the anxiety, excitement of Aida and Radamès, and the barely restrained anger of Amneris. The orchestral part of the trio is based on leitmotif of jealousy.

In Act 2 contrast is enhanced. In his first picture, in a larger view, the contrast between the two rivals (in their duet) is given, and in the second picture (this is the finale of the 2nd act), the main conflict of the opera is significantly aggravated due to the inclusion of Amonasro, Ethiopian captives on the one hand, and the Egyptian pharaoh, Amneris, the Egyptians on the other.

IN Act 3 dramatic development switches entirely to the psychological plane - to the area of ​​human relationships. Two duets follow one after another: Aida-Amonasro and Aida-Radames. They are very different in expressive and compositional solution, but at the same time create a single line of gradually increasing dramatic tension. At the very end of the action, a plot “explosion” occurs - the involuntary betrayal of Radames and the sudden appearance of Amneris, Ramfis, and the priests.

Act 4- the absolute pinnacle of opera. Its reprisal in relation to Act I is obvious: a) both open with the duet of Amneris and Radamès; b) in the finale, themes from the “dedication scene” are repeated, in particular, the prayer of the great priestess (however, if earlier this music accompanied the solemn glorification of Radames, here it is his ritual funeral service).

In Act 4 there are two climaxes: a tragic one in the court scene and a “quiet” lyrical one in the finale, in the farewell duet of Aida and Radames. Court scene- this is the tragic denouement of the opera, where the action develops in two parallel plans. From the dungeon comes the music of the priests accusing Radames, and in the foreground a sobbing Amneris calls out to the gods in despair. The image of Amneris is endowed with tragic features in the court scene. The fact that she, in essence, turns out to be a victim of the priests, brings Amneris into the positive camp: she, as it were, takes the place of Aida in the main conflict of the opera.

The presence of a second, “quiet” climax is an extremely important feature of the dramaturgy of Aida. After grandiose marches, processions, triumphal marches, ballet scenes, intense clashes, such a quiet, lyrical ending affirms the beautiful idea of ​​love and deeds in its name.

Ensemble scenes.

All the most important points in the development of the psychological conflict in “Aida” are associated with ensemble scenes, the role of which is extremely large. This is the “trio of jealousy”, which serves as the beginning of the opera, and the duet of Aida with Amneris - the first culmination of the opera, and the duet of Aida with Radames in the finale - the denouement of the love line.

The role of duet scenes that arise in the most tense situations is especially important. In Act I, this is a duet between Amneris and Radames, which develops into a “trio of jealousy”; in act 2 - a duet between Aida and Amneris; in act 3, two duets involving Aida follow in a row. One of them is with his father, the other with Radames; in act 4 there are also two duets surrounding the climactic court scene: at the beginning - Radames-Amneris, at the end - Radames-Aida. There is hardly any other opera that contains so many duets.

At the same time, they are all very individual. The meetings of Hades with Radames are not of a conflict nature and approach the type of “ensembles of agreement” (especially in the finale). In meetings between Radamès and Amneris, the participants are sharply separated, but no struggle arises; Radamès avoids it. But the meetings of Aida with Amneris and Amonasro in the full sense of the word can be called spiritual duels.

From the point of view of form, all ensembles of "Aida" are freely organized scenes , the construction of which entirely depends on the specific psychological content. They alternate episodes based on solo and ensemble singing, recitative and purely orchestral sections. A striking example of a very dynamic dialogue scene is the duet of Hades and Amneris from Act 2 (“test duet”). The images of the two rivals are shown in collision and dynamics: the evolution of the image of Amneris goes from hypocritical softness and insinuation to undisguised hatred.

Her vocal part is based mainly on pathetic recitative. The culmination of this development occurs at the moment of “throwing off the mask” - in the subject "You love, I love too". Her frantic character, breadth of range, unexpected accents characterize the imperious, indomitable character of Amneris.

In Aida’s soul, despair gives way to stormy joy, and then a prayer for death. The vocal style is more arioso, with a predominance of mournful, pleading intonations (for example, arioso "Forgive and have mercy", based on a sad lyrical melody, sounding against the background of arpeggiated accompaniment). In this duet, Verdi uses the “invasion technique” - as if to confirm the triumph of Amneris, the sounds of the Egyptian hymn “To the Sacred Banks of the Nile” from Scene I burst into his music. Another thematic arc is the "My Gods" theme from Aida's monologue from Act I.

The development of duet scenes is always determined by a specific dramatic situation. An example is two duets from 3 d. The duet of Aida with Amonasro begins with their complete agreement, which is expressed in the coincidence of thematics (theme “We will soon return to our native land” sounds first in Amonasro, then in Aida), but its result is a psychological “distancing” of the images: Aida is morally suppressed in an unequal duel.

Aida’s duet with Radames, on the contrary, begins with a contrasting comparison of images: enthusiastic exclamations of Radames ( “Again with you, dear Aida”) are contrasted with the mournful recitative of Aida. However, through overcoming the struggle of feelings, the joyful, enthusiastic consent of the heroes is achieved (Radames, in a fit of love, decides to run away with Aida).

The finale of the opera is also built in the form of a duet scene, the action of which unfolds in two parallel plans - in the dungeon (farewell to the lives of Aida and Radames) and in the temple located above it (the prayerful singing of the priestesses and the sobs of Amneris). The entire development of the final duet is directed towards a transparent, fragile, skyward theme “Forgive me, earth, forgive me, shelter of all suffering.”. By its nature, it is close to the leitmotif of Aida’s love.

Crowd scenes.

The psychological drama in "Hades" unfolds against a wide backdrop of monumental crowd scenes, the music of which depicts the scene (Africa) and recreates the harsh, majestic images of ancient Egypt. The musical basis of mass scenes is the themes of solemn anthems, victory marches, and triumphal processions. In Act I there are two such scenes: the scene of the “glorification of Egypt” and the “scene of the dedication of Radames.”

The main theme of the scene of the glorification of Egypt is the solemn hymn of the Egyptians "To the banks of the sacred Nile", which sounds after the pharaoh declared the will of the gods: Radames will lead the Egyptian troops. All those present are seized by a single warlike impulse. Features of the anthem: precise march rhythm, original harmonization (modal variability, widespread use of deviations into secondary keys), harsh coloring.

The largest crowd scene in Aida is Act 2 finale. As in the dedication scene, the composer uses here a wide variety of elements of operatic action: singing soloists, chorus, ballet. Along with the main orchestra, a brass band is used on stage. The abundance of participants explains multi-topic finale: it is based on many themes of a very different nature: a solemn anthem "Glory to Egypt" singing theme of the female choir « Laurel wreaths», the victorious march, the melody of which is led by a solo trumpet, the ominous leitmotif of the priests, the dramatic theme of Amonasro's monologue, the Ethiopians' plea for mercy, etc.

The many episodes that make up the finale of Day 2 are combined into a harmonious, symmetrical structure consisting of three parts:

Part I is three-part. It is framed by a jubilant chorus of “Glory to Egypt” and the stern singing of the priests, based on their leitmotif. In the middle, the famous march (trumpet solo) and ballet music sound.

Part 2 contrasts with its extreme drama; it is formed by episodes involving Amonasro and Ethiopian captives pleading for mercy.

Part 3 is a dynamic reprise, which begins with an even more powerful sound of the “Glory to Egypt” theme. Now it is combined with the voices of all soloists according to the principle of contrasting polyphony.

Giuseppe Verdi, whose biography is presented in the article, is a famous Italian composer. The years of his life are 1813-1901. A bunch of immortal works created by Verdi Giuseppe. The biography of this composer is certainly worthy of attention.

His work is considered the highest point in the development of 19th century music in his native country. Verdi's activity as a composer spanned more than half a century. She was mainly associated with the opera genre. Verdi created the first of them when he was 26 years old (Oberto, Count di San Bonifacio), and he wrote the last one at 80 years old (Falstaff). The author of 32 operas (including new editions of works written earlier) is Giuseppe Verdi. His biography still arouses great interest, and Verdi’s works are still included in the main repertoire of theaters around the world in our time.

Origin, childhood

Giuseppe was born in Roncola. This village was located in the province of Parma, which at that time was part of the Napoleonic Empire. The photo below shows the house in which the composer was born and spent his childhood. It is known that his father ran a grocery business and maintained a wine cellar.

Giuseppe received his first lessons in Verdi's music from the local church organist. His biography was marked by the first important event in 1823. It was then that the future composer was sent to Busseto, a neighboring town, where he continued his studies at school. At the age of 11, Giuseppe began to show pronounced musical abilities. The boy began to perform the duties of organist in Ronkola.

Giuseppe was noticed by A. Barezzi, a wealthy merchant from Busseto, who supplied the shop of the boy's father and had a great interest in music. The future composer owes the musical education he received to this man. Barezzi took him into his house, hired the boy the best teacher and began to pay for his education in Milan.

Giuseppe becomes a conductor, studying with V. Lavigny

At the age of 15 he was already the conductor of Giuseppe Verdi's small orchestra. His short biography continues with his arrival in Milan. He went here with money raised by his father’s friends. Giuseppe's goal was to enter the conservatory. However, he was not accepted into this educational institution due to lack of ability. Nevertheless, V. Lavigna, a Milanese conductor and composer, appreciated Giuseppe’s talent. He started teaching him compositions for free. Giuseppe Verdi learned operatic writing and orchestration in practice in the opera houses of Milan. His short biography is marked by the appearance of his first works a few years later.

First works

Verdi lived in Busseto from 1835 to 1838 and worked as a conductor in the municipal orchestra. Giuseppe created his first opera in 1837, entitled Oberto, Count di San Bonifacio. This work was staged 2 years later in Milan. It was a great success. By order of La Scala, the famous Milan theater, Verdi wrote a comic opera. He called it "Imaginary Stanislav, or one day of reign." It was staged in 1840 ("The King for an Hour"). Another work, the opera "Nabucco", was presented to the public in 1842 ("Nebuchadnezzar"). In it, the composer reflected the aspirations and feelings of the Italian people, who in those years began the struggle for independence, for deliverance from the Austrian yoke. The audience saw in the suffering of the Jewish people who found themselves in captivity an analogy with contemporary Italy. The choir of captive Jews from this work caused active political demonstrations. Giuseppe's next opera, Lombards on Crusade, also echoed calls for the overthrow of tyranny. It was staged in Milan in 1843. And in Paris in 1847, the second edition of this opera with ballet (“Jerusalem”) was presented to the public.

Life in Paris, marriage to G. Strepponi

In the period from 1847 to 1849 he was mainly in the French capital Giuseppe Verdi. His biography and work at this time were marked by important events. It was in the French capital that he made a new edition of “The Lombards” (“Jerusalem”). In addition, in Paris, Verdi met his friend, Giuseppina Strepponi (her portrait is presented above). This singer took part in productions of “Lombards” and “Nabucco” in Milan and already in those years became close to the composer. They eventually got married 10 years later.

Characteristics of Verdi's early work

Almost all of Giuseppe’s works from the first period of his creative work are permeated through and through with patriotic sentiments and heroic pathos. They are associated with the fight against oppressors. This is, for example, “Ernani”, written after Hugo (the first production took place in Venice in 1844). Verdi based his work “The Two Foscari” on Byron (the premiere took place in Rome in 1844). He was also interested in Schiller's work. "The Maid of Orleans" was presented in Milan in 1845. In the same year, the premiere of "Alzira" based on Voltaire took place in Naples. Shakespeare's Macbeth was staged in Florence in 1847. The greatest success of the works of this time were the operas "Macbeth", "Attila" and "Ernani". The stage situations from these works reminded the audience of the situation in their country.

Response to the French Revolution by Giuseppe Verdi

The biography, a summary of the works and testimonies of the composer's contemporaries indicate that Verdi warmly responded to the French Revolution of 1848. He witnessed her in Paris. Returning to Italy, Verdi composed The Battle of Legnano. This heroic opera was staged in Rome in 1849. Its second edition dates back to 1861 and was presented in Milan (“The Siege of Harlem”). This work describes how the Lombards fought to unify the country. Mazzini, an Italian revolutionary, commissioned Giuseppe to write a revolutionary anthem. This is how the work “The Trumpet Sounds” appeared.

1850s in the work of Verdi

The 1850s is a new period in the work of Giuseppe Fortunino Francesco Verdi. His biography was marked by the creation of operas that reflect experiences and feelings ordinary people. The struggle of freedom-loving individuals against bourgeois society or feudal oppression became the central theme of the composer’s work of this time. It can be heard already in the first operas belonging to this period. In 1849, "Louise Miller" was presented to the public in Naples. This work is based on the drama “Cunning and Love” by Schiller. In 1850, Stiffelio was staged in Trieste.

The theme of social inequality was developed with even greater force in such immortal works as Rigoletto (1851), Il Trovatore (1853) and La Traviata (1853). The character of the music in these operas is truly folk. They revealed the composer's gift as a playwright and melodist, reflecting the truth of life in his works.

Development of the "grand opera" genre

The following creations by Verdi belong to the genre " grand opera". These are such historical and romantic works as "Sicilian Vespers" (staged in Paris in 1855), "Un ballo in maschera" (premiered in Rome in 1859), "Force of Destiny", written by order of the Mariinsky Theater. By the way , in connection with the production of his last opera, Verdi visited St. Petersburg twice in 1862. The photo below shows his portrait taken in Russia.

In 1867, Don Carlos appeared, written after Schiller. In these operas, Giuseppe's themes of fighting oppressors and inequality, which were near and dear to his heart, are embodied in performances that are replete with contrasting, effective scenes.

Opera "Aida"

With the opera "Aida" a new period of Verdi's work begins. It was commissioned by the Egyptian khedive to the composer in connection with an important event - the opening of the Suez Canal. A. Mariette Bey, a famous Egyptologist, offered the author an interesting story that depicts the life of Ancient Egypt. Verdi became interested in this idea. Librettist Ghislanzoni worked on the libretto with Verdi. Aida premiered in Cairo in 1871. The success was huge.

The composer's later work

After this, Giuseppe did not create new operas for 14 years. He was reviewing his old works. For example, in Milan in 1881 the premiere of the second edition of the opera Simon Boccanegra, written in 1857 by Giuseppe Verdi, took place. They said about the composer that due to his advanced age, he could no longer create something new. However, he soon surprised the audience. 72-year-old Italian composer Giuseppe Verdi said he is working on a new opera, Othello. It was staged in Milan in 1887, and with the ballet in Paris in 1894. A few years later, 80-year-old Giuseppe attended the premiere of a new work, also based on Shakespeare's work. We are talking about the production of Falstaff in Milan in 1893. Giuseppe found a wonderful librettist, Boito, for Shakespeare's operas. In the photo below are Boito (left) and Verdi.

In his last three operas, Giuseppe sought to expand forms and merge dramatic action and music. He gave recitative a new meaning and strengthened the role played by the orchestra in revealing the images.

Verdi's own path in music

As for Giuseppe's other works, Requiem stands out among them. It is dedicated to the memory of A. Manzoni, a famous poet. Giuseppe's work is distinguished by its realistic character. It’s not for nothing that the composer was called a chronicler musical life Europe 1840-1890 Verdi followed the achievements of contemporary composers - Donizetti, Bellini, Wagner, Meyerbeer, Gounod. However, Giuseppe Verdi did not imitate them. His biography is marked by the creation of independent works already in the early period of his creativity. The composer decided to go his own way and was not mistaken. Verdi's intelligible, bright, melodically rich music has become very popular all over the world. Democracy and realism of creativity, humanism and humanity, connection with the folk art of his native country - these are the main reasons why Verdi gained great fame.

On January 27, 1901, Giuseppe Verdi died in Milan. His brief biography and work are still of interest to music lovers from all over the world.

Giuseppe Verdi is one of the famous Italian composers. His creativity is a huge contribution to the formation opera art, it became the culmination of the development of Italian opera in the nineteenth century.

short biography

Giuseppe Verdi ( full name Giuseppe Fortunio Francesco) was born on October 10, 1813 in the small Italian village of Le Roncole, which is located in the northern part of Lombardy. At that time, this area was part of the First French Empire, thus, according to documents, Verdi's birthplace is France. An interesting fact is that in the same year Richard Wagner was born, who in the future became Verdi’s main rival and one one of the leading composers of the German opera school.

The early biography of Giuseppe Verdi is interesting because the parents of the future great composer were not musicians. The father ran a tavern, and the mother was a spinner. The family lived very poorly, which is why Verdi’s childhood turned out to be difficult. The first step in his introduction to music was the help of a boy in the village church. The boy learned to play the organ and read music from Pietro Baistrocchi. The parents were pleased with their son's craving for music and even gave him a spinet - a small stringed instrument similar to a harpsichord. The composer kept it until the end of his life.

Meeting with Barezzi

The next step in musical career The boy's meeting was with Antonio Barezzi, a wealthy merchant and music lover who lived in the neighboring town of Busseto. He paid attention to the gifted boy and believed that Giuseppe would not become an innkeeper or village organist in the future. He believed that he had a great future. At the age of ten, Verdi, on the advice of Antonio Barezzi, moved to Busseto, where he continued his studies. However, his life became even harder. On Sundays, Verdi returned to Le Roncole, where he continued to play the organ during the celebration of mass. During these years he got a teacher in compositions - Fernando Provesi, who was director of the Philharmonic Society in the city of Busseto. At the same time, young Giuseppe became interested in the classics of world literature: Schiller, Dante, Goethe, Shakespeare. This is probably where the roots of his work come from.

Milan

The biography of Giuseppe Verdi contains information about numerous moves. At eighteen he went to Milan to continue his education. There he is trying to do to the conservatory, which it is not accepted due to insufficient high level playing the piano. Interesting fact: this conservatory is now named after Verdi. However, Giuseppe does not despair; he studies counterpoint with a private teacher, while simultaneously attending opera performances and various concerts. He begins to think about a career as a composer for the theater, which he is more and more convinced of by his interactions with Milanese society.

The biography of Giuseppe Verdi cannot be called a short biography, because he went a very long way before becoming famous. In 1830, Verdi returned to Busseto. Antonio Barezzi has not lost faith in his protégé, so he helps him arrange his first public performance. Giuseppe then becomes a music teacher for Barezzi's daughter, Margherita. Young people fall in love and get married in 1836. The couple will soon have a daughter Virginia Maria Luisa and Icilio Romano's son, however both children die in infancy. Verdi was working on his first opera at this time. In 1840, the composer's wife also died of encephalitis.

Failure and success

Both the biography and work of Giuseppe Verdi can be briefly described as a bright series of ups and downs. The production of the composer's first opera (Oberto, Count Bonifacio) in Milan was quite successful, after which the impresario of La Scala, Bartolomeo Merelli, signed a contract with Giuseppe for two operas. On time, he wrote “King for an Hour” and “Nabucco” (“Nebuchadnezzar”). However, the opera King for an Hour failed miserably, and Verdi, who at this time lost his wife and children, wanted to end his career as an opera composer. However, the second opera, Nabucco, which premiered on March 9, 1842, was a great success. A new stage begins in the life of Giuseppe Verdi, because it was after the premiere of Nabucco that he established an excellent reputation. For by next year The opera has been staged sixty-five times, and from then to this day it has not left the stage. best scenes opera houses all over the world. The next few operas were also successful in Italy.

In 1847, the opera "The Lombards" was staged at the Paris Opera. It was renamed "Jerusalem", and the composer also had to rework his work somewhat, including replacing Italian characters with French ones. The work became his first work in the grand opera style.

Scandalous relationship

One of the most striking moments in the biography of Giuseppe Verdi is his affair with the singer Giuseppina Strepponi. Verdi was thirty-eight years old, and Giuseppina was finishing her career. They entered into legal marriage only eleven years later, and all these years their cohabitation was condemned.

When Giuseppina stopped performing, Verdi decided to end his career with her (perhaps in this he followed the example of Gioachino Rossini). For the first time in many years, he was happy: famous, in love, and also wealthy. At this moment, the biography and work of Giuseppe Verdi are closely intertwined. It was probably Giuseppina who convinced him to continue his career. Perhaps under romantic influence flair, from which geniuses so often draw inspiration, he creates his first masterpiece - the opera "Rigoletto".

The libretto was rewritten several times due to non-compliance with censorship, and Verdi was tempted to quit working on it, but he completed the work, and the first production, which took place in 1851 in Venice, was an incredible success. To this day, "Rigoletto" is considered perhaps one of the best operas ever written. Verdi's artistic talent was revealed in full force in this work: beautiful melodies, ensembles and arias are scattered throughout the score, which later become part of the classical operatic repertoire, follow each other, tragedy and comedy merge together.

Career continuation

Two years later, the list of famous works of Giuseppe Verdi is replenished with another masterpiece. It becomes the opera "La Traviata", the libretto of which is based on the play "The Lady of the Camellias" by Alesandre Dumas the Son.

Several more operas were written next. One of them is the Sicilian Supper, constantly performed today; Verdi wrote it at the request of the Paris Opera. These are also the works “Troubadour”, “Masquerade Ball”, “Force of Destiny” (ordered from Russia). "Macbeth" has undergone changes and was released in a second edition.

In 1869, the composer wrote Libera Me, part of the Requiem in memory of Rossini, and in 1974, the collection of musical works of Giuseppe Verdi was replenished with his own requiem for the death of the writer Alessandro Manzoni, of whom the composer was a fan.

One of Verdi's last great operas is "Aida". The composer received an order to write it from the Egyptian government, which thus wanted to celebrate the opening of the Suez Canal, and at first Verdi refused. However, then, while visiting Paris, he again received the same offer, but through du Locle, the librettist and impresario. This time the composer decided to familiarize himself with the script, and after that he accepted the offer.

Rivals

The biography of Giuseppe Verdi would not be complete without mentioning his rivalry with Wagner. Each of them was the leader of the opera school of their country; all their lives they competed and disliked each other, although they never met. Verdi's reviews of his opponent's music were few and unflattering. He said that Wagner was in vain choosing untrodden paths, trying to “fly” where it would be more effective for a person to walk. However, upon learning of Wagner's death, he was saddened, as he believed that this composer had left a huge mark on the history of music. Only one statement about Verdi is known from Wagner. The great German composer, usually generous with criticism of other maestros, after listening to Verdi's Requiem, said that it was better not to say anything.

Last years

Over the last twelve years, Verdi worked very little, mainly editing his early works. After the death of Richard Wagner, Verdi wrote the opera Othello based on Shakespeare's play. Its premiere took place in Milan in 1887. The unusualness of the work lies in the fact that it does not have the traditional division into recitatives and arias for the Italian opera school - the influence of Wagner's operatic reform is felt here. Again, under the influence of this reform, later works by Verdi became more recitative, which gave the opera a realistic effect, although it sometimes scared off fans of traditional opera.

Verdi's last opera, Falstaff, whose libretto was based on Shakespeare's play The Merry Wives of Windsor, also became unusual. The manner of “end-to-end development” can be traced here, thus the work with a brilliantly written score gravitates much more towards Wagner’s “Die Meistersinger” than to the comic operas of Mozart and Rossini. Elusive and sparkling melodies allow the development of the plot not to linger, which creates a chaotic effect that is so close to the spirit of Shakespeare's comedy itself. The opera culminates with a seven-voice fugue in which Verdi demonstrates his excellent command of counterpoint.

Death of a great composer

In 1901, on January 21, Verdi suffered a stroke. At this time he was at the hotel in Milan. The composer was paralyzed, but he read the scores of the operas Tosca and La bohème by Puccini, The Queen of Spades by Tchaikovsky and Pagliacci by Loncavallo, but what he thought about them remained unknown. Six days later, on January 27, the great Italian composer passed away. He was buried in Milan at the Monumental Cemetery, but a month later his body was reburied in the Holiday Home for Retired Musicians, the founder of which was Verdi.

Stylistics

Almost every composer experiences known influence colleagues or predecessors. The music of Giuseppe Verdi was no exception. His early works show the influence of Rossini, Bellini, Meyerbeer and especially Donizetti. In the last two operas (Falstaff and Othello), the influence of his main opponent - Richard Wagner. Many of his contemporaries were influenced by Gounod, but Verdi borrowed nothing from the great Frenchman whom many considered the greatest creator era. The opera "Aida" contains passages that reveal familiarity with the work of Mikhail Glinka.

Orchestra and solo parts

The works of Giuseppe Verdi sometimes have not too complex orchestration. It is he who is credited with the phrase that the orchestra is a big guitar. The composer relied on his melodic gift in describing the feelings and emotions of the characters. Often, during the sound of solo vocal parts, the orchestration is very ascetic, the entire orchestra becomes one accompanying instrument. Some critics believed that this was the result of the composer’s own lack of education, however, after listening to many of his works, we can easily be convinced of the opposite. Verdi's work is also characterized by certain innovations that other composers never borrowed because of their strong recognition (for example, strings flying up the chromatic scale).

Like any powerful talent. Verdi reflects his nationality and his era. He is the flower of his soil. He is the voice of modern Italy, not the lazily dozing or carelessly having fun Italy in the comic and pseudo-serious operas of Rossini and Donizetti, not the sentimentally tender and elegiac, crying Italy of Bellini, but an Italy awakened to consciousness, an Italy agitated by political storms, an Italy , bold and passionate to the point of fury.
A. Serov

No one could feel life better than Verdi.
A. Boito

Verdi is a classic of Italian musical culture, one of the most significant composers of the 19th century. His music is characterized by a spark of high civic pathos that does not fade over time, unmistakable accuracy in the embodiment of the most complex processes occurring in the depths of human soul, nobility, beauty and inexhaustible melody. The composer penned 26 operas, sacred and instrumental works, and romances. The most significant part of Verdi’s creative heritage is operas, many of which (“Rigoletto”, “La Traviata”, “Aida”, “Otello”) have been performed on the stages of opera houses around the world for more than a hundred years. Works of other genres, with the exception of the inspired Requiem, are practically unknown, and the manuscripts of most of them have been lost.

Verdi, unlike many musicians of the 19th century, did not proclaim his creative principles in programmatic speeches in print, and did not connect his work with the establishment of the aesthetics of a particular artistic movement. Nevertheless, its long, difficult, not always rapid and crowned with victories creative path was aimed at a deeply suffered and conscious goal - achieving musical realism in an opera performance. Life in all its diversity of conflicts is the overarching theme of the composer’s work. The range of its embodiment was unusually wide - from social conflicts to the confrontation of feelings in the soul of one person. At the same time, Verdi's art carries within itself a feeling of special beauty and harmony. “I like everything that is beautiful in art,” said the composer. His own music also became an example of beautiful, sincere and inspired art.

Clearly aware of his creative tasks, Verdi was tireless in his search for the most perfect forms of realizing his ideas, and was extremely demanding of himself, librettists and performers. He often chose himself literary basis for the libretto, discussed in detail with the librettists the entire process of its creation. The most fruitful collaboration connected the composer with such librettists as T. Solera, F. Piave, A. Ghislanzoni, A. Boito. Verdi demanded dramatic truth from singers; he was intolerant of any manifestation of falsehood on stage, meaningless virtuosity, not colored by deep feelings, not justified by dramatic action. “...Great talent, soul and stage flair” - these are the qualities that he primarily valued in performers. “Meaningful, reverent” performance of operas seemed necessary to him; “...when operas cannot be performed in all their integrity - the way they were intended by the composer - it is better not to perform them at all.”

Verdi lived a long life. He was born into the family of a peasant innkeeper. His teachers were the village church organist P. Baistrocchi, then F. Provesi, who headed the musical life in Busseto, and the conductor of the Milan La Scala theater V. Lavigna. Already a mature composer, Verdi wrote: “I learned some of the best works of our time, not by studying them, but by hearing them in the theater... I would be lying if I said that in my youth I did not undergo a long and rigorous study... I have a hand strong enough to handle the note as I desire, and confident enough to produce in most cases the effects I intend; and if I write something not according to the rules, it happens because the exact rule does not give me what I want, and because I do not consider all the rules adopted to this day to be absolutely good.”

The young composer’s first success was associated with the production of the opera “Oberto” at the La Scala Theater in Milan in 1839. Three years later, the opera “Nebuchadnezzar” (“Nabucco”) was staged in the same theater, which brought the author wide fame (1841). The composer's first operas appeared during the era of revolutionary upsurge in Italy, which was called the era of Risorgimento (Italian - renaissance). The struggle for the unification and independence of Italy embraced the entire people. Verdi could not stay away. He deeply experienced the victories and defeats of the revolutionary movement, although he did not consider himself a politician. Heroic-patriotic operas of the 40s. - “Nabucco” (1841), “Lombards in the First Crusade” (1842), “Battle of Legnano” (1848) - were a kind of response to revolutionary events. The biblical and historical plots of these operas, far from modern times, glorified heroism, freedom and independence, and therefore were close to thousands of Italians. “Maestro of the Italian Revolution” - this is what contemporaries called Verdi, whose work became extremely popular.

However, the creative interests of the young composer were not limited to the theme of heroic struggle. In search of new subjects, the composer turns to the classics of world literature: V. Hugo (“Ernani”, 1844), V. Shakespeare (“Macbeth”, 1847), F. Schiller (“Louise Miller”, 1849). The expansion of creative themes was accompanied by the search for new musical means and the growth of compositional skills. The period of creative maturity was marked by a remarkable triad of operas: “Rigoletto” (1851), “Il Trovatore” (1853), “La Traviata” (1853). For the first time in Verdi's work, a protest against social injustice was so openly voiced. The heroes of these operas, endowed with ardent, noble feelings, come into conflict with generally accepted moral norms. Turning to such plots was an extremely bold step (Verdi wrote about La Traviata: “The plot is modern. Another would not have taken on this plot, perhaps because of decency, because of the era and because of a thousand other stupid prejudices.. . I do it with the greatest pleasure."

By the mid-50s. the name Verdi is widely known throughout the world. The composer enters into contracts not only with Italian theaters. In 1854 he creates the opera “Sicilian Vespers” for the Parisian Grand Opera Theater; a few years later the operas “Simon Boccanegra” (1857) and “Un ballo in maschera” (1859, for the Italian theaters San Carlo and Appolo) were written. In 1861, by order of the management of the St. Petersburg Mariinsky Theater, Verdi created the opera “Force of Destiny”. In connection with its production, the composer travels to Russia twice. The opera was not a great success, although Verdi's music was popular in Russia.

Among the operas of the 60s. The opera “Don Carlos” (1867), based on Schiller’s drama of the same name, gained the greatest popularity. The music of "Don Carlos", saturated with deep psychologism, anticipates the peaks of Verdi's operatic creativity - "Aida" and "Othello". “Aida” was written in 1870 for the opening of a new theater in Cairo. It organically merged the achievements of all previous operas: the perfection of music, bright colors, and refinement of drama.

Following “Aida,” “Requiem” (1874) was created, after which there was a long (more than 10 years) silence caused by the crisis in social and musical life. In Italy there was a widespread passion for the music of R. Wagner, while the national culture was in oblivion. The current situation was not just a struggle of tastes, different aesthetic positions, without which it is unthinkable artistic practice, and the development of all art. This was a time of decline in the priority of national artistic traditions, which was especially deeply felt by the patriots of Italian art. Verdi reasoned: “Art belongs to all peoples. Nobody believes this more strongly than I do. But it develops individually. And if the Germans have a different artistic practice than we do, their art is fundamentally different from ours. We cannot compose like the Germans..."

Thinking about the future fate of Italian music, feeling enormous responsibility for each next step, Verdi began to realize the concept of the opera Othello (1886), which became a true masterpiece. "Othello" is an unsurpassed interpretation of Shakespeare's plot in the operatic genre, a perfect example of the musical-psychological drama that the composer spent his entire life creating.

Verdi's last work - the comic opera "Falstaff" (1892) - surprises with its cheerfulness and impeccable skill; it seems to open new page the composer's work, which, unfortunately, did not receive a continuation. Verdi’s whole life is illuminated by a deep conviction in the correctness of the chosen path: “When it comes to art, I have my own thoughts, my own convictions, very clear, very precise, which I cannot and should not refuse.” L. Escudier, one of the composer’s contemporaries, very aptly described him: “Verdi had only three passions. But they achieved the greatest strength: love of art, national feeling and friendship.” Interest in Verdi's passionate and truthful work continues unabated. For new generations of music lovers, it invariably remains a classical standard, combining clarity of thought, inspiration of feeling and musical perfection.

A. Zolotykh

Opera art was at the center artistic interests Verdi. At the very early stage of his work, in Busseto, he wrote many instrumental works (their manuscripts have been lost), but never returned to this genre. Exception - string Quartet 1873, which was not intended by the composer for public performance. During those same youthful years, due to the nature of his activities as an organist, Verdi composed sacred music. Towards the end of his career - after the Requiem - he created several more works of this kind (Stabat mater, Te Deum and others). A few romances also belong to the early creative period. He devoted all his energy to opera for more than half a century, starting from Oberto (1839) and ending with Falstaff (1893).

Verdi wrote twenty-six operas, six of them given in a new, significantly changed version. (By decades, these works are arranged as follows: late 30s - 40s - 14 operas (+1 in new edition), 50s - 7 operas (+1 in the new edition), 60s - 2 operas (+2 in the new edition), 70s - 1 opera, 80s - 1 opera (+2 in a new edition), 90s - 1 opera.) Throughout the great life path he remained true to his aesthetic ideals. “I may not have enough strength to achieve what I want, but I know what I am striving for,” wrote Verdi in 1868. These words can describe his entire creative activity. But over the years, the composer’s artistic ideals became clearer and his skill became more perfect and honed.

Verdi strove to embody drama that was “strong, simple, significant.” In 1853, while composing La Traviata, he wrote: “I dream of new large, beautiful, varied, bold subjects, and extremely bold ones.” In another letter (of the same year) we read: “Give me a beautiful, original plot, interesting, with magnificent situations, passions, - above all, passions!..”.

True and vivid dramatic situations, sharply defined characters - this is what, according to Verdi, is the main thing in an opera plot. And if in the works of the early, romantic period, the development of situations did not always contribute to the consistent development of characters, then by the 50s the composer clearly realized that the deepening of this connection serves as the basis for creating a vitally truthful musical drama. That is why, having firmly taken the path of realism, Verdi condemned modern Italian opera for its monotonous, monotonous plots and routine forms. He also condemned his previously written works for the insufficient breadth of showing life’s contradictions: “They contain scenes that arouse great interest, but there is no variety. They affect only one side - the sublime, if you like - but always the same.”

In Verdi's understanding, opera is unthinkable without the utmost sharpening of conflicting contradictions. Dramatic situations, the composer said, should expose human passions in their characteristic, individual form. Therefore, Verdi resolutely opposed all sorts of routine in the libretto. In 1851, when starting work on Il Trovatore, Verdi wrote: “The freer Cammarano (the opera’s librettist.- M.D.) will interpret the form, the better for me, the more satisfied I will be.” A year earlier, having conceived an opera based on the plot of Shakespeare’s “King Lear,” Verdi pointed out: “There is no need to make a drama out of Lear in the generally accepted form. It would be necessary to find a new, larger form, free from bias.”

For Verdi, the plot is a means of effectively revealing the idea of ​​the work. The composer's life is permeated with the search for such subjects. Beginning with Ernani, he persistently searched for literary sources for his operatic ideas. An excellent connoisseur of Italian (and Latin) literature, Verdi was well versed in German, French, and English drama. His favorite authors are Dante, Shakespeare, Byron, Schiller, Hugo. (About Shakespeare, Verdi wrote in 1865: “He is my favorite writer, whom I have known since early childhood and I re-read it all the time.” He wrote three operas based on Shakespeare's plots, dreamed of Hamlet and The Tempest, and returned to work on King Lear four times (in 1847, 1849, 1856 and 1869); based on Byron's plots - two operas (the unfinished plan for "Cain"), Schiller - four, Hugo - two (the plan for "Ruy Blas").)

Verdi's creative initiative was not limited to the choice of subject. He actively supervised the work of the librettist. “I have never written operas based on ready-made librettos made by someone else,” said the composer, “I just can’t understand how a screenwriter can be born who can accurately guess what I can translate into an opera.” Verdi's extensive correspondence is filled with creative instructions and advice to his literary collaborators. These instructions relate primarily to the script plan of the opera. The composer demanded maximum concentration of the plot development of the literary source and for this - reduction of side lines of intrigue, compression of the text of the drama.

Verdi prescribed to his collaborators the verbiage he needed, the rhythm of the poems and the number of words needed for the music. He paid special attention to “key” phrases in the text of the libretto, designed to clearly reveal the content of a specific dramatic situation or character. “It doesn’t matter whether there is this or that word, a phrase is needed that will excite, will be scenic,” he wrote in 1870 to the librettist of Aida. Improving the libretto of “Othello”, he removed phrases and words that were unnecessary, in his opinion, demanded rhythmic variety in the text, broke the “smoothness” of the verse, which constrained musical development, achieved extreme expressiveness and laconicism.

Verdi's bold ideas did not always receive worthy expression from his literary collaborators. Thus, while highly appreciating the libretto of “Rigoletto,” the composer noted the weak verses in it. Much did not satisfy him in the dramaturgy of “Troubadour”, “Sicilian Vespers”, “Don Carlos”. Having failed to achieve a completely convincing script and literary embodiment of his innovative idea in the libretto of King Lear, he was forced to abandon the completion of the opera.

In intense work with librettists, Verdi’s idea for the composition finally matured. He usually started music only after developing the complete literary text of the entire opera.

Verdi said that the most difficult thing for him was “to write quickly enough to express a musical thought in the integrity with which it was born in the mind.” He recalled: “When I was young, I often worked without a break from four in the morning until seven in the evening.” Even in his old age, when creating the score of Falstaff, he immediately instrumentalized the completed large passages, since he was “afraid of forgetting some orchestral combinations and timbre combinations.”

When creating music, Verdi had in mind the possibilities of its stage implementation. Associated with various theaters until the mid-50s, he often resolved certain issues musical dramaturgy depending on the performing forces that the given team had. Moreover, Verdi was interested not only in the vocal qualities of the singers. In 1857, before the premiere of Simon Boccanegra, he pointed out: “The role of Paolo is very important, it is absolutely necessary to find a baritone who would be good actor" Back in 1848, in connection with the planned production of Macbeth in Naples, Verdi rejected the singer Tadolini proposed to him, since her vocal and stage abilities were not suitable for the intended role: “Tadolini has a magnificent, clear, transparent, powerful voice, and I I would like for a lady a dull, harsh, gloomy voice. Tadolini has something angelic in her voice, but I would like the lady to have something devilish in her voice.”

In learning his operas, right up to Falstaff, Verdi took an energetic part, interfering in the work of the conductor, and paid especially much attention to the singers, carefully going through the parts with them. Thus, the singer Barbieri-Nini, who performed the role of Lady Macbeth at the premiere in 1847, testified that the composer rehearsed the duet with her up to 150 times, achieving the means of vocal expression he needed. He worked just as demandingly at the age of 74 with the famous tenor Francesco Tamagno, who performed the role of Othello.

Verdi paid special attention to the issues of stage interpretation of the opera. His correspondence contains many valuable statements on these issues. “All the forces of the stage provide dramatic expressiveness,” wrote Verdi, “and not just the musical rendering of cavatinas, duets, finales, etc.” In connection with the production of “Forces of Destiny” in 1869, he complained about a critic who wrote only about the vocal side of the performer: “Neither the reviewer nor the public said anything about the varied, widely developed pictures of life that fill half of the opera and give it the character of a musical drama.” They say...". Noting the musicality of the performers, the composer emphasized: “Opera, don’t get me wrong, that is stage-musical drama, was given very mediocrely.” It is precisely against this taking the music off the stage and Verdi protested: while participating in the learning and staging of his works, he demanded the truth of feelings and actions both in singing and in stage movement. Verdi argued that only under the condition of dramatic unity of all means of musical and stage expressiveness can an opera performance be complete.

Thus, starting from the choice of plot in intense work with the librettist, during the creation of music, during its stage implementation - at all stages of work on the opera, from the inception of the idea to the production, the master’s imperious will manifested itself, which confidently led his native Italian art to heights realism.

Verdi's operatic ideals were formed as a result of long years of creative work, great practical work, persistent quest. He knew well the state of contemporary musical theater in Europe. Spending a lot of time abroad, Verdi met the best troupes in Europe - from St. Petersburg to Paris, Vienna, London, Madrid. He was familiar with the operas of the greatest composers of our time (Verdi probably heard Glinka’s operas in St. Petersburg. The Italian composer’s personal library had the score of “The Stone Guest” by Dargomyzhsky.). Verdi assessed them with the same degree of criticality with which he approached his own work. And often he did not so much assimilate the artistic achievements of other national cultures, but rather processed them in his own way and overcame their influence.

This is how he treated the musical and stage traditions of the French theater: they were well known to him, if only because three of his works (“Sicilian Vespers”, “Don Carlos”, the second edition of “Macbeth”) were written for the Parisian stage. The same was his attitude towards Wagner, whose operas, mainly from the middle period, he knew, and some of them highly valued (“Lohengrin”, “Die Walküre”), but Verdi creatively polemicized with both Meyerbeer and Wagner. He did not belittle their importance for the development of French or German musical culture, but rejected the possibility of slavish imitation of them. Verdi wrote: “If the Germans, starting from Bach, reach Wagner, then they act like true Germans. But we, the descendants of Palestrina, imitating Wagner, are committing a musical crime, creating art that is unnecessary and even harmful.” “We feel differently,” he added.

The question of Wagner's influence became especially acute in Italy starting in the 60s; many young composers succumbed to him (The most ardent admirers of Wagner in Italy were Liszt's student, the composer J. Sgambatti, conductor G. Martucci, A. Boito(at the beginning of his creative career, before meeting Verdi) and others.). Verdi noted with bitterness: “All of us - composers, critics, the public - did everything possible to renounce our musical nationality. Here we are at a quiet pier... one more step, and we will be Germanized in this, as in everything else.” It was difficult and painful for him to hear from the lips of young people and some critics the words that his previous operas were outdated, did not meet modern requirements, and the current ones, starting with Aida, were following in the footsteps of Wagner. “What an honor, after a forty-year creative career, to end up as a copycat!” - Verdi exclaimed angrily.

But he did not reject the value of Wagner's artistic achievements. The German composer made him think about a lot, and above all - about the role of the orchestra in opera, which was underestimated by Italian composers of the first half of the 19th century (including Verdi himself at the early stage of his work), about the increasing importance of harmony (and this important means musical expressiveness neglected by the authors of Italian opera) and, finally, on the development of principles of end-to-end development to overcome the dismemberment of the forms of the number structure.

However, for all these questions, the most important for the musical dramaturgy of opera in the second half of the century, Verdi found their solutions different from Wagner's. Moreover, he outlined them even before becoming acquainted with the works of the brilliant German composer. For example, the use of “timbre dramaturgy” in the scene of the appearance of spirits in “Macbeth” or in the depiction of an ominous thunderstorm in “Rigoletto”, the use of string divisi in a high register in the introduction to the last act of “La Traviata” or trombones in Miserere “Il Trovatore” - these are bold, individual instrumentation techniques were found independently of Wagner. And if we talk about anyone’s influence on Verdi’s orchestra, then we should rather have in mind Berlioz, whom he greatly appreciated and with whom he was in friendly relations since the early 60s.

Verdi was equally independent in his search for a fusion of the principles of song-aria (bel canto) and declamation (parlante). He developed his own special “mixed style” (stilo misto), which served as the basis for him to create free forms of monologue or dialogic scenes. Rigoletto’s aria “Courtisans, fiends of vice” or the spiritual duel between Germont and Violetta were also written before becoming acquainted with Wagner’s operas. Of course, familiarization with them helped Verdi to more boldly develop new principles of drama, which especially affected his harmonic language, which became more complex and flexible. But there are fundamental differences between the creative principles of Wagner and Verdi. They clearly appear in their attitude to the role of the vocal element in opera.

With all the attention that Verdi paid to the orchestra in his last works, he recognized the vocal-melodic factor as the leading one. Thus, regarding Puccini’s early operas, Verdi wrote in 1892: “It seems to me that the symphonic principle prevails here. This in itself is not bad, but you have to be careful: an opera is an opera, and a symphony is a symphony.”

“Voice and melody,” said Verdi, “will always be the most important thing for me.” He ardently defended this position, believing that it expressed the typical national features of Italian music. In his project for the reform of public education, presented to the government in 1861, Verdi advocated the organization of free evening singing schools and full stimulation of vocal music-making at home. Ten years later, he appealed to young composers to study classical Italian vocal literature, including the works of Palestrina. Verdi saw the mastery of the peculiarities of the singing culture of the people as the key to successful development national traditions musical art. However, the content that he put into the concepts of “melody” and “melody” changed.

In the years of creative maturity, he sharply opposed those who interpreted these concepts one-sidedly. In 1871, Verdi wrote: “You cannot be only a melodist in music! There is something more than melody, than harmony - in fact, - music itself!..” Or in a letter from 1882: “Melody, harmony, recitation, passionate singing, orchestral effects and colors are nothing more than means. Do it with these tools good music!.." In the heat of controversy, Verdi even expressed judgments that sounded paradoxical in his mouth: “Melodies are not made from scales, trills or gruppettos... There are, for example, melodies in the choir of bards (from Bellini’s Norma.- M.D.), the prayer of Moses (from Rossini's opera of the same name.- M.D.) etc., but they are not in the Cavatinas " Barber of Seville", "Thieving Magpies", "Baby Babylon", etc. - What is this? “Whatever you want, just not melodies” (from a letter of 1875.)

What caused such a sharp attack against Rossini's opera melodies from such a consistent supporter and convinced promoter of the national musical traditions of Italy as Verdi? Other tasks that were put forward by the new content of his operas. In singing, he wanted to hear “a combination of the old with the new recitation,” and in opera, a deep and multifaceted identification of the individual traits of specific images and dramatic situations. This is what he strived for when updating the intonation structure of Italian music.

But in the approach of Wagner and Verdi to the problems of operatic dramaturgy, in addition to national differences, was also affected by other style direction of artistic quest. Having started as a romantic, Verdi emerged as the greatest master of realistic opera, while Wagner was and remained a romantic, although in his works different creative periods the features of realism appeared, now to a greater, now to a lesser extent. This ultimately determines the difference in the ideas, themes, and images that excited them, which forced Verdi to contrast Wagner’s “ musical drama"your understanding" musical stage drama».

Not all contemporaries understood the greatness of Verdi's creative deeds. However, it would be wrong to assume that the majority of musicians in Italy in the second half of the 19th century were under the influence of Wagner. Verdi had his supporters and allies in the struggle for national operatic ideals. His senior contemporary Saverio Mercadante still continued to work, and as a follower of Verdi, Amilcare Ponchielli (1834-1886, best opera “La Gioconda” - 1874; he was Puccini’s teacher) achieved significant success. A brilliant galaxy of singers improved themselves by performing the works of Verdi: Francesco Tamagno (1851 - 1905), Mattia Battistini (1856-1928), Enrico Caruso (1873-1921) and others. I was brought up on these works outstanding conductor Arturo Toscanini (1867-1957). Finally, in the 90s a number of young Italian composers emerged, using Verdi's traditions in their own way. These are Pietro Mascagni (1863-1945, opera “Honor Rusticana” - 1890), Ruggero Leoncavallo (1858-1919, opera “Pagliacci” - 1892) and the most talented of them - Giacomo Puccini (1858-1924; first significant success - opera “Manon”, 1893; best works: “La Boheme” - 1896, “Tosca” - 1900, “Cio-Cio-San” - 1904). (They are joined by Umberto Giordano, Alfredo Catalani, Francesco Cilea and others.)

The work of these composers is characterized by an appeal to a modern theme, which distinguishes them from Verdi, who, after La Traviata, did not directly embody modern themes.

The basis for the artistic quest of young musicians was the literary movement of the 80s, led by the writer Giovanni Varga and called “verismo” (verismo means “truth”, “truthfulness”, “authenticity” in Italian). In their works, verists mainly depicted life the impoverished peasantry (especially in the south of Italy) and the urban poor, that is, the disadvantaged social lower classes, crushed by the progressive development of capitalism. In merciless denunciation negative aspects bourgeois society, the progressive significance of the creativity of the verists was revealed. But the predilection for “bloody” plots, the transfer of emphatically sensual moments, the exposure of the physiological, bestial qualities of a person led to naturalism, to an impoverished image of reality.

To a certain extent, this contradiction is also characteristic of verist composers. Verdi could not sympathize with the manifestations of naturalism in their operas. Back in 1876, he wrote: “It’s not bad to imitate reality, but it’s even better to create reality... By copying it, you can only make a photograph, not a painting.” But Verdi could not help but welcome the desire of young authors to remain faithful to the precepts of the Italian opera school. The new content to which they turned required different means of expression and principles of dramaturgy - more dynamic, highly dramatic, nervously excited, impetuous.