Il trovatore - Knowledge (XXG)

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knightly tournament: only to lose it again on the military battlefield, where the odds are perpetually against him, and he is damned as an outlaw even before the opera begins, for no deed of his own but because his master is the rebel. And yet he gets to be a heroic, popular outlaw, who might just escape with his life in return for a vow of future loyalty, if put on trial in front of the Prince himself: a chance that Luna does not want to risk, given that his rivalry with Manrico is personal as well as political. Hence the challenge to the duel over the personal rivalry, instead of calling the guards and making the arrest political, in act 1: and hence also the decision to execute without trial in act 4 even though Luna knows he is abusing his position. Leonora and Azucena are, of course, as fictitious as Manrico, as is the story's conceit that the former Count of Luna had not one but two sons.

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Ferdinand's side has the upper hand in the war and is effectively the Royalist party, with the backing of much of the nobility and the Dowager Queen, and he also has Di Luna as his chief henchman (Luna's own connection to the royal family is not mentioned, being not necessary to the drama): while Urgel, losing the war and on the back foot, is forced to recruit among outlaws and the dispossessed, effectively taking the part of a rebel despite having some legal right to his case. Thus the fact that the forces of Urgel, in the opera as in real life, lose every pitched battle: and on the single occasion that they capture a castle (named in the opera as "Castellor", a fairly generic name for a castle, there being many Castellars in the region), it proves a handicap to them because their only hope in battle lies in speed, mobility, surprise and ambush, all of which are lost when defending a fortress.

1382: 1030:/ "Alone upon this earth"). Leonora in the darkness briefly mistakes the count for her lover, until the Troubadour himself enters the garden, and she rushes to his arms. The Count challenges his rival to reveal his true identity, which he does: Manrico, a knight now outlawed and under death sentence for his allegiance to a rival prince. Manrico in turn challenges him to call the guards, but the Count regards this encounter as a personal rather than political matter, and challenges Manrico instead to a duel over their common love. Leonora tries to intervene, but cannot stop them from fighting (Trio: 283:, at having no communication from Cammarano. His letter emphasized that "the bolder he is, the happier it will make me," although it appears that Cammarano's reply contained several objections, which Verdi answered on 4 April and, in his response, he emphasized certain aspects of the plot which were important to him. These included Leonora taking the veil and also the importance of the Azucena/Manrico relationship. He continued by asking whether the librettist liked the drama and emphasized that "the more unusual and bizarre the better". 1126:/ "He was helpless under my savage attack"): and Azucena reproaches him for having stayed his hand then, especially since it was the Count's forces that defeated him in the subsequent battle of Pelilla. A messenger arrives and reports that Manrico's allies have taken Castle Castellor, which Manrico is ordered to hold in the name of his prince: and also that Leonora, who believes Manrico dead, is about to enter a convent and take the veil that night. Although Azucena tries to prevent him from leaving in his weak state ( 448: 1155: 40: 1174:/ "Now we play at dice"). Ferrando drags in Azucena, who has been captured wandering near the camp. When she hears di Luna's name, Azucena's reactions arouse suspicion and Ferrando recognizes her as the supposed murderer of the count's brother. Azucena cries out to her son Manrico to rescue her and the count realizes that he has the means to flush his enemy out of the fortress. He orders his men to build a pyre and burn Azucena before the walls. 1266:/ "Again to our mountains we shall return"). At last the gypsy slumbers. Leonora comes to Manrico and tells him that he is saved, begging him to escape. When he discovers she cannot accompany him, he refuses to leave his prison. He believes Leonora has betrayed him until he realizes that she has taken poison to remain true to him. As she dies in agony in Manrico's arms she confesses that she prefers to die with him than to marry another (Trio: 1099: 624:: "He could have been the Tchaikovsky of Italian ballet" he states, continuing to praise it as "perfect ballet music". In addition, he describes the unusual practice of Verdi having woven in themes from the gypsy chorus of act 2, ballet music for opera rarely connecting with the themes of the work. Several other revisions focused on Azucena's music, including an extended version of the finale of act 4, to accommodate the role's singer 3989: 1026:/ "A love that words can scarcely describe"), in which she tells how she fell in love with a mystery knight, victor at a tournament: lost track of him when a civil war broke out: then encountered him again, in disguise as a wandering troubadour who sang beneath her window. When they have gone, Count di Luna enters, intending to pay court to Leonora himself, but hears the voice of his rival, in the distance: ( 1000: 1569: 407:

the Miserere as well as retaining "Tacea la Notte" in act 1 with its cabaletta. Changes were also made to Azucena's "Stride la vampa" and to the Count's lines. Taking into account the last-minute requirements of the censor and the consequent changes, overall, the revisions and changes enhanced the opera, and the result was that it was a critical and a popular success.

264: 4191: 440: 1091:/ "The flames are roaring!"). The Gypsies break camp while Azucena confesses to Manrico that after stealing the di Luna baby she had intended to burn the count's little son along with her mother, but overwhelmed by the screams and the gruesome scene of her mother's execution, she becomes confused and throws her own child into the flames instead (Racconto: 432: 3668: 1242: 1146:/ "Fatal hour of my life"). Leonora and the nuns appear in procession, but Manrico prevents di Luna from carrying out his plans and takes Leonora away with him, although once again leaving the Count behind unharmed, as the soldiers on both sides back down from bloodshed, the Count being held back by his own men. 1645:, King Martin's brother-in-law and the closest relative through purely patrilineal line of descent, refused to accept the decision of the Compromise, believing (with some justification) that Martin had intended to adopt him as the heir by appointing him Governor-General after the death of his own son 1121:

Manrico realises that he is not the son of Azucena, but loves her as if she were indeed his mother, as she has always been faithful and loving to him – and, indeed, saved his life only recently, discovering him left for dead on a battlefield after being caught in ambush. Manrico tells Azucena that he

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Then, in July 1852, by way of an announcement in a theatrical journal, Verdi received news of Cammarano's death earlier that month. This was both a professional and a personal blow. The composer learned that Cammarano had completed Manrico's third-act aria, "Di quella pira" just eight days before his

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Things were put on hold for several months as Verdi became preoccupied with family matters, which included the illnesses of both his mother (who died in July) and father, the estrangement from his parents with communications conducted only between lawyers, and the administration of his newly acquired

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In the recent years the some "Il trovatore" excepts have gained massive popularity, specially "Miserere". The most important aspects of this increase in appreciation could be sourced from a revitalisation of interest in ancient 78rpm records, and the introduction of this fragment in the "Stage 3" LP

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His main aim, having changed his mind about the distribution of characters in the opera, was to enhance the role of Leonora, thus making it "a two-women opera" and he communicated many of these ideas ahead of time via letters to De Sanctis over several months. Leonora now was to have a cantabile for

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Verdi also writes that if there were no standard forms – "cavatinas, duets, trios, choruses, finales, etc. and if you could avoid beginning with an opening chorus...." he would be quite happy. Correspondence continued between the two men for the following two months or so, including another letter

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While neither of the two princes who actually took part in the war appears in the opera – neither is even referred to by name, and only Urgell is referred to by his title – the fortunes of their followers mirror those of their princes. Thus, with his military success,

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From this position, Budden comments on the distinct differences in an era where vocal registers were less defined and which extend into Leonora's and Azucena's music "where greater verbal projection of the lower voice turned to advantage" and where "the polarity between the two female roles into

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two-part arias, the use of the chorus, etc., which Verdi had originally asked Cammarano to ignore, are evident. But Verdi wanted something else: "the freer the forms he presents me with, the better I shall do," he wrote to the librettist's friend in March 1851. It was not what he received from his

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There then arose the question of where the opera would eventually be presented. Verdi had turned down an offer from Naples, but became concerned about the availability of his preferred Azucena, Rita Gabussi-De Bassini. She turned out not to be on the Naples roster, but expressed an interest in the

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Over the last century there has been an increase in interest and appreciation for Verdi's music. Remarkably, there has been a lot of interest in the excerpt "Miserere" and "Di Quella Pira", and since the dawn of recorded music there have been tenths of recordings of these fragments, rangning from

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During the period to follow, in spite of his preoccupations but especially after he had begun to overcome them, Verdi had kept in touch with the librettist. In a letter around the time of his intended departure for France, he wrote encouragingly to Cammarano: "I beg you with all my soul to finish

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Thus it is that the fictitious troubadour Manrico can gain his rags-to-riches background, having risen from the obscurity of a Biscayan gypsy camp to become Urgel's chief general, a knight and a master swordsman in his own right, good enough to defeat Di Luna himself in a personal duel, or win a

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woman was wrongfully accused of having bewitched the youngest of the di Luna children; the child had fallen sick, and for this the gypsy had been burnt alive as a witch, her protests of innocence ignored. Dying, she had commanded her daughter Azucena to avenge her, which she did by abducting the

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Budden describes one of the musical qualities as the relationship between the "consistent dramatic impetus" of the action being caused by the "propulsive quality" of the music which produces a "sense of continuous forward motion". Parker describes it as "sheer musical energy apparent in all the

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The opera's immense popularity – albeit a popular success rather than a critical one – came from some 229 productions worldwide in the three years following its premiere on 19 January 1853, and is illustrated by the fact that "in Naples, for example, where the opera in its first three years had

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near his hometown of Busseto), where he had established his parents. But his relationship with his parents, albeit legally severed, as well as Strepponi's situation living with the composer in an unmarried state, continued to preoccupy him, as did the deterioration of his relationship with his

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With regard to the chosen librettist's strength as a poet in preparing verse for opera, Budden also comments that his approach was very traditional, something which began to become clear during the preparation of the libretto and which appears in the correspondence between the two men.

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every field of comparison." He then sums up the musical relationship which exists between the two female characters, the men having simply been defined as being representative of their own voice types, something evident and very striking in Verdi's significant use of voice types in

1653:, bastard son of Martin the Younger, whose legitimization had been sought from the Pope unsuccessfully. As part of the compromise for withdrawing his own claim in favour of Ferdinand, Frederic was granted the County of Luna, one of the lesser titles that his father had held. 1438:

Verdi also clearly recognizes the importance of the role of Azucena. Remembering that the composer's initial suggestion to Cammarano was that he wanted to name the opera after her, Budden notes that this character "is the first of a glorious line" and he names Ulrica (from

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father-in-law, Antonio Barezzi. Finally, in April 1851, agreement was reached with the elder Verdis on the payment of debts mutually owed and the couple were given time to resettle, leaving Sant'Agata for Verdi and Strepponi to occupy for the next fifty years.

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of 1844. Regarding Leonora, Budden describes her music as "mov in long phrases most characterized by a soaring 'aspiring' quality" whereas "Azucena's melodies evolve in short, often commonplace phrases based on the repetition of short rhythmic patterns".

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When considering setting García Gutiérrez's play, Verdi turned to work with Cammarano, "the born operatic poet" (according to Budden). Their correspondence began as early as January 1850, well before Verdi had done anything to develop a libretto with

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Here he, like many other writers, notes the elements of musical form (then often described as "closed forms") which characterize the opera and make it appear to be something of a return to the language of earlier times, "the veritable apotheosis of

1217:/ "Lord, thy mercy on this soul") by begging di Luna for mercy and offers herself in place of her lover. She promises to give herself to the count, but secretly swallows poison from her ring in order to die before di Luna can possess her (Duet: 424: 1724: 210: 1400:

notes that "the extreme formalism of the musical language has been seen as serving to concentrate and define the various stages of the drama, above all channeling them into those key confrontations that mark its inexorable progress".

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Ferrando, the captain of the guards, orders his men to keep watch while Count di Luna wanders restlessly beneath the windows of Leonora, lady-in-waiting to the Princess. Di Luna loves Leonora and is jealous of his successful rival, a

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in Rome on 19 January 1853, where it "began a victorious march throughout the operatic world", a success due to Verdi's work over the previous three years. It began with his January 1850 approach to Cammarano with the idea of

1241: 1451:) as followers in the same vocal range and with the same expressive and distinct qualities which separate them from the other female role in the opera in which they feature. He quotes from a letter which Verdi wrote to 1381: 1533:. As Manrico sings his battle cry in "Di quella pira", the performance is interrupted by the answering cries of Italian nationalists on the upper balcony who shower the stalls area below with patriotic leaflets. In 1494:

is the four greatest singers in the world. On many occasions, this opera and its music have been featured in various forms of popular culture and entertainment. Scenes of comic chaos play out over a performance of

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baby. Although the burnt bones of a child were found in the ashes of the pyre, the father refused to believe his son's death. Dying, the father commanded his firstborn, the new Count di Luna, to seek Azucena.

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is that "it is as though Verdi had decided to do something which he had been perfecting over the years, and to do it so beautifully that he need never to do it again. Formally, it is a step backward after

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was a young poet from Naples who was beginning his career; eventually he wrote more than 15 librettos before 1880. Composer and librettist met in Rome around 20 December 1852 and Verdi began work on both

659:. This version was published by Ricordi and the University of Chicago Press in 2001. An updated version of this critical edition by Lawton was published by Ricordi in 2018, and given its premiere at the 1270:/ "Rather than live as another's"). The count has heard Leonora's last words and orders Manrico's execution. Azucena awakens and tries to stop di Luna. Once she finds out Manrico is dead, she cries: 1182:

Inside the castle, Manrico and Leonora are preparing to be married. She is frightened; the battle with di Luna is imminent and Manrico's forces are outnumbered. He assures her of his love (Aria:

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including the addition of music for the ballet in act 3 which followed the soldiers' chorus, where gypsies danced to entertain them. The quality of Verdi's ballet music has been noted by scholar

578:, he encountered some legal difficulties in dealing with Toribio Calzado, the impresario of the Théâtre des Italiens, and, with his contacts with the Opėra, agreed to prepare a French version of 173:, which gave the composer the opportunity to propose significant revisions, which were accomplished under his direction. These revisions are seen largely in the expansion of the role of Leonora. 1719:

is one of the most-recognized pieces of classical music. It "has transcended the opera itself" and is often played in non-opera concerts. It appears in many cultural references as well.

1455:, the soprano who was due to sing the Leonora in Venice after the premiere, and who expressed reservations about her music. Here, Verdi emphasizes the importance of the role of Azucena: 1681: 1463:

principal role; finer and more dramatic and more original than the other. If I were a prima donna (a fine thing that would be!), I would always rather sing the part of the Gypsy in

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that the composer was beginning to prepare an opera with a librettist but without a commission of any kind from an opera house. In his first letter to Cammarano, Verdi proposed

1083:/ "See! The endless sky casts off her sombre nightly garb...". Azucena, the daughter of the Gypsy woman burnt by the count, is still haunted by her duty to avenge her mother ( 287:

from the composer of 9 April which included three pages of suggestions. But he also made concessions and expresses his happiness in what he is receiving in the way of verse.

1186:/ "Ah, yes, my love, in being yours"), even in the face of death. When news of Azucena's capture reaches him, he summons his men and desperately prepares to attack ( 169:. There followed, slowly and with interruptions, the preparation of the libretto, first by Cammarano until his death in mid-1852 and then with the young librettist 4024: 3738: 2233: 1541:, with parallels between the opera's protagonists, Manrico and Leonora, and the film's protagonists, Ussoni and Livia. A staging of act 1, scene 2, of 3074: 2546: 1723: 186:

in March 1851. His personal affairs also limited his professional work. In May 1851, an additional commission was offered by the Venice company after

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since September 1849, had translated the play, as evidenced in a letter from her two weeks before the premiere urging him to "hurry up and give OUR

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May 1851 brought an offer for a new opera from the Venice authorities, and it was followed by an agreement with the Rome Opera company to present

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Manrico and Azucena are awaiting their execution. Manrico attempts to soothe Azucena, whose mind wanders to happier days in the mountains (Duet:

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While the story and most of the characters are fictitious, it is set towards the end of a real civil war in Aragon. Following the death of King

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in the United States using a new critical edition by musicologist, conductor, and Verdi scholar David Lawton. Recorded live for broadcast on

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s success there. Another commission came from Paris while he was visiting that city from late 1851 to March 1852. Before the libretto for

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For Verdi, the three years were filled with musical activity; work on this opera did not proceed while the composer wrote and premiered

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who states that the composer revealed that, after seeing the play, he immediately began to compose music for what would later become

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as the subject with "two feminine roles. The first, the gypsy, a woman of unusual character after whom I want to name the opera."

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was completed, before it was scored, and before it premiered, Verdi had four operatic projects in various stages of development.

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By November Verdi and Strepponi left Italy to spend the winter of 1851/52 in Paris, where he concluded an agreement with the

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whose identity he does not know. In order to keep the guards awake, Ferrando narrates the history of the count (Racconto:

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Restored version of Berliner Gramophone matrix 0572 ("Miserere"). Sung by Ferruccio Giannini and recorded in Oct 7, 1899

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Today, almost all performances use the Italian version and it is one of the world's most frequently performed operas.

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How and when Verdi acquired a copy of the García Gutiérrez play is uncertain, but Budden notes that it appears that

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Di Luna and his army are attacking the fortress Castellor where Manrico has taken refuge with Leonora (Chorus:

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The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914

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in Venice in March 1851. Within a matter of weeks, Verdi was expressing his frustration to a mutual friend,

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After the successful presentation of the opera in Italian in Paris, François-Louis Crosnier, director of l'

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Manrico has failed to free Azucena and has been imprisoned himself. Leonora attempts to free him (Aria:

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defeated di Luna in their earlier duel, but was held back from killing him by a mysterious power (Duet:

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numbers". And Budden gives many examples which show Verdi as "the equal of Bellini" as a melodist.

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Today, most opera scholars recognize the expressive musical qualities of Verdi's writing. However,

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Di Luna and his attendants intend to abduct Leonora and the Count sings of his love for her (Aria:

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librettist, but he certainly demonstrated his total mastery over this style. Osborne's take on '

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in 1410, no fewer than six candidates staked a claim for the throne. A political meeting, the

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The couple returned to Sant'Agata by mid-March 1852 and Verdi immediately began work on

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First preserved recording of "Di quella pira". Ferruccio Giannini, May 7, 1896

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is performed frequently and is a staple of the standard operatic repertoire.

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vocal interpretations to instrumental duets. For the early American market,

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describes as "a high flown, sprawling melodrama flamboyantly defiant of the

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Martin, George Whitney (Spring 2005). "Verdi Onstage in the United States:

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as the Count di Luna. The work's UK premiere took place on 10 May 1855 at

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Leonora confesses her love for the Troubadour to her confidante, Ines (

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death, but now he turned to De Sanctis to find him another librettist.

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List of recordings in all languages on operadis-opera-discography.org

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and beginning to prepare a libretto with Piave for what would become

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during the 1852/1853 Carnival season, specifically in January 1853.

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As the 19th century proceeded there was a decline in interest, but

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on 26 October 1883 the opera has been a staple of its repertoire.

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For the French premiere, Verdi made some changes to the score of

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in Brussels on 20 May 1856. There followed the production at the

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eleven stagings in six theaters, the performances totalled 190".

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Queenship And Political Power In Medieval And Early Modern Spain

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on 12 January 1857 after which Verdi returned to Italy. Emperor

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Leonora's friends, nuns, the Count's lackeys, warriors, Gypsies

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The Operas of Verdi: From Il trovatore to La forza del destino

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Verdi to De Sanctis (their mutual friend), 29 March 1851, in

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with its demands for vocal beauty, agility and range," notes

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Rarely given in French, it was presented as part of the 1998

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A translation of Cammarano's libretto was made by librettist

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once said that all it takes for a successful performance of

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The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera

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a troubadour and officer in the army of the Prince of Urgel

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First given in Paris in Italian on 23 December 1854 by the

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Nineteenth-Century Italian Opera: From Rossini to Puccini

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noble lady, in love with Manrico and courted by Di Luna

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Verdi's time and energy were spent mostly on finishing

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opera house for the opening sequence of his 1954 film

4179: 2937:. Chicago & London: University of Chicago Press. 2322:"Sarasota Opera repertoire of Verdi operas presented" 1196:/ "The horrid flames of that pyre"). Leonora faints. 241:

in Venice. At this time, it was also the first since

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Vocal Apparitions: The Attraction of Cinema to Opera

3949: 3868: 3797: 3688: 3626: 3523: 3440: 3139: 2916:, Chicago and London: University of Chicago Press. 1006:'s sketch of Manrico's costume for a production at 88: 74: 66: 52: 21: 2993:, Oxford & New York: Oxford University Press. 2767:. London & New York: Oxford University Press. 2460: 1213:/ "On the rosy wings of love"; Chorus & Duet: 566:from late July 1855, working on the completion of 366:. What followed is reported by Verdi's biographer 740:a nobleman in the service of the Prince of Aragon 1066:From act 2. Sung by Gabriella Besanzoni in 1920. 1545:is featured in Bernardo Bertolucci's 1979 film 1234:"Se m'ami ancor... Ai nostri monti ritorneremo" 963:Scene 1: The guard room in the castle of Luna ( 2933:De Van, Gilles (trans. Gilda Roberts) (1998), 1272:Egli era tuo fratello! Sei vendicata, o madre. 536:'s 1902 revivals. From its performance at the 4018: 3108: 2935:Verdi’s Theater: Creating Drama Through Music 2799:. Vol. 4. London: Macmillan Publishers. 1955: 1943: 1931: 1919: 1907: 995:Scene 2: Garden in the palace of the princess 981: 678:'s "Verdi Cycle" of all the composer's work. 8: 3739:Orchestra Sinfonica di Milano Giuseppe Verdi 1835: 719: 2991:The New Grove Guide to Verdi and His Operas 2960:Divas and Scholar: Performing Italian Opera 4025: 4011: 4003: 3115: 3101: 3093: 2976:(1983), New York: Dodd, Mead and Company. 2547:""Trubadur" Verdi A.M. Labinskii, undated" 2249:Jack A. Williams and Laven Sowell (1992). 2108:. University Rochester Press. p. 81. 2105:Verdi in America: Oberto Through Rigoletto 1846: 1844: 1158:Today's ruin of the castle Castellar near 485:on 2 May 1855 at the then-recently opened 38: 18: 3075:International Music Score Library Project 2432: 2430: 2428: 2426: 2424: 2402: 2400: 1978: 1976: 1613:Learn how and when to remove this message 451:Baritone Giovanni Guicciardi sang di Luna 3051:New York: Oxford University Press: 1992 2962:, Chicago: University of Chicago Press. 2484: 2022: 2020: 1808:, p. 59. Her emphasis on the "OUR". 1707:'s version would be the most acclaimed. 685: 647:as Leonore, Craig Sirianni as Manrique, 446: 438: 430: 422: 385:Death of Cammarano and work with Bardare 4186: 2665:Italian Film in the Light of Neorealism 2448: 2406: 2387: 2385: 2376: 2253:. Tulsa Historical Society. p. 82. 2192: 2089: 1906:Verdi to Cammarano, 1 October 1851, in 1834:Verdi to Cammarano, 2 January 1850, in 1804:Strepponi to Verdi, 3 January 1853, in 1761: 1551:. Music from the opera was featured on 1535:Italian Film in the Light of Neorealism 2472: 2436: 2391: 2372: 2346: 2270:. Psychology Press. pp. 327–328. 2235:Le Trouvere' dazzles, despite the plot 2204: 2069:"The First Three Years of 'Trovatore'" 2038: 1967: 1894: 1881: 1868: 1863: 1861: 1859: 1850: 1817: 1805: 1792: 1780: 1768: 1649:, and rebelled. A third candidate was 337:, although he had adapted his earlier 299:Preoccupations and delays in 1851–1852 2359: 2227: 2225: 2216: 2180: 2026: 1893:Verdi to Cammarano, 26 June 1851, in 1880:Verdi to Cammarano, 4 April 1851, in 1022:/ "The peaceful night lay silent"... 643:, Lawton conducted the premiere with 481:was first performed in the US by the 221:, with whom Verdi had been living in 7: 786:a gypsy, supposedly Manrico's mother 3010:, Portland, Oregon: Amadeus Press. 2914:Verdi’s Middle Period, 1849 to 1859 2618:Grover-Friedlander, Michal (2005). 2267:Giuseppe Verdi: A Guide to Research 3025:Giuseppe Verdi: His Life and Works 2890:Baldini, Gabriele (1970), (trans. 2418:Verdi to De Sanctis, 29 April 1851 1221:/ "See the bitter tears I shed"). 688:Roles, voice types, premiere casts 483:Max Maretzek Italian Opera Company 14: 2796:The New Grove Dictionary of Opera 2232:Ellis Widner (November 5, 1990). 2067:Martin Chusid (January 1, 1987). 1150:Act 3: The Son of the Gypsy Woman 613:attended the latter performance. 435:Soprano Rosina Penco sang Leonora 427:Tenor Carlo Baucardé sang Manrico 349:for the stage. Including work on 295:as quickly as you possibly can." 4189: 3988: 3987: 3938:Giuseppe Verdi's Rigoletto Story 3666: 2974:Verdi: His Music, Life and Times 2496:Hillgarth, Jocelyn Nigel (1978) 1567: 1238: 1205:Scene 1: Before the dungeon keep 1178:Scene 2: A chamber in the castle 1134:Scene 2: In front of the convent 1095:/ "They dragged her in bonds"). 1056: 1034:/ "The fire of jealous love" ). 532:saw a revival of interest after 308:property at Sant'Agata (now the 2839:. Manchester University Press. 2689:The Opera Goer's Complete Guide 2551:yalemusiclib.aviaryplatform.com 1142:/ "The light of her smile" ... 635:presented the first staging of 443:Mezzo Emilia Goggi sang Azucena 160:The premiere took place at the 4237:Operas set in the 15th century 3179:I Lombardi alla prima crociata 3149:Oberto, Conte di San Bonifacio 3049:The Oxford Dictionary of Opera 2912:Chusid, Martin, (ed.) (1997), 2902:: Cambridge University Press. 2867:Verdi: The Man and His Letters 2668:. Princeton University Press. 2662:Marcus, Millicent Joy (1986). 2624:. Princeton University Press. 2498:The Spanish Kingdoms 1250-1516 2102:George Whitney Martin (2011). 2053:, "Borghi-Mamo , Adelaide" in 1633:, found in favour of Martin's 1117:2014, act 2, scene 2 983:Di due figli vivea padre beato 593:and it was first performed at 267:Librettist Salvadore Cammarano 1: 2818:. New York: Greenwood Press. 2502:1410-1516: Castilian hegemony 2371:The synopsis is adapted from 1738:Everywhere at the end of Time 1193:Di quella pira l'orrendo foco 1128:Ferma! Son io che parlo a te! 3958:Casa di Riposo per Musicisti 3703:Theatres named after Verdi ( 2718:The Complete Operas of Verdi 2647:. New York: Penguin Putnam. 2575:Music History – 1750 to 1850 2521:Earenfight, Theresa (2005). 1512:Take Me Out to the Ball Game 668:Festival della Valle d'Itria 487:Academy of Music in New York 141:, based on the Spanish play 16:1853 opera by Giuseppe Verdi 3697:Memorials to Giuseppe Verdi 2738:The Opera Lover's Companion 2720:. New York: Da Capo Press. 2645:The New Penguin Opera Guide 2358:List of singers taken from 2345:List of singers taken from 2264:Gregory W. Harwood (1998). 1593:the claims made and adding 1555:in Canada for commercials. 1264:Ai nostri monti ritorneremo 1184:Ah sì, ben mio, coll'essere 259:Relationship with Cammarano 4253: 3807:Portrait of Giuseppe Verdi 2869:. New York: Vienna House. 2054: 1668: 1043:Scene 1: The gypsies' camp 4041: 3984: 3827:Verdi, the King of Melody 3655:String Quartet in E minor 3130: 2833:Tambling, Jeremy (1987). 2741:. Yale University Press. 2735:Osborne, Charles (2007). 2077:New York University Press 1093:Condotta ell'era in ceppi 923: 702:Original Italian version, 663:in Parma that same year. 356:The Lady of the Camellias 93:19 January 1853 37: 26: 4212:Operas by Giuseppe Verdi 3495:Libiamo ne' lieti calici 2836:Opera, Ideology and Film 2761:Phillips-Matz, Mary Jane 2375:, pp. 363–363, and 1836:Werfel & Stefan 1973 1268:Prima che d'altri vivere 1253:Ernestine Schumann-Heink 1140:Il balen del suo sorriso 1032:Di geloso amor sprezzato 952:Time: Fifteenth century. 827:Pauline Guéymard-Lauters 674:appeared as part of the 147:Antonio García Gutiérrez 79:Antonio García Gutiérrez 4217:Italian-language operas 4143:La battaglia di Legnano 3732:Giuseppe Verdi Monument 3459:Bella figlia dell'amore 3279:La battaglia di Legnano 2639:Kimbell, David (2001). 2461:Grover-Friedlander 2005 2311:Retrieved 28 March 2013 1651:Frederic, Count of Luna 1225:Scene 2: In the dungeon 1172:Or co' dadi ma fra poco 1166:Scene 1: Di Luna's camp 1081:Vedi le fosche notturne 965:The Palace of Aljafería 715:Revised French version, 368:Mary Jane Phillips-Matz 3339:Les vêpres siciliennes 2577:; accessed 2024.09.14. 2525:. Ashgate Publishing. 2251:Tulsa Opera Chronicles 1731: 1687: 1519:used a performance of 1453:Marianna Barbieri-Nini 1390: 1219:Mira, d'acerbe lagrime 1162: 1118: 1038:Act 2: The Gypsy Woman 1020:Tacea la notte placida 1011: 982: 720: 582:on 22 September 1855. 525:as the Conte di Luna. 452: 444: 436: 428: 392:Leone Emanuele Bardare 381:after a year's delay. 330:Les vêpres siciliennes 268: 237:for what later became 214: 171:Leone Emanuele Bardare 61:Leone Emanuele Bardare 3504:Un dì, felice, eterea 2814:Pitou, Spire (1990). 1729: 1685: 1559:Historical references 1447:), and Amneris (from 1384: 1211:D'amor sull'ali rosee 1200:Act 4: The Punishment 1157: 1101: 1073:The gypsies sing the 1002: 651:as Le Comte de Luna, 450: 442: 434: 426: 327:to write what became 304:possibility of Rome. 266: 212: 3966:Verdi Transcriptions 3616:Un ballo in maschera 3562:La forza del destino 3389:La forza del destino 3379:Un ballo in maschera 3133:List of compositions 2292:"Verdi: Le trouvère" 1838:, pp. 149–150. 1506:A Night at the Opera 1459:..it's a principal, 1004:Alfredo Edel Colorno 856:Leonora's confidante 655:as Azucena, and the 626:Adelaide Borghi-Mamo 564:Giuseppina Strepponi 489:. The cast included 473:Adelaide Borghi-Mamo 467:, the cast included 219:Giuseppina Strepponi 155:Aristotelian unities 4232:Operas set in Spain 4063:L'assedio di Calais 4047:Lucia di Lammermoor 4035:Salvadore Cammarano 3798:Cultural depictions 3677:Quattro pezzi sacri 3525:Opera discographies 2379:, pp. 251–255. 2219:, pp. 158–159. 2207:, pp. 107–111. 1990:The Opera Quarterly 1934:, pp. 293–294. 1631:Compromise of Caspe 1483:Cultural references 1028:Deserto sulla terra 750:Giovanni Guicciardi 690: 589:under the title of 411:Performance history 275:which premiered at 205:Composition history 139:Salvadore Cammarano 137:largely written by 57:Salvadore Cammarano 4033:Opera libretti by 3725:Milan Conservatory 3646:Inno delle nazioni 3627:Other compositions 3349:I vespri siciliani 3159:Un giorno di regno 3089:, giuseppeverdi.it 3085:2017-09-17 at the 3080:Synopsis, libretto 2765:Verdi: A Biography 2597:. London: Cassell. 2298:. October 2, 2018. 2160:"Opera Statistics" 2134:Met Opera Archives 1956:Phillips-Matz 1993 1944:Phillips-Matz 1993 1932:Phillips-Matz 1993 1920:Phillips-Matz 1993 1908:Phillips-Matz 1993 1732: 1711:In popular culture 1688: 1647:Martin the Younger 1643:James II of Urgell 1578:possibly contains 1391: 1163: 1119: 1012: 875:Manrico's henchman 844:Arcangelo Balderi 712:: Emilio Angelini 686: 657:Tulsa Philharmonic 645:Margaret Jane Wray 523:Francesco Graziani 491:Balbina Steffenone 453: 445: 437: 429: 269: 215: 59:with additions by 4177: 4176: 4000: 3999: 3840:(1982 miniseries) 3837:The Life of Verdi 3774:Verdi, California 3486:La donna è mobile 3027:, New York: Knopf 2999:978-0-19-531314-7 2825:978-0-313-26218-0 2748:978-0-300-12373-9 2727:978-0-306-80072-6 2675:978-0-691-10208-5 2654:978-0-14-029312-8 2631:978-0-691-12008-9 2612:978-0-19-520450-6 2604:978-0-19-520068-3 2487:, pp. 62–63. 2140:on 12 August 2018 2057:, vol. 1, p. 549. 2051:Forbes, Elizabeth 2003:10.1093/oq/kbi018 1970:, pp. 65–66. 1727: 1683: 1623: 1622: 1615: 1580:original research 1243: 1144:Per me ora fatale 1115:Salzburg Festival 1061: 1052:"Stride la vampa" 930: 929: 900:Raffaele Marconi 884:Giuseppe Bazzoli 865:Francesca Quadri 603:Salle Le Peletier 503:Alessandro Amodio 499:Felicita Vestvali 495:Pasquale Brignoli 469:Lodovico Graziani 281:Cesare De Sanctis 213:Verdi around 1850 114: 113: 4244: 4194: 4193: 4185: 4079:Roberto Devereux 4027: 4020: 4013: 4004: 3991: 3990: 3977: 3970: 3960: 3950:Related articles 3942: 3932: 3922: 3912: 3902: 3892: 3882: 3869:Film adaptations 3861: 3851: 3841: 3831: 3821: 3811: 3790: 3783: 3776: 3769: 3762: 3755: 3748: 3741: 3734: 3727: 3720: 3699: 3681: 3671: 3670: 3663:Messa da Requiem 3658: 3650: 3640: 3619: 3610: 3601: 3592: 3583: 3574: 3565: 3556: 3547: 3538: 3526: 3516: 3507: 3498: 3489: 3480: 3471: 3462: 3453: 3433: 3423: 3413: 3403: 3393: 3383: 3373: 3363: 3359:Simon Boccanegra 3353: 3343: 3333: 3323: 3313: 3303: 3293: 3283: 3273: 3263: 3253: 3243: 3233: 3223: 3213: 3203: 3193: 3183: 3173: 3163: 3153: 3117: 3110: 3103: 3094: 3073:: Scores at the 3047:and West, Ewan, 3004:Pistone, Danièle 2972:Martin, George, 2880: 2854: 2851:Internet Archive 2829: 2810: 2778: 2756: 2753:Internet Archive 2731: 2714:Osborne, Charles 2709: 2706:Internet Archive 2679: 2658: 2635: 2598: 2578: 2567: 2561: 2560: 2558: 2557: 2543: 2537: 2536: 2518: 2512: 2494: 2488: 2482: 2476: 2470: 2464: 2458: 2452: 2446: 2440: 2439:, pp. 67–70 2434: 2419: 2416: 2410: 2404: 2395: 2389: 2380: 2369: 2363: 2356: 2350: 2343: 2337: 2336: 2334: 2333: 2324:. 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Azucena and 519:Pauline Viardot 511:Jenny Bürde-Ney 471:as Manrico and 465:Salle Ventadour 461:Théâtre-Italien 413: 387: 301: 261: 207: 110: 109: 103: 101: 96: 94: 48: 17: 12: 11: 5: 4250: 4248: 4240: 4239: 4234: 4229: 4224: 4219: 4214: 4204: 4203: 4199: 4198: 4175: 4174: 4172: 4171: 4163: 4155: 4147: 4139: 4131: 4123: 4119:Maria di Rohan 4115: 4107: 4099: 4091: 4083: 4075: 4067: 4059: 4051: 4042: 4039: 4038: 4032: 4030: 4029: 4022: 4015: 4007: 3998: 3997: 3985: 3982: 3981: 3979: 3978: 3971: 3961: 3953: 3951: 3947: 3946: 3944: 3943: 3933: 3923: 3913: 3903: 3893: 3883: 3872: 3870: 3866: 3865: 3863: 3862: 3852: 3842: 3832: 3822: 3817:Giuseppe Verdi 3812: 3801: 3799: 3795: 3794: 3792: 3791: 3784: 3777: 3770: 3763: 3756: 3749: 3746:Verdi (crater) 3742: 3735: 3728: 3721: 3700: 3692: 3690: 3686: 3685: 3683: 3682: 3672: 3659: 3651: 3641: 3630: 3628: 3624: 3623: 3621: 3620: 3611: 3602: 3593: 3584: 3575: 3566: 3557: 3548: 3539: 3529: 3527: 3521: 3520: 3518: 3517: 3508: 3499: 3490: 3481: 3477:Di quella pira 3472: 3463: 3454: 3444: 3442: 3441:Opera excerpts 3438: 3437: 3435: 3434: 3424: 3414: 3404: 3394: 3384: 3374: 3364: 3354: 3344: 3334: 3324: 3314: 3304: 3294: 3284: 3274: 3264: 3254: 3244: 3234: 3224: 3214: 3204: 3194: 3184: 3174: 3164: 3154: 3143: 3141: 3137: 3136: 3131: 3128: 3127: 3124:Giuseppe Verdi 3122: 3120: 3119: 3112: 3105: 3097: 3091: 3090: 3077: 3064: 3063:External links 3061: 3060: 3059: 3042: 3028: 3018: 3001: 2984: 2970: 2953: 2931: 2910: 2882: 2881: 2875: 2855: 2845: 2830: 2824: 2811: 2805: 2779: 2773: 2757: 2747: 2732: 2726: 2710: 2680: 2674: 2659: 2653: 2641:Holden, Amanda 2636: 2630: 2615: 2591:Budden, Julian 2580: 2579: 2562: 2538: 2531: 2513: 2489: 2477: 2475:, p. 182. 2465: 2453: 2451:, p. 502. 2441: 2420: 2411: 2396: 2381: 2364: 2351: 2338: 2313: 2301: 2283: 2276: 2256: 2241: 2221: 2209: 2197: 2195:, p. 259. 2185: 2173: 2151: 2130:"Il trovatore" 2121: 2114: 2094: 2092:, p. 993. 2082: 2059: 2043: 2041:, p. 107. 2031: 2029:, p. 1333 2016: 1997:(2): 282–302. 1972: 1960: 1958:, p. 307. 1948: 1946:, p. 303. 1936: 1924: 1922:, p. 287. 1912: 1910:, p. 306. 1899: 1886: 1873: 1855: 1840: 1827: 1810: 1797: 1785: 1773: 1760: 1753: 1750: 1735:of the album " 1712: 1709: 1669:Main article: 1666: 1663: 1621: 1620: 1575: 1573: 1566: 1560: 1557: 1484: 1481: 1469: 1468: 1378: 1375: 1374: 1373: 1360: 1327: 1306: 1279: 1276: 1247: 1237: 1232: 1231: 1230: 1229: 1228: 1201: 1198: 1151: 1148: 1111:Francesco Meli 1065: 1055: 1050: 1049: 1048: 1047: 1046: 1039: 1036: 959: 956: 955: 954: 949: 934: 931: 928: 927: 921: 920: 917: 914: 909: 905: 904: 901: 898: 893: 889: 888: 887:Étienne Sapin 885: 882: 877: 870: 869: 866: 863: 858: 851: 850: 845: 842: 837: 835:Luna's officer 830: 829: 824: 819: 814: 807: 806: 798: 793: 788: 781: 780: 778:Louis Guéymard 775: 773:Carlo Baucardé 770: 765: 758: 757: 752: 747: 742: 735: 734: 713: 700: 695: 683: 680: 676:Sarasota Opera 661:Festival Verdi 653:Barbara Conrad 649:Greer Grimsley 587:Émilien Pacini 556:Opéra de Paris 416:In Italian as 412: 409: 386: 383: 300: 297: 260: 257: 206: 203: 133:to an Italian 131:Giuseppe Verdi 112: 111: 102: 92: 90: 86: 85: 76: 72: 71: 68: 64: 63: 54: 50: 49: 43: 35: 34: 32:Giuseppe Verdi 24: 23: 15: 13: 10: 9: 6: 4: 3: 2: 4249: 4238: 4235: 4233: 4230: 4228: 4225: 4223: 4220: 4218: 4215: 4213: 4210: 4209: 4207: 4197: 4192: 4187: 4183: 4169: 4168: 4164: 4161: 4160: 4156: 4153: 4152: 4148: 4145: 4144: 4140: 4137: 4136: 4132: 4129: 4128: 4124: 4121: 4120: 4116: 4113: 4112: 4108: 4105: 4104: 4100: 4097: 4096: 4092: 4089: 4088: 4084: 4081: 4080: 4076: 4073: 4072: 4068: 4065: 4064: 4060: 4057: 4056: 4052: 4049: 4048: 4044: 4043: 4040: 4036: 4028: 4023: 4021: 4016: 4014: 4009: 4008: 4005: 3995: 3994: 3983: 3976: 3972: 3969: 3967: 3962: 3959: 3955: 3954: 3952: 3948: 3940: 3939: 3934: 3930: 3929: 3924: 3920: 3919: 3914: 3910: 3909: 3904: 3900: 3899: 3894: 3890: 3889: 3884: 3880: 3879: 3874: 3873: 3871: 3867: 3859: 3858: 3857:Risorgimento! 3853: 3849: 3848: 3843: 3839: 3838: 3833: 3829: 3828: 3823: 3819: 3818: 3813: 3809: 3808: 3803: 3802: 3800: 3796: 3789: 3788:Verdi, Nevada 3785: 3782: 3781:Verdi, Kansas 3778: 3775: 3771: 3768: 3764: 3761: 3757: 3754: 3750: 3747: 3743: 3740: 3736: 3733: 3729: 3726: 3722: 3718: 3714: 3710: 3706: 3701: 3698: 3694: 3693: 3691: 3687: 3679: 3678: 3673: 3669: 3664: 3660: 3656: 3652: 3648: 3647: 3642: 3638: 3637: 3632: 3631: 3629: 3625: 3618: 3617: 3612: 3609: 3608: 3603: 3600: 3599: 3594: 3591: 3590: 3585: 3582: 3581: 3576: 3573: 3572: 3567: 3564: 3563: 3558: 3555: 3554: 3549: 3546: 3545: 3540: 3537: 3536: 3531: 3530: 3528: 3522: 3514: 3509: 3505: 3500: 3496: 3491: 3487: 3482: 3478: 3473: 3469: 3464: 3460: 3455: 3451: 3446: 3445: 3443: 3439: 3431: 3430: 3425: 3421: 3420: 3415: 3411: 3410: 3405: 3401: 3400: 3395: 3391: 3390: 3385: 3381: 3380: 3375: 3371: 3370: 3365: 3361: 3360: 3355: 3351: 3350: 3345: 3341: 3340: 3335: 3331: 3330: 3325: 3321: 3320: 3315: 3311: 3310: 3305: 3301: 3300: 3295: 3291: 3290: 3285: 3281: 3280: 3275: 3271: 3270: 3265: 3261: 3260: 3255: 3251: 3250: 3245: 3241: 3240: 3235: 3231: 3230: 3225: 3221: 3220: 3215: 3211: 3210: 3205: 3201: 3200: 3199:I due Foscari 3195: 3191: 3190: 3185: 3181: 3180: 3175: 3171: 3170: 3165: 3161: 3160: 3155: 3151: 3150: 3145: 3144: 3142: 3138: 3134: 3129: 3125: 3118: 3113: 3111: 3106: 3104: 3099: 3098: 3095: 3088: 3084: 3081: 3078: 3076: 3072: 3071: 3067: 3066: 3062: 3058: 3057:0-19-869164-5 3054: 3050: 3046: 3045:Warrack, John 3043: 3041: 3040:0-226-87132-0 3037: 3033: 3032:The Man Verdi 3029: 3026: 3022: 3021:Toye, Francis 3019: 3017: 3016:0-931340-82-9 3013: 3009: 3005: 3002: 3000: 2996: 2992: 2988: 2987:Parker, Roger 2985: 2983: 2982:0-396-08196-7 2979: 2975: 2971: 2969: 2968:0-226-30482-5 2965: 2961: 2957: 2954: 2952: 2951:0-226-14370-8 2948: 2944: 2943:0-226-14369-4 2940: 2936: 2932: 2930: 2929:0-226-10659-4 2926: 2923: 2922:0-226-10658-6 2919: 2915: 2911: 2909: 2908:0-521-29712-5 2905: 2901: 2898:. Cambridge, 2897: 2893: 2889: 2888: 2887: 2886: 2885:Other sources 2878: 2876:0-8443-0088-8 2872: 2868: 2864: 2860: 2859:Werfel, Franz 2856: 2852: 2848: 2846:0-7190-2238-X 2842: 2838: 2837: 2831: 2827: 2821: 2817: 2812: 2808: 2806:0-333-73432-7 2802: 2798: 2797: 2792: 2791:Stanley Sadie 2788: 2784: 2783:Parker, Roger 2780: 2776: 2774:0-19-313204-4 2770: 2766: 2762: 2758: 2754: 2750: 2744: 2740: 2739: 2733: 2729: 2723: 2719: 2715: 2711: 2707: 2703: 2699: 2695: 2691: 2690: 2685: 2681: 2677: 2671: 2667: 2666: 2660: 2656: 2650: 2646: 2642: 2637: 2633: 2627: 2623: 2622: 2616: 2613: 2609: 2606:(hardcover); 2605: 2601: 2596: 2592: 2588: 2587: 2586: 2585: 2584:Cited sources 2576: 2572: 2566: 2563: 2552: 2548: 2542: 2539: 2534: 2528: 2524: 2517: 2514: 2511: 2510:0-19-822531-8 2507: 2503: 2499: 2493: 2490: 2486: 2485:Tambling 1987 2481: 2478: 2474: 2469: 2466: 2463:, p. 33. 2462: 2457: 2454: 2450: 2445: 2442: 2438: 2433: 2431: 2429: 2427: 2425: 2421: 2415: 2412: 2409:, p. 255 2408: 2403: 2401: 2397: 2394:, p. 827 2393: 2388: 2386: 2382: 2378: 2374: 2368: 2365: 2361: 2355: 2352: 2348: 2342: 2339: 2328:on 2013-04-04 2327: 2323: 2317: 2314: 2310: 2305: 2302: 2297: 2293: 2287: 2284: 2279: 2277:9780824041175 2273: 2269: 2268: 2260: 2257: 2252: 2245: 2242: 2237: 2236: 2228: 2226: 2222: 2218: 2213: 2210: 2206: 2201: 2198: 2194: 2189: 2186: 2182: 2177: 2174: 2161: 2155: 2152: 2139: 2135: 2131: 2125: 2122: 2117: 2115:9781580463881 2111: 2107: 2106: 2098: 2095: 2091: 2086: 2083: 2078: 2074: 2070: 2063: 2060: 2056: 2052: 2047: 2044: 2040: 2035: 2032: 2028: 2023: 2021: 2017: 2012: 2008: 2004: 2000: 1996: 1992: 1991: 1986: 1979: 1977: 1973: 1969: 1964: 1961: 1957: 1952: 1949: 1945: 1940: 1937: 1933: 1928: 1925: 1921: 1916: 1913: 1909: 1903: 1900: 1896: 1890: 1887: 1883: 1877: 1874: 1870: 1864: 1862: 1860: 1856: 1852: 1847: 1845: 1841: 1837: 1831: 1828: 1825: 1824: 1819: 1814: 1811: 1807: 1801: 1798: 1795:, p. 65. 1794: 1789: 1786: 1783:, p. 66. 1782: 1777: 1774: 1771:, p. 59. 1770: 1765: 1762: 1759: 1758: 1751: 1749: 1747: 1743: 1740: 1739: 1720: 1718: 1710: 1708: 1706: 1702: 1698: 1694: 1675: 1673: 1664: 1662: 1658: 1654: 1652: 1648: 1644: 1640: 1636: 1632: 1628: 1617: 1614: 1606: 1596: 1592: 1588: 1582: 1581: 1576:This section 1574: 1565: 1564: 1558: 1556: 1554: 1550: 1549: 1544: 1540: 1536: 1532: 1531: 1526: 1522: 1518: 1514: 1513: 1508: 1507: 1502: 1501:Marx Brothers 1498: 1493: 1489: 1488:Enrico Caruso 1482: 1480: 1477: 1476: 1466: 1462: 1458: 1457: 1456: 1454: 1450: 1446: 1442: 1436: 1432: 1430: 1425: 1420: 1416: 1412: 1408: 1402: 1399: 1396: 1388: 1383: 1376: 1372: 1368: 1364: 1361: 1359: 1355: 1351: 1347: 1343: 1339: 1335: 1331: 1328: 1326: 1322: 1318: 1314: 1310: 1307: 1305: 1301: 1297: 1293: 1289: 1285: 1282: 1281: 1277: 1275: 1273: 1269: 1265: 1254: 1250: 1249:Enrico Caruso 1235: 1227: 1226: 1222: 1220: 1216: 1212: 1207: 1206: 1199: 1197: 1195: 1194: 1189: 1185: 1180: 1179: 1175: 1173: 1168: 1167: 1161: 1156: 1149: 1147: 1145: 1141: 1136: 1135: 1131: 1129: 1125: 1116: 1112: 1108: 1107:Anna Netrebko 1104: 1100: 1096: 1094: 1090: 1086: 1082: 1078: 1077: 1053: 1045: 1044: 1037: 1035: 1033: 1029: 1025: 1021: 1017: 1009: 1005: 1001: 997: 996: 992: 989: 984: 979: 973: 972: 970: 966: 957: 953: 950: 948: 946: 942: 937: 936: 932: 926: 922: 918: 915: 913: 910: 907: 906: 902: 899: 897: 894: 892:An old gypsy 891: 890: 886: 883: 881: 878: 876: 872: 871: 867: 864: 862: 859: 857: 853: 852: 849: 846: 843: 841: 838: 836: 832: 831: 828: 825: 823: 820: 818: 815: 813: 809: 808: 805: 799: 797: 794: 792: 791:mezzo-soprano 789: 787: 783: 782: 779: 776: 774: 771: 769: 766: 764: 760: 759: 756: 755:Marc Bonnehée 753: 751: 748: 746: 743: 741: 737: 736: 733: 724: 722: 714: 711: 701: 699: 696: 693: 692: 681: 679: 677: 673: 669: 664: 662: 658: 654: 650: 646: 642: 638: 634: 629: 627: 623: 619: 614: 612: 608: 604: 600: 596: 592: 588: 583: 581: 577: 576: 571: 570: 565: 561: 557: 552: 551: 550: 547:In French as 544: 541: 539: 535: 531: 526: 524: 520: 516: 512: 508: 507:Covent Garden 504: 500: 496: 492: 488: 484: 480: 476: 474: 470: 466: 462: 457: 449: 441: 433: 425: 421: 420: 419: 410: 408: 404: 402: 398: 393: 384: 382: 380: 375: 373: 369: 365: 364: 358: 357: 352: 348: 347: 342: 341: 336: 332: 331: 326: 321: 319: 314: 311: 305: 298: 296: 294: 288: 284: 282: 278: 274: 265: 258: 256: 252: 250: 246: 245: 240: 236: 230: 228: 224: 220: 211: 204: 202: 200: 195: 193: 189: 185: 181: 180: 174: 172: 168: 163: 162:Teatro Apollo 158: 156: 152: 151:Julian Budden 148: 144: 140: 136: 132: 128: 124: 120: 119: 106: 105:Teatro Apollo 91: 87: 84: 80: 77: 73: 69: 65: 62: 58: 55: 51: 47: 46:Luigi Morgari 41: 36: 33: 29: 25: 20: 4167:Il trovatore 4166: 4165: 4157: 4151:Luisa Miller 4149: 4141: 4133: 4125: 4117: 4109: 4101: 4093: 4085: 4077: 4069: 4061: 4053: 4045: 3986: 3965: 3937: 3927: 3917: 3907: 3897: 3887: 3877: 3860:(2011 opera) 3855: 3845: 3835: 3825: 3815: 3805: 3689:Recognitions 3675: 3644: 3634: 3615: 3606: 3598:Il trovatore 3597: 3588: 3579: 3570: 3561: 3552: 3543: 3534: 3513:Va, pensiero 3468:Celeste Aida 3450:Anvil Chorus 3427: 3417: 3407: 3397: 3387: 3377: 3367: 3357: 3347: 3337: 3327: 3319:Il trovatore 3318: 3317: 3307: 3297: 3289:Luisa Miller 3287: 3277: 3267: 3257: 3249:I masnadieri 3247: 3237: 3227: 3217: 3207: 3197: 3187: 3177: 3167: 3157: 3147: 3070:Il trovatore 3069: 3048: 3031: 3024: 3007: 2990: 2973: 2959: 2945:(hardback), 2934: 2913: 2899: 2895: 2892:Roger Parker 2884: 2883: 2866: 2863:Stefan, Paul 2849:– via 2835: 2815: 2794: 2787:Il trovatore 2786: 2764: 2751:– via 2737: 2717: 2704:– via 2688: 2664: 2644: 2620: 2614:(paperback). 2594: 2583: 2582: 2574: 2571:Anvil Chorus 2565: 2554:. Retrieved 2550: 2541: 2522: 2516: 2501: 2497: 2492: 2480: 2468: 2456: 2449:Osborne 2007 2444: 2414: 2407:Osborne 1977 2377:Osborne 1977 2367: 2354: 2349:, p. 58 2341: 2330:. Retrieved 2326:the original 2316: 2304: 2295: 2286: 2266: 2259: 2250: 2244: 2234: 2212: 2200: 2193:Osborne 1977 2188: 2176: 2164:. Retrieved 2154: 2142:. Retrieved 2138:the original 2133: 2124: 2104: 2097: 2090:Kimbell 2001 2085: 2072: 2062: 2046: 2034: 1994: 1988: 1984: 1963: 1951: 1939: 1927: 1915: 1902: 1897:, p. 62 1889: 1884:, p. 61 1876: 1871:, p. 61 1830: 1822: 1813: 1800: 1788: 1776: 1764: 1756: 1755: 1736: 1733: 1717:Anvil Chorus 1714: 1689: 1672:Il trovatore 1671: 1659: 1655: 1624: 1609: 1603:January 2019 1600: 1577: 1546: 1543:Il trovatore 1542: 1538: 1534: 1528: 1521:Il trovatore 1520: 1510: 1504: 1497:Il trovatore 1496: 1492:Il trovatore 1491: 1486: 1473: 1470: 1465:Il trovatore 1464: 1460: 1448: 1444: 1440: 1437: 1433: 1428: 1424:Il trovatore 1423: 1413:. Thus, the 1406: 1403: 1398:Roger Parker 1395:musicologist 1392: 1387:Il trovatore 1386: 1385:Drawing for 1271: 1267: 1263: 1261: 1224: 1223: 1218: 1214: 1210: 1208: 1204: 1203: 1191: 1183: 1181: 1177: 1176: 1171: 1169: 1165: 1164: 1143: 1139: 1137: 1133: 1132: 1127: 1124:Mal reggendo 1123: 1120: 1092: 1088: 1080: 1076:Anvil Chorus 1074: 1072: 1042: 1041: 1031: 1027: 1024:Di tale amor 1023: 1019: 1013: 994: 993: 974: 962: 961: 951: 938: 924: 908:A messenger 874: 868:Mme Dameron 855: 834: 822:Rosina Penco 811: 796:Emilia Goggi 785: 762: 739: 718: 671: 670:and in 2002 665: 636: 630: 617: 615: 609:and Empress 607:Napoleon III 590: 584: 579: 573: 567: 553: 548: 546: 545: 542: 530:Il trovatore 529: 527: 517:as Manrico, 513:as Leonora, 497:as Manrico, 493:as Leonora, 479:Il trovatore 478: 477: 475:as Azucena. 458: 454: 418:Il trovatore 417: 415: 414: 405: 400: 396: 388: 378: 376: 371: 362: 354: 350: 344: 338: 333:, his first 328: 322: 317: 315: 306: 302: 292: 289: 285: 272: 270: 253: 248: 242: 238: 231: 226: 216: 199:Il trovatore 198: 196: 192:Il trovatore 191: 187: 177: 175: 167:Il trovatore 166: 159: 142: 118:Il trovatore 117: 116: 115: 82: 22:Il trovatore 4222:1853 operas 3975:Villa Verdi 3898:La Traviata 3850:(1985 play) 3830:(1953 film) 3820:(1938 film) 3760:Verdi Range 3753:Verdi Inlet 3680:(1889–1897) 3607:La traviata 3342:(June 1855) 3329:La traviata 2684:Melitz, Leo 2473:Marcus 1986 2437:Budden 1984 2392:Parker 1998 2373:Melitz 1921 2347:Budden 1984 2205:Budden 1984 2162:. Operabase 2073:Verdi Forum 2039:Budden 1984 1985:Le trouvère 1968:Budden 1984 1895:Budden 1984 1882:Budden 1984 1869:Budden 1984 1851:Budden 1984 1818:Budden 1984 1806:Budden 1984 1793:Budden 1984 1781:Budden 1984 1769:Budden 1984 1674:discography 1113:(Manrico), 1109:(Leonora), 1105:(di Luna), 916:Luigi Fani 803:Borghi-Mamo 730:Conductor: 721:Le trouvère 672:Le trouvère 637:Le trouvère 633:Tulsa Opera 618:Le trouvère 599:Paris Opera 591:Le trouvère 560:grand opera 549:Le trouvère 401:La traviata 372:La traviata 335:grand opera 325:Paris Opéra 310:Villa Verdi 249:El Trovador 143:El trovador 83:El trovador 4206:Categories 4111:La vestale 3968:(Finnissy) 3847:After Aida 3767:3975 Verdi 3544:Don Carlos 3402:(1867/84) 3399:Don Carlos 3392:(1862/69) 3269:Il corsaro 3242:(1847/65) 2556:2024-03-06 2532:075465074X 2360:Pitou 1990 2332:2013-03-29 2217:Pitou 1990 2181:Pitou 1990 2027:Pitou 1990 1752:References 1665:Recordings 1587:improve it 1445:Don Carlos 1342:tambourine 1330:Percussion 978:troubadour 833:Ferrando, 698:Voice type 595:La Monnaie 340:I Lombardi 273:Rigoletto, 188:Rigoletto' 145:(1836) by 123:Troubadour 97:1853-01-19 53:Librettist 44:Poster by 4055:Belisario 3589:Rigoletto 3362:(1857/81) 3309:Rigoletto 3299:Stiffelio 3259:Jérusalem 2894:, 1980), 2785:(1998). " 2500:volume 2 2011:192135165 1823:King Lear 1701:Labinskii 1639:Ferdinand 1591:verifying 1525:La Fenice 1429:Rigoletto 1419:cabaletta 1415:cantabile 1407:bel canto 1358:bass drum 1346:castanets 1321:trombones 1300:clarinets 1284:Woodwinds 1188:Cabaletta 919:Cléophas 810:Leonora, 801:Adelaide 784:Azucena, 761:Manrico, 710:Conductor 580:Trovatore 534:Toscanini 397:Trovatore 379:Trovatore 351:Trovatore 346:Jérusalem 318:Trovatore 293:Trovatore 277:La Fenice 239:Rigoletto 227:Trovatore 179:Rigoletto 125:') is an 4159:Virginia 3993:Category 3713:Florence 3705:Brindisi 3553:Falstaff 3429:Falstaff 3083:Archived 3023:(1931), 3006:(1995), 2989:(2007), 2958:(2006), 2865:(1973). 2763:(1993). 2716:(1977). 2686:(1921). 2593:(1984). 2144:26 March 1746:dementia 1693:Giannini 1641:. Count 1338:triangle 1317:trumpets 1304:bassoons 1215:Miserere 1160:Zaragoza 1016:Cavatina 1008:La Scala 971:, Spain) 969:Zaragoza 933:Synopsis 745:baritone 631:In 1990 135:libretto 89:Premiere 81:'s play 75:Based on 67:Language 4095:Poliuto 3918:Macbeth 3717:Trieste 3709:Busseto 3665:(1874) 3571:Macbeth 3422:(1887) 3412:(1871) 3382:(1859) 3332:(1853) 3322:(1853) 3312:(1851) 3239:Macbeth 3169:Nabucco 2793:(ed.). 2702:1102264 2698:5128391 2643:(ed.). 2166:30 July 1695:'s and 1637:nephew 1635:sororal 1585:Please 1548:La Luna 1499:in the 1371:strings 1350:cymbals 1334:timpani 1288:piccolo 1085:Canzone 1010:in 1883 947:(Spain) 939:Place: 903:Medori 861:soprano 817:soprano 611:Eugénie 463:at the 223:Busseto 197:Today, 95: ( 70:Italian 4227:Operas 4182:Portal 4170:(1853) 4162:(1850) 4154:(1849) 4146:(1849) 4138:(1846) 4130:(1845) 4127:Alzira 4122:(1843) 4114:(1840) 4106:(1840) 4098:(1838) 4090:(1838) 4082:(1837) 4074:(1837) 4066:(1836) 4058:(1836) 4050:(1835) 3941:(2005) 3931:(1987) 3921:(1987) 3911:(1986) 3908:Otello 3901:(1983) 3891:(1953) 3881:(1906) 3878:Otello 3810:(1886) 3657:(1873) 3649:(1862) 3639:(1848) 3580:Otello 3432:(1893) 3419:Otello 3372:(1857) 3369:Aroldo 3302:(1850) 3292:(1849) 3282:(1849) 3272:(1848) 3262:(1847) 3252:(1847) 3232:(1846) 3229:Attila 3222:(1845) 3219:Alzira 3212:(1845) 3202:(1844) 3192:(1844) 3189:Ernani 3182:(1843) 3172:(1842) 3162:(1840) 3152:(1839) 3140:Operas 3055: 3038: 3014: 2997: 2980: 2966: 2949: 2941: 2927: 2920: 2906: 2873: 2843: 2822: 2803: 2789:". In 2771: 2745: 2724: 2696: 2672: 2651: 2628: 2610: 2602: 2529: 2508: 2504:p 229 2274: 2112: 2075:(15). 2009: 1705:Caruso 1553:Kijiji 1475:Ernani 1389:(1956) 1363:String 1354:anvils 1255:(1913) 945:Aragon 941:Biscay 873:Ruiz, 854:Ines, 569:Aroldo 244:Oberto 184:Venice 121:('The 107:, Rome 4196:Opera 4103:Saffo 2900:et al 2079:: 44. 2055:Sadie 2007:S2CID 1757:Notes 1697:Pryor 1539:Senso 1530:Senso 1503:film 1441:Ballo 1377:Music 1313:horns 1309:Brass 1296:oboes 1292:flute 988:gypsy 912:tenor 880:tenor 768:tenor 694:Role 682:Roles 343:into 291:this 235:Piave 127:opera 28:Opera 3928:Aida 3888:Aida 3535:Aida 3409:Aida 3053:ISBN 3036:ISBN 3012:ISBN 2995:ISBN 2978:ISBN 2964:ISBN 2947:ISBN 2939:ISBN 2925:ISBN 2918:ISBN 2904:ISBN 2871:ISBN 2841:ISBN 2820:ISBN 2801:ISBN 2769:ISBN 2743:ISBN 2722:ISBN 2694:OCLC 2670:ISBN 2649:ISBN 2626:ISBN 2608:ISBN 2600:ISBN 2527:ISBN 2506:ISBN 2272:ISBN 2168:2013 2146:2018 2110:ISBN 1715:The 1449:Aida 1367:harp 1325:tuba 1319:, 3 1315:, 2 1311:: 4 1302:, 2 1298:, 2 1294:, 2 1251:and 943:and 896:bass 840:bass 399:and 363:fils 2573:", 1999:doi 1987:". 1589:by 1523:at 1515:). 1461:the 1431:". 717:as 641:NPR 601:'s 538:Met 359:by 229:". 182:in 30:by 4208:: 3715:- 3711:- 3707:- 2861:; 2700:, 2549:. 2423:^ 2399:^ 2384:^ 2294:. 2224:^ 2132:. 2071:. 2019:^ 2005:. 1995:21 1993:. 1975:^ 1858:^ 1843:^ 1369:, 1365:: 1356:, 1352:, 1348:, 1344:, 1340:, 1336:, 1332:: 1323:, 1290:, 1286:: 1190:: 1087:: 1079:: 1018:: 967:, 725:, 403:. 374:. 4184:: 4026:e 4019:t 4012:v 3719:) 3515:" 3511:" 3506:" 3502:" 3497:" 3493:" 3488:" 3484:" 3479:" 3475:" 3470:" 3466:" 3461:" 3457:" 3452:" 3448:" 3116:e 3109:t 3102:v 2879:. 2853:. 2828:. 2809:. 2777:. 2755:. 2730:. 2708:. 2678:. 2657:. 2634:. 2569:" 2559:. 2535:. 2335:. 2280:. 2238:. 2170:. 2148:. 2118:. 2013:. 2001:: 1742:" 1616:) 1610:( 1605:) 1601:( 1583:. 1467:. 1417:- 99:)

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