Returning to the stage would inevitably cast him as a pale imitator of Wagner, at that time the sensation of Europe: “For what reason should I write? What would I succeed in doing? What would I gain by it? The results would be quite wretched. ” But Verdi, writing to another friend the following year, was resolute. A friend wrote to him in 1877: “Even if I attach no weight to the rumors that you’re at work on a new score (some say ‘Nero, ’ others ‘Julius Caesar, ’ others something else again) I hope that you have not terminated your career and that your genius will manifest itself with new creations. Image Credit… Leemage/Universal Images Group, via Getty Images Image Credit… Archivio Storico Ricordi, Milan, via the Morgan Library & Museum, New York He wrote his Requiem, which had its premiere in 1874, but no operas, to the increasing anxiety of those close to him. Even Ricordi disappointed him: The company had to compensate him for account irregularities Verdi had discovered. ) His domestic life was messy, with his house increasingly shared not just by his wife but also by the woman who was most likely his mistress. (In both areas, he rued the country’s turn away from France, toward Germany. As Verdi entered his 60s in the mid-1870s, he was grumpy, bitter about trends in Italian music and politics. It is safe to say that “Otello” and “Falstaff” would not exist without Giulio Ricordi. The company, in other words, was a one-stop operatic shop, crucial from beginning to end of the process of composition and production. They also connected artists advanced favored singers created set, costume and prop designs, with some lovingly detailed examples on view at the Morgan compiled staging books that allowed opera houses to reproduce, more or less moment by moment, the blocking from the premiere promoted openings managed reputations soothed egos. The exhibition’s main value is to remind us that music publishers in Verdi’s day did not just print and mail scores. ” That Ricordi was integral is less the company’s promotional trick than it is a simple fact. The results are as much a paean to Giulio Ricordi, the grandson of the company’s founder and Verdi’s trusted associate, as to the composer or Arrigo Boito, the librettist of “Otello” and “Falstaff. The show adds some Morgan treasures - like an “Otello” musical sketch and a First Folio edition of Shakespeare, open to Desdemona’s death scene - to loans from the archives of Ricordi, the distinguished Italian publisher: scores, posters, ledger books, contracts, correspondence and memorabilia. This late-career renaissance is one of the most astonishing in musical history, and it is the subject of the small but intriguing exhibition “ Verdi: Creating ‘Otello’ and ‘Falstaff, ’” at the Morgan Library & Museum through Jan.
He would not have another premiere until 1887, when “Otello” - perhaps the greatest opera in the Italian tradition - opened at the Teatro alla Scala in Milan, followed by another Shakespeare adaptation, the wise and witty “Falstaff, ” in 1893. What devil ever put it into my head to get involved in theatrical matters again! ” Verdi would stay largely uninvolved for years. “Peace, ” he wrote to a friend as the end of the following year approached, “it’s the best thing in this world, and it’s what I desire most at this moment. One thing was certain: He didn’t have much appetite to return to the opera house, as he discovered when he involved himself in some stagings of his work. His “Aida” had its premiere in December 1871, and the great composer, then just 58, wondered what to do next. 9, 2019 The pair of operatic masterpieces that capped Verdi’s career almost didn’t happen.
Credit… Archivio Storico Ricordi, Milan, via the Morgan Library & Museum, New York Published Sept. Verdi aida triumphal march & ballet – giuseppe verdi.Ī new exhibition at the Morgan Library & Museum reveals the crucial role Ricordi played in creating these late masterpieces. Why would you cut off her extraordinary ovation. Undoubtedly one of the most beautiful voices❤.
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