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799:/ "This then is the unjust reward...". He asks for his daughter-in-law to be brought in and gradually lays down the trappings of his office. When Lucrezia enters and addresses him with the familiar title "Prince", he declares "Prince! That I was; now I am no longer." Just then, the bell of San Marco is heard announcing that a successor has been chosen. As it tolls a second time, Francesco recognizes that the end has come:
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858:' are here applied too rigidly.... but the experiment itself is significant, suggesting that Verdi was anxious to explore new means of musical and dramatic articulation...Verdi's awareness of the potential of this added dimension in musical drama was decisive; from this time onwards he would rarely employ local colour in quite the mechanical way he had in his earliest operas.
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rack your brains and try to find something which will make a bit of a splash particularly in the first act" and he continues by stressing that "it's a fine subject, delicate and full of pathos"." Thus, the rather lower key of the original piece stood out in direct contrast to the opera by which it was succeeded. However, as musicologist
680:/ "Oh ancient heart that beats in my breast...". In tears, Lucrezia comes in and, when she tries to decry the actions of the council, Francesco reminds her of his position as upholder of the law of Venice. Angrily, she denounces the law as being filled only with hatred and vengeance and demands that he return her husband to her:
729:
Loredano arrives to announce the official verdict and to prepare Jacopo for his departure. He is contemptuous of the pleas of the
Foscari and orders his men to remove Jacopo from his cell. In a final trio, Jacopo, the Doge, and Lucrezia express their conflicting emotions and, as Jacopo is taken away,
275:
Reaction to the premiere was tempered by several elements outside of Verdi's control, including the recent rise in seat prices by the management and the rather lackluster quality of the performers' voices. But the reception given to the composer by the management was very enthusiastic as was that of
233:
was substituted. This gave Verdi the opportunity to re-read Byron's play and, in doing so, he came to the realization (which he expressed in a letter to Piave) that the librettist had better NOT 'stick close to Byron': "...the play does not quite have the theatrical grandeur needed for an opera; so
738:
Loredano is adamant: there shall be no mercy and
Lucrezia and her children will not be allowed to accompany Jacopo on his banishment. The Doge laments his inability to help, acting, as he must, in the role of Doge before that of father. Lucrezia enters with her two children. Jacopo embraces them
631:
are waiting to enter the
Council Chamber to try the case of Jacopo Foscari, the son of the Doge, who has been accused of murder. Upon the arrival of Loredano (Jacopo's sworn enemy) and his friend Barbarigo, they announce that the Doge has already entered the Chamber. They all enter the Chamber.
241:
Upon receiving the libretto by mid-May, the composer sent a long series of letters to the librettist over several months instructing him on many points where changes were needed. They revealed "the extent to which Verdi intervened in the making of the libretto, a good deal of the large-scale
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Each of the principals – the Doge, Jacopo and
Lucrezia – is given a distinctive orchestral theme, which accompanies them at each of their most important appearances on stage. A fourth recurring theme, this time vocal in origin ("Silenzio, mistero") is associated with the Council of
651:
Lucrezia
Contarini, Jacopo's wife, learns from her ladies in waiting that the trial is proceeding in the Council Chamber. She quickly demands to see the Doge, Jacopo's father, but is told that she should pray for Jacopo's freedom. Angrily, she implores heaven to be merciful:
221:
on which Piave had already begun work. Verdi encouraged the librettist to continue his work and then submit the work to the Roman authorities but, as a backup, he wrote: "But, just in case the police don't allow it, we'll have to think of a quick alternative and I suggest
719:/ "Mighty warrior, do not curse me", and he faints. Still delirious, he finds Lucrezia is with him; she tells him of the council's decision and the punishment of further exile. However, she tries to keep some hope alive and promises to join him in exile if need be.
767:
While the people who have gathered express their joy at being together, Loredano and
Barbarigo wait for the galley that will take Jacopo away to exile. He is led out, followed by his wife and Pisana, and expresses his feelings for Lucrezia:
684:/ "You know it all too well". The scene ends with the Doge lamenting the limits of his power and the conflicts between being both ruler and father, while Lucrezia continues to demand his help. The sight of his tears gives her some hope.
226:. I like the plot and the outline is already there in Venice." It appears that Verdi had already submitted it to La Fenice at some earlier time, and so he encouraged Piave to work on it, "but stick closely to Byron" he noted.
656:/ "Thou beneath whose almighty glance all men rejoice or weep". Her friend Pisana enters in tears; she relays the news that Jacopo has been sentenced to further exile and this provokes another furious outburst from Lucrezia:
692:
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led many performances around Italy at the end of that decade and the during the next, with the 1968 Rome production being taken up at the
Metropolitan and in Chicago. In 1977 was performed in Barcelona Liceu with
291:
in Torino, Bologna, Catania, Florence, Cremona, Milan, and Modena through the 1846 season. It appeared in
Barcelona in 1845 (July), in Lisbon, and Paris in 1846, in Venezia, and Prato in 1847, and in Palermo and
752:
1390:
772:/ "Unhappy woman, unhappy through me alone". Together, in a huge choral number, Jacopo, Lucrezia, Pisana, Barbarigo, Loredano, and the people of Venice each express their feelings. Jacopo begins:
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What does he mean? He goes on to explain that "not one of the cabalettas begins with the usual instrumental anticipation..... the numbers are welded together with greater coherence even than
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included it in March 2008 as part of its "Verdi Cycle". It was presented during the 2008/09 seasons of La Scala and the Bilbao
Association of Lovers of Opera (ABAO) in Bilbao, Spain.
586:
Members of the
Council of Ten and the Junta, Maidservants of Lucrezia, Venetian Ladies, crowd and masked men and women; Jailors, Gondoliers, Pages, and the two sons of Jacopo Foscari
788:("Now he is going!") – and pictures himself alone in his old age. Barbarigo brings him proof that his son was in fact innocent, while Lucrezia comes in to announce Jacopo's death:
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The council, through its spokesman Loredano, announces that it has decided that Francesco, due to age, should give up his position as Doge. Angrily, he denounces their decision:
676:
The Doge, Francesco Foscari, enters and wearily sits down. He expresses anguish at what has happened to his son but, as his father, feels there is nothing he can do to save him:
319:
has received numerous productions. There was a flurry after the Second World War (Vienna, Barcelona, London, Leningrad, New York), and following a La Fenice staging in 1957 with
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He concludes with the idea that "this opera remains one of the composer's most intimate and introspective scores", but it is left to Roger Parker to sum it all up:
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The Council of Ten leaves the Chamber proclaiming that the evidence was clearly sufficient to convict Jacopo and that their actions will be seen as just and fair.
639:/ "From the most distant place of exile". When summoned to enter the Chamber and told that he can expect the council to be merciful, Jacopo explodes in rage:
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776:/ "Father, children, wife, I bid you a last farewell", and the scene ends with Jacopo escorted onto the galley while Lucrezia faints in Pisana's arms.
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726:/ "In a father's embrace my sorrow is stilled" – but is further disturbed by the Doge's claim that his duty must override his love of his son.
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The Doge arrives and declares that in spite of the fact that he was forced to act severely, he loves his son. Jacopo is comforted –
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on 10 April 1847. In the US, the opera was first presented in Boston on 10 May 1847. Paris saw a production in December 1846 at the
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structure of the opera being dictated by his increasingly exigent theatrical instincts." With the music completed over the summer,
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Until the 1860s, the opera was seen in Italy in at least 22 towns and cities, including Livorno, Trieste, Naples, Parma, Bergamo,
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singing the baritone role of Francesco Foscari for the first time. Performances were conducted by the company's music director,
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was given its premiere performance in Rome on 3 November 1844 and was generally quite successful, although not on the scale of
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At the same time, the composer had accepted a commission from the Teatro Argentina in Rome and had considered the subject of
830:..... the scoring is more sensitive than in any of the operas previously written and a good many written after..." In all,
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792:/ "He is no more... the innocent". As she leaves, a servant announces that the Council of Ten wish to meet with the Doge.
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which may have been offensive to the great families who had governed the Republic, including the extant Foscari family.
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Having recently returned from exile, Jacopo is brought from the prison and expresses his love at seeing Venice again:
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notes, it appears that Verdi was "concentrating on personal confrontations rather than grand scenic effects".
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284:, Verdi has endeavoured to shake off his former manner, to return to the springs of passion and affection".
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and he went to work with Piave in considering two subjects, one of which eventually became this opera.
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1177:
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202:, Verdi had considered a large number of projects for the future and the Byron play was one of them.
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in Venice, but it was rejected as unsuitable because the story included criticism of actions of the
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1111:
913:
660:/ "Their mercy? Now they add insult!". Pisana and the ladies beg her to trust in the mercy of God.
598:
351:
46:
1116:(Audio and video recordings of a performance in the Teatro di San Carlo di Napoli, November 2000).
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Perhaps the most striking is the use of recurring themes to identify the principals. These proto '
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1072:(Live recording made during a performance at the Teatro Regio di Torino, 14 December 1984)
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803:/ "What fatal knell". As the bell tolls again, he dies; Loredano notes that "I am paid."
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Jacopo is alone in prison and laments his fate. He imagines that he is being attacked by
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1959:
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643:/ "Only hatred, cruel hatred, is locked within their breasts". He enters the Chamber.
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presented a new production in September 2012, with the company's general director and
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1999:
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As it turned out, the de Medici libretto was rejected by the Teatro Argentina and
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The Last Meeting Between Jacopo Foscari and his Family Before Leaving into Exile
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2009:
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Quoted in Budden, p. 179, but noted that it has been quoted in Francis Toye's
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75:
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while Lucrezia pleads with the councilors to no avail. Jacopo is taken away.
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has presented concert versions three times: the first in October 1981 with
1036:(Live recording made at two performances at La Scala, 15 & 17 January)
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had even been considered as early as 1843 when he had been approached by
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is regularly performed both in staged productions and concert versions.
1909:
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Disegno per copertina di libretto, drawing for I due Foscari (undated).
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367:
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1752:(1982), New York: Knopf, 1962, Chicago: University of Chicago Press.
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160:
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691:
597:
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401:
189:
130:
1833:
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1837:
350:, a version which is available on DVD. It was performed by the
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307:, and it was taken up by several major Italian opera houses.
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is more of a step forward than might be initially imagined.
246:
was given its Rome premiere performance on 3 November 1844.
1513:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
841:, clarifies some of these elements in the following ways:
434:
Baritone Achille De Bassini, the first Francesco. (Litho:
1709:
Nineteenth-Century Italian Opera: From Rossini to Puccini
623:
Scene 1: Outside the Council Chamber of the Doge's Palace
299:
The first performances in the UK were given in London at
1534:
The Operas of Verdi, Volume 1: From Oberto to Rigoletto
1511:
Baldini, Gabriele (1970), (trans. Roger Parker, 1980),
1263:
Verdi to Piave, 18 April 1844, in Budden (1984), p. 175
377:
Also, concert opera performances have been common. The
1272:
Verdi to Piave, date unknown, in Budden (1984), p. 177
2743:
1572:. Chicago & London: University of Chicago Press.
1414:
List of singers taken from Budden, p. 174, see above
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2429:
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2264:
2181:
1880:
1551:, Chicago and London: University of Chicago Press.
88:
71:
63:
53:
29:
1728:, London & New York: Oxford University Press.
1694:, Oxford & New York: Oxford University Press.
389:as the Doge; and the third in December 2007, with
263:Soprano Marianna Barbieri-Nini, the first Lucrezia
176:, which remained Verdi's most popular opera until
1146:(Recording of a performance at the Teatro Regio)
784:The grief-stricken Doge expresses his feelings –
385:in the title role; the second in April 1992 with
1448:Recordings on operadis-opera-discography.org.uk
1568:De Van, Gilles (trans. Gilda Roberts) (1998),
812:"No other of Verdi's early operas, apart from
602:Francesco Maria Piave, librettist of the opera
1849:
1673:, Vol. 1. London: MacMillan Publishers, Inc.
1570:Verdi’s Theater: Creating Drama Through Music
1329:'Verdi: I Due Foscari'. In: Kaminski, Piotr.
118:
8:
2480:Orchestra Sinfonica di Milano Giuseppe Verdi
276:some of the press, especially the critic of
1692:The New Grove Guide to Verdi and His Operas
1595:Divas and Scholar: Performing Italian Opera
1422:
1420:
1311:on librettodopera.it Retrieved 8 April 2013
730:father and daughter-in-law leave together.
1856:
1842:
1834:
1629:(1983), New York: Dodd, Mead and Company.
415:in his debut for the Los Angeles company.
164:, Verdi received a commission from Rome's
45:
26:
1797:International Music Score Library Project
1309:Performances included in Libretto d'Opera
1597:, Chicago: University of Chicago Press.
1176:Münicher Rundfunkorchester und Chor des
866:
441:
429:
266:
258:
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1434:
1432:
1366:
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1320:David Kimbell, in Holden (2001), p. 982
1244:
354:in Naples in 2000 and recorded on DVD.
1282:
1280:
1278:
1259:
1257:
715:(soldier) who was executed in Venice (
358:presented the opera in June 1995 with
271:Tenor Giacomo Roppa, the first Jacopo
145:, based on the 1821 historical play,
7:
664:Scene 3: Outside the Council Chamber
2806:Operas based on works by Lord Byron
1549:Verdi’s Middle Period, 1849 to 1859
658:La clemenza! s'aggiunge lo scherno!
1743:Giuseppe Verdi: His Life and Works
1297:Giuseppe Verdi: His Life and Works
822:of tradition," so Budden tells us.
748:Scene 1: The Piazetta of San Marco
280:who noted that "even more than in
25:
2816:Libretti by Francesco Maria Piave
1670:The New Grove Dictionary of Opera
1438:Kimbell, in Holden (2001), p. 983
411:. The production was directed by
2753:
2729:
2728:
2679:Giuseppe Verdi's Rigoletto Story
2407:
1646:, New York: Da Capo Press, Inc.
1627:Verdi: His Music, Life and Times
797:Questa dunque è l'iniqua mercede
672:Scene 4: The Doge's private room
565:Attendant on the Council of Ten
551:Friend and confidant of Lucrezia
346:presented it in 1988, also with
1711:, Portland, OR: Amadeus Press.
1920:I Lombardi alla prima crociata
1890:Oberto, Conte di San Bonifacio
1771:Verdi: The Man and His Letters
1547:Chusid, Martin, (Ed.) (1997),
1519:: Cambridge University Press.
654:Tu al cui sguardo onnipossente
453:Premiere cast, 3 November 1844
1:
1223:Filarmonica Arturo Toscanini
921:of Milan Orchestra and chorus
647:Scene 2: A hall in the palace
2699:Casa di Riposo per Musicisti
2444:Theatres named after Verdi (
1615:, New York: Penguin Putnam.
1344:"OONY's performance history"
1286:Parker (1998), pp. 1264–1266
734:Scene 2: The Council Chamber
521:Member of the Council of Ten
2438:Memorials to Giuseppe Verdi
1644:The Complete Opera of Verdi
1613:The New Penguin Opera Guide
839:The New Penguin Opera Guide
790:Più non vive... l'innocente
379:Opera Orchestra of New York
2832:
2548:Portrait of Giuseppe Verdi
1773:, New York, Vienna House.
1426:Budden (1984), pp. 200–201
884:Opera House and Orchestra
818:, so effectively cuts the
780:Scene 2: The Doge's Palace
2725:
2568:Verdi, the King of Melody
2396:String Quartet in E minor
1871:
1097:Alexandrina Pendatchanska
837:David Kimbell writing in
701:Scene 1: The state prison
682:Tu pur lo sai che giudice
584:
93:3 November 1844
44:
36:
2776:Operas by Giuseppe Verdi
2236:Libiamo ne' lieti calici
1722:Phillips-Matz, Mary Jane
953:Chorus and orchestra of
724:Nel tuo paterno amplesso
641:Odio solo ed odio atroce
2781:Italian-language operas
2473:Giuseppe Verdi Monument
2200:Bella figlia dell'amore
2020:La battaglia di Legnano
1380:Retrieved 27 April 2012
678:O vecchio cor che batte
311:20th century and beyond
296:between 1850 and 1851.
158:After his success with
2080:Les vêpres siciliennes
1690:Parker, Roger (2007),
1485:"Verdi: I Due Foscari"
1333:. Fayard, 2003, p1566.
1068:Teatro Regio di Torino
995:ORF Symphony Orchestra
764:
697:
603:
513:Marianna Barbieri-Nini
439:
272:
264:
195:
119:
2801:Operas based on plays
2245:Un dì, felice, eterea
1219:Teatro Regio di Parma
1178:Bayerischen Rundfunks
1143:Teatro Regio di Parma
1020:Linda Roark-Strummer,
774:O padre, figli, sposa
755:
717:Non maledirmi o prode
695:
637:Dal più remoto esilio
601:
503:Jacopo Foscari's wife
433:
413:Thaddeus Strassberger
301:Her Majesty's Theatre
270:
262:
193:
143:Francesco Maria Piave
58:Francesco Maria Piave
2796:Operas set in Venice
2707:Verdi Transcriptions
2357:Un ballo in maschera
2303:La forza del destino
2130:La forza del destino
2120:Un ballo in maschera
1874:List of compositions
1226:DVD:Dynamic Records
1114:Orchestra and Chorus
1070:Orchestra and Chorus
1034:Orchestra and Chorus
1027:Gianandrea Gavazzeni
946:Alessandro Maddalena
879:Lucrezia, Loredano)
575:Servant of the Doge
501:Lucrezia Contarini,
366:in the major roles.
305:Théâtre des Italiens
294:Teatro Regio (Turin)
219:Lorenzino de' Medici
2539:Cultural depictions
2418:Quattro pezzi sacri
2266:Opera discographies
1607:Kimbell, David, in
1536:. London: Cassell.
1251:Budden, pp. 176–177
1112:Teatro di San Carlo
934:Giangiacomo Guelfi,
914:Carlo Maria Giulini
875:(Francesco Foscari,
770:All'infelice veglio
544:Atanasio Pozzolini
352:Teatro di San Carlo
250:Performance history
186:Composition history
78:'s historical play,
2466:Milan Conservatory
2387:Inno delle nazioni
2368:Other compositions
2090:I vespri siciliani
1900:Un giorno di regno
1825:, giuseppeverdi.it
1821:2017-09-17 at the
1810:2017-09-17 at the
1726:Verdi: A Biography
1376:2012-02-13 at the
1331:Mille et Un Opéras
1136:Roberto Tagliavini
1131:Roberto de Biasio,
1119:DVD: ArtHaus Musik
1057:Nicola Martinetti,
1044:Cat: OA LS30007 D
926:Cat: 8573-83515-2
896:Giangiacomo Guelfi
765:
698:
604:
477:Achille De Bassini
440:
273:
265:
212:Republic of Venice
196:
2741:
2740:
2581:(1982 miniseries)
2578:The Life of Verdi
2515:Verdi, California
2227:La donna è mobile
1745:, New York: Knopf
1700:978-0-19-531314-7
1232:
1231:
1215:Paolo Arrivabeni,
1196:Vladimir Stoyanov
1091:Vincenzo La Scola
1032:Teatro alla Scala
990:Lamberto Gardelli
980:Katia Ricciarelli
970:Piero Cappuccilli
910:Pasquale Lombardo
801:Quel bronzo feral
591:
590:
519:Jacopo Loredano,
461:Francesco Foscari
398:Los Angeles Opera
334:Vicente Sardinero
329:Piero Cappuccilli
133:in three acts by
114:
113:
16:(Redirected from
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1705:Pistone, Danièle
1640:Osborne, Charles
1625:Martin, George,
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1489:Presto Classical
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1346:. Archived from
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1171:Bernadett Fodor
1140:Donato Renzetti,
1099:
924:CD :Warner Fonit
867:
530:Baldassare Miri
483:Jacopo Foscari,
455:(Conductor: – )
442:
387:Vladimir Chernov
360:Vladimir Chernov
315:In modern times
289:Teatro Carignano
166:Teatro Argentina
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2093:(December 1855)
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1823:Wayback Machine
1812:Wayback Machine
1787:
1748:Walker, Frank,
1591:Gossett, Philip
1503:
1493:
1491:
1483:
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1478:
1468:
1466:
1460:"I Due Foscari"
1458:
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1060:
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876:
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786:Egli ora parte!
761:Francesco Hayez
745:
690:
627:Members of the
620:
596:
454:
436:Josef Kriehuber
428:
405:Plácido Domingo
391:Paolo Gavanelli
356:The Royal Opera
278:Rivista di Roma
252:
224:The Two Foscari
188:
148:The Two Foscari
127:The Two Foscari
110:
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82:The Two Foscari
79:
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1785:External links
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1661:Due Foscari, I
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1611:(Ed.) (2001),
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1174:Ivan Repušić,
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961:Cat: MCD00123
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950:Tullio Serafin
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469:
466:Doge of Venice
457:
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372:Sarasota Opera
338:Pedro Lavirgen
325:Tullio Serafin
251:
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194:Giuseppe Verdi
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137:to an Italian
135:Giuseppe Verdi
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1829:Aria database
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1803:I due Foscari
1800:
1798:
1794:
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1792:I due Foscari
1789:
1788:
1784:
1780:
1779:0-8443-0088-8
1776:
1772:
1768:
1764:
1763:Werfel, Franz
1761:
1759:
1758:0-226-87132-0
1755:
1751:
1750:The Man Verdi
1747:
1744:
1740:
1739:Toye, Francis
1737:
1735:
1734:0-19-313204-4
1731:
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1723:
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1718:
1717:0-931340-82-9
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1686:1-56159-228-5
1683:
1680:
1679:0-333-73432-7
1676:
1672:
1671:
1666:
1665:Stanley Sadie
1662:
1658:
1657:Parker, Roger
1655:
1653:
1652:0-306-80072-1
1649:
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1641:
1638:
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1635:0-396-08196-7
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1621:0-14-029312-4
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1561:
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1557:0-226-10658-6
1554:
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1543:
1542:0-304-31058-1
1539:
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1528:
1526:
1525:0-521-29712-5
1522:
1518:
1515:. Cambridge,
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1350:on 2013-10-27
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1121:Cat: 107 001
1118:
1113:
1108:
1105:
1102:Danilo Rigosa
1098:
1092:
1087:
1084:
1081:
1080:
1077:Cat: 7297/98
1075:CD: Nuova Era
1074:
1069:
1064:
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1053:Renato Bruson
1051:
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1014:Renato Bruson
1012:
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975:José Carreras
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560:Giulia Ricci
559:
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556:mezzo-soprano
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495:Giacomo Roppa
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31:I due Foscari
28:
19:
18:I Due Foscari
2727:
2706:
2678:
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2648:
2638:
2628:
2618:
2601:(2011 opera)
2596:
2586:
2576:
2566:
2556:
2546:
2430:Recognitions
2416:
2385:
2375:
2356:
2347:
2339:Il trovatore
2338:
2329:
2320:
2311:
2302:
2293:
2284:
2275:
2254:Va, pensiero
2209:Celeste Aida
2191:Anvil Chorus
2168:
2158:
2148:
2138:
2128:
2118:
2108:
2098:
2088:
2078:
2068:
2060:Il trovatore
2058:
2048:
2038:
2030:Luisa Miller
2028:
2018:
2008:
1998:
1990:I masnadieri
1988:
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1968:
1958:
1948:
1939:
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1918:
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1791:
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1767:Stefan, Paul
1749:
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1626:
1612:
1594:
1580:(hardback),
1569:
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1533:
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1512:
1505:
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1492:. Retrieved
1488:
1479:
1467:. Retrieved
1463:
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1443:
1410:
1398:. Retrieved
1394:
1385:
1352:. Retrieved
1348:the original
1338:
1330:
1325:
1316:
1304:
1296:
1291:
1268:
1247:
1239:
1238:
1185:
1175:
1149:DVD: C Major
985:Samuel Ramey
942:Leyla Gencer
937:Mirto Picchi
906:Maria Vitale
849:
838:
836:
831:
827:
825:
820:Gordian Knot
813:
800:
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409:James Conlon
395:
376:
342:
321:Leyla Gencer
316:
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286:
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274:
255:19th century
254:
253:
243:
240:
236:Roger Parker
230:
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216:
203:
199:
197:
179:Il trovatore
177:
173:
169:
159:
157:
146:
126:
117:
116:
115:
80:
30:
2786:1844 operas
2716:Villa Verdi
2639:La Traviata
2591:(1985 play)
2571:(1953 film)
2561:(1938 film)
2501:Verdi Range
2494:Verdi Inlet
2421:(1889–1897)
2348:La traviata
2083:(June 1855)
2070:La traviata
1169:Ivan Magri,
1151:Cat:721008
1107:Nello Santi
712:condottiere
709:, a famous
535:Barbarigo,
2770:Categories
2709:(Finnissy)
2588:After Aida
2508:3975 Verdi
2285:Don Carlos
2143:(1867/84)
2140:Don Carlos
2133:(1862/69)
2010:Il corsaro
1983:(1847/65)
1354:2009-03-22
1299:from 1931.
1235:References
1228:Cat:57865
1201:Stefan Pop
1186:Cat:90328
1165:Guanqun Yu
1129:Leo Nucci,
1022:Luigi Roni
997:and Chorus
882:Conductor,
863:Recordings
856:leitmotifs
707:Carmagnola
613:Time: 1457
449:Voice type
153:Lord Byron
97:1844-11-03
76:Lord Byron
54:Librettist
2330:Rigoletto
2103:(1857/81)
2050:Rigoletto
2040:Stiffelio
2000:Jérusalem
1667:, (Ed.),
1659:(1998), "
1464:Naxos.com
1395:Operabase
1160:Leo Nucci
1086:Leo Nucci
1041:Opus Arte
955:La Fenice
763:, 1838–40
537:a Senator
208:La Fenice
182:in 1853.
37:Opera by
2734:Category
2454:Florence
2446:Brindisi
2294:Falstaff
2170:Falstaff
1819:Archived
1816:libretto
1808:Archived
1805:synopsis
1769:(1973),
1741:(1931),
1724:(1993),
1707:(1995),
1642:(1969),
1593:(2006),
1532:(1984),
1400:26 March
1374:Archived
959:CD: MYTO
594:Synopsis
549:Pisana,
472:baritone
344:La Scala
139:libretto
129:) is an
89:Premiere
72:Based on
64:Language
2659:Macbeth
2458:Trieste
2450:Busseto
2406:(1874)
2312:Macbeth
2163:(1887)
2153:(1871)
2123:(1859)
2073:(1853)
2063:(1853)
2053:(1851)
1980:Macbeth
1910:Nabucco
1506:Sources
1494:17 June
1469:15 June
1002:Philips
832:Foscari
815:Macbeth
607:Place:
508:soprano
485:his son
438:, 1854)
420:Foscari
368:Florida
317:Foscari
204:Foscari
95: (
67:Italian
2791:Operas
2746:Portal
2682:(2005)
2672:(1987)
2662:(1987)
2652:(1986)
2649:Otello
2642:(1983)
2632:(1953)
2622:(1906)
2619:Otello
2551:(1886)
2398:(1873)
2390:(1862)
2380:(1848)
2321:Otello
2173:(1893)
2160:Otello
2113:(1857)
2110:Aroldo
2043:(1850)
2033:(1849)
2023:(1849)
2013:(1848)
2003:(1847)
1993:(1847)
1973:(1846)
1970:Attila
1963:(1845)
1960:Alzira
1953:(1845)
1943:(1844)
1933:(1844)
1930:Ernani
1923:(1843)
1913:(1842)
1903:(1840)
1893:(1839)
1881:Operas
1777:
1756:
1732:
1715:
1698:
1684:
1677:
1650:
1633:
1619:
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1576:
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1555:
1540:
1523:
887:Label
828:Ernani
609:Venice
568:tenor
541:tenor
418:Today
323:under
282:Ernani
200:Ernani
198:After
174:Ernani
161:Ernani
107:, Rome
2760:Opera
1663:" in
1517:et al
1240:Notes
1156:2018
1039:DVD:
870:Year
807:Music
743:Act 3
688:Act 2
618:Act 1
578:bass
490:tenor
445:Role
426:Roles
402:tenor
131:opera
2669:Aida
2629:Aida
2276:Aida
2150:Aida
1775:ISBN
1765:and
1754:ISBN
1730:ISBN
1713:ISBN
1696:ISBN
1682:ISBN
1675:ISBN
1648:ISBN
1631:ISBN
1617:ISBN
1599:ISBN
1582:ISBN
1574:ISBN
1560:ISBN
1553:ISBN
1538:ISBN
1521:ISBN
1496:2020
1471:2014
1402:2018
1192:2020
1126:2009
1082:2000
1049:1998
1010:1988
1000:CD:
966:1977
931:1957
892:1951
873:Cast
846:Ten.
526:bass
396:The
362:and
336:and
919:RAI
370:'s
151:by
141:by
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1198:,
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1055:,
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1016:,
992:,
982:,
977:,
972:,
944:,
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916:,
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