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961:/ "King of the abyss, make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves.
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1087:. Ulrica's prophecy of Riccardo's assassination sets off a quintet with chorus in which Riccardo laughingly rejects the warning as nonsense, the conspirators express their dismay at having seemingly been found out, Ulrica insists that her prophecy is no joke and Oscar has the highest vocal line expressing his grief at the thought of Riccardo's murder. The act ends with a patriotic anthem like theme for the chorus juxtaposed with different vocal lines for the principals.
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1052:/ "You want to know"), but finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.
1139:. A string ensemble onstage plays dance music as Riccardo and Amelia bid farewell in a duet, which is interrupted by Renato's stabbing of Riccardo. The musicians, unaware of what has happened, continue to play their music for some bars after this event. An ensemble with harp develops as Riccardo forgives his murderer and the opera ends with an exclamation of horror from all.
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562:. Verdi and Somma eliminated many of these coded signals, but new codes take their place, particularly relating to the character of Oscar. David Richards has argued that although the opera was no longer explicitly based on Gustav III, Verdi deliberately deviated from his usual practice and set Oscar for a soprano – despite disliking women singing men's parts: "
968:/ "Tell me if the sea awaits me faithfully"). Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people.
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with the aim of presenting the finished opera during the 1858 carnival season. When this proved to be impracticable, Verdi turned to the subject of King Gustav III's assassination as portrayed in Scribe and Auber's opera, albeit not an historically accurate narrative. That subject was well known and
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Influence of French opera is felt in the first scene, both in the vocal writing for Oscar the page-boy, sprinkled with coloratura effects, and in the closing ensemble in which
Riccardo invites everyone to visit the witch's den in disguise. The music of this ensemble combines French-style elan and a
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Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to
Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her
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calling for an exceptional range from high to low. The following love duet is also multi-sectioned, building to a rapturous climax. A quartet with chorus closes the act, with radically different emotions once again being conveyed simultaneously in a single piece of music – the sardonic, mocking
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The opera is scored for flute, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, three trombones, cimbasso, timpani, cymbals, bass drum, harp and strings, together with offstage wind band, offstage bell and small onstage string orchestra (four to six first
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The music of the piece is remarkable for its great variety, its vivid and dramatic combinations of varying emotions into one piece of music as in the ensembles in the first and second acts, and its blending of the conventions of
Italian serious opera with the spirit of French opera comique.
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The imposition of still further, more stringent requirements by the censor incurred Verdi's wrath. He broke his contract, returned to Sant'Agata in April, and was sued by the management of the San Carlo house. This provoked him to lodge a counter-claim against the theatre for damages and,
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The prelude to the piece is composed of themes from the opening scene of the opera, with dramatic contrast between the music of
Riccardo's devoted courtiers and the dark mutterings of those who hate him. This is followed by a transition to a love theme, the melody of Riccardo's first aria
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identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and
Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.
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The music of the aria for
Riccardo that opens the final scene delineates the character's evolution from a selfish and light-hearted pleasure seeker to a serious man who will sacrifice his own happiness in order to do what he now recognises as the right thing. An offstage
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360:, "it was a simple case of 'cherchez la femme'": for the rest of the play Scribe invented the romance between the King and the fictional Amélie, the wife of the king's secretary and best friend, and adds characters and situations such as Oscar, the page boy.
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Samuel (Count
Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato.
591:
567:. Richards believes this therefore demonstrates that "Verdi's art embraces all forms of sexualities". Ralph Hexter has examined the “masking” of homosexual aspects of the main character and how it relates to the idea of masking in the opera as a whole.
448:. There, the censors demanded further changes. Removing the action from Europe, the location became Boston during the British colonial period and the leading character became Riccardo, the Count (or Earl) of Warwick. At this point, the opera became
1327:, December 2012, Vol. 77, #6, p. 20: Dillon notes that "it doesn't matter that there was, historically, no "real" Amelia" and further that, for Scribe, "convention demanded a leading lady" therefore "Amélie, comtesse d'Ankastrom" in Auber's opera.
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Riccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see the name of the woman he loves on the list – Amelia, the wife of his friend and advisor, Renato (Count
Anckarström). (Aria:
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By 9 January 1858, prior to setting out for Naples, Verdi wrote from his home to the San Carlo that "the opera is done and even here I am working on the full score". The composer then travelled to Naples and rehearsals of
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The second scene of the first act is preceded by a dramatic orchestral prelude, with dark instrumental colourings. Riccardo's light-hearted character is developed in the aria he sings in the disguise of a fisherman
1117:, which begins in a fast minor key and ends in a slow major key, reversing the usual order of Italian operatic arias at this time, which had the slow section first. The conspirators return accompanied by the same
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Verdi goes as far as one could go within the repressive conventions of his period to portray
Gustavo (based on a widely known flamboyantly homosexual ruler) as either a gay man or, at a minimum, a bisexual
149:
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Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame
Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria:
1398:, vol. 156, no. 3, September 2012: Gossett notes: "Yet Verdi's only use of the expression is in a letter of 1858 to his Milanese friend Clarina Maffei, where it refers to all his operas through
949:/ "Turning her eyes from the earth"). Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day.
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theme which depicted them in the prelude and accompanied their appearance in the previous scene. With the entrance of Oscar, the music again acquires something of the spirit of French
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It was during this period of turmoil that Verdi was to describe the previous sixteen years of his composing life: in a letter to Countess Clara Maffei, he states: "From
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is heard playing dance music as the scene switches to the ball. Once again Oscar's music introduces the spirit of French opera-comique with his sparkling song
41:
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From the mid-20th century, it has become more common for the setting to revert to its original 18th-century Stockholm location. A re-creation of the original
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2015:
985:/ "But when I have plucked the herb"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other.
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which we know today, Verdi's opera (and his libretto) underwent a significant series of transformations and title changes, caused by a combination of
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Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. (Aria:
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Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place.
937:/ "There I will be in ecstasy to see her again"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria:
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regulations in both Naples and Rome, as well as by the political situation in France in January 1858. Based on the Scribe libretto and begun as
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1402:: it laments the social circumstances in which Italian composers worked in the mid-nineteenth century, rather than judging aesthetic value."
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Working together with Somma over Christmas, Verdi accommodated these changes. Somma was asked to change the names of the characters on the
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The second act begins with a stormy orchestral introduction. The grand scene for the soprano which follows is multi-sectioned with a slow
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A rehearsal of act 3, scene 2, including the stabbing of Riccardo, is featured in the closing scene of Bernardo Bertolucci's 1979 film
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in Rome on 17 February 1859 and was immediately successful. The opera was first seen in the US in New York on 11 February 1861 at the
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It was to take over two years between the commission from Naples, planned for a production there, and its premiere performance at the
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Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England (Aria:
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1022:/ "I will die, but first, a kindness"). Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die (Aria:
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1098:, then a dramatic and quick middle section as Amelia is terrified by an apparition, and a slower anguished prayer with a final
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Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his demise.
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When the legal issues were resolved within a few months, Verdi was free to present the libretto and musical outline of
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At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell (Aria:
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laughter of the conspirators, the anguish of Amelia and the implacable hatred and desire for revenge of her husband.
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in 1959 where Gustavo is having an affair with his Oscar even while pining for Amelia, and also the 1993 staging by
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1367:, p. 207: "I'm drowning in a sea of troubles. It's almost certain that the censors will forbid our libretto."
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For the libretto, Scribe retained the names of some of the historical figures involved (including fortune teller
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Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria:
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503:, many modern stagings have restored the original Swedish setting and characters' names. On 7 January 1955,
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1558:"Review: A Stylishly Sung and Intelligently Staged "Masked Ball" at San Francisco Opera – October 4, 2014"
373:, changes in characters' names and titles were proposed (the King of Sweden became the Duke of Pomerania;
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Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria:
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in early 1857 led Verdi to begin to oversee the finalization of the libretto (also by Somma) for
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libretto while Verdi worked on completing sketches of the music. The name of the opera became
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were about to begin when, on 14 January 1858, three Italians attempted to assassinate Emperor
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Several productions have attempted to draw out this suggestion – most notably the staging by
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was a play, and he asserts that it was only an opera libretto written for Auber's opera.
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941:/ "Your life, so full of joy and hope"), but Riccardo refuses to listen to his words.
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421:, you may say, I have never had one hour of peace. Sixteen years in the galleys!"
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The opera has become a staple of the repertoire and is now performed frequently.
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on Montague Street. The first performance in the UK was on 15 June of that year.
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attended one of the performances. Two further performances were given at the old
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violins, two second violins, two violas, two cellos and two double basses).
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with continued low grumblings from those plotting Riccardo's assassination.
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Undated design, depicting the final act for a libretto cover by Peter Hoffer
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Frontispiece of the 1860 vocal score, depicting the final scene of the opera
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became Count Renato) and the location was moved from Stockholm to Stettin.
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Verdi and the Naples censor when preparing "Ballo", 1857–58, caricature by
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Tragic Manhood and Democracy: Verdi's Voice and the Powers of Musical Art
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291:
For a full account of the evolution of the opera which eventually became
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who was shot, as the result of a political conspiracy, while attending a
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The Operas of Verdi, Volume 2: From Il Trovatore to La Forza del Destino
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356:, the conspiracy, and the killing at the masked ball, but, as noted by
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272:. It became one of the most frustrating experiences of Verdi's career.
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1977:(1982), New York: Knopf, 1962, Chicago: University of Chicago Press.
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husband of Amelia and Riccardo's secretary, best friend and confidant
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Time: March 1792 in Sweden, or the end of the 17th century in Boston
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husband of Amelia and Gustavo's secretary, best friend and confidant
1310:, p. 363. Verdi to Torelli: "I'm scaling down a French drama,
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661:
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193:
29:
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Act 3, scene 1, is notable for Amelia's mournful aria with cello
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includes details that could be understood as signs of the king's
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507:, singing the role of Ulrica, broke the "color barrier" at the
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in Paris, an event which was to affect the opera's production.
1314:, libretto by Scribe, performed at the Opéra twenty years ago"
1159:
977:
On the outskirts of the town, at the gallows-place. Midnight
129:
1665:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
499:
In the 20th century, especially after a 1935 production in
1951:
Nineteenth-Century Italian Opera: From Rossini to Puccini
1424:"Music; For Lincoln, a Poignant Night in Another Theater"
1235:
It also confused Leslie Titmuss in John Mortimer's novel
1899:. Chicago & London: University of Chicago Press.
3079:
1459:"Marian Anderson Performed at the Metropolitan Opera"
444:
with characters' names and locations changed) to the
1878:, Chicago and London: University of Chicago Press.
602:
Baritone Leone Giraldoni, the first Renato (c. 1865)
221:
The plot concerns the assassination in 1792 of King
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524:, based on the unorchestrated original and much of
99:
79:
71:
61:
51:
21:
1776:. London & New York: Oxford University Press.
484:in Manhattan for seven performances, conducted by
1395:Proceedings of the American Philosophical Society
1392:, "Giuseppe Verdi and the Italian Risorgimento",
1323:Patrick Dillon, "Unlucky Lady: Who is Amelia?",
1014:Death of Gustavo, act 3, sc. 2, by August Pollak
1631:The New Grove Dictionary of Music and Musicians
1241:; when a friend said that she was going to see
1895:De Van, Gilles (trans. Gilda Roberts) (1998),
2972:
2062:
1897:Verdi's Theater: Creating Drama Through Music
1377:
236:in Rome on 17 February 1859. In becoming the
8:
2693:Orchestra Sinfonica di Milano Giuseppe Verdi
1921:(1983), New York: Dodd, Mead and Company.
1517:, pp. 491–513: the complete history of
1364:
1026:/ "You were the one who stained her soul").
330:had been used by other composers, including
1825:The New Grove Guide to Verdi and his Operas
1717:Divas and Scholar: Performing Italian Opera
1249:, he replied "never been one for dancing".
1194:. Unsourced material may be challenged and
594:Tenor Gaetano Fraschini, the first Riccardo
515:vocal soloist to appear with that company.
229:, dying of his wounds thirteen days later.
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2965:
2957:
2069:
2055:
2047:
1347:
1345:
918:Antonio Somma, the librettist of the opera
686:wife of Anckarström, in love with Gustavo
40:
18:
2016:International Music Score Library Project
1501:
1499:
1214:Learn how and when to remove this message
535:s score, occurred in a production by the
476:received its premiere performance at the
2039:San Diego OperaTalk! with Nick Reveles:
1719:. Chicago: University of Chicago Press.
1612:
1610:
1608:
1606:
1604:
1602:
1600:
619:: Original Boston setting and characters
605:
597:
589:
340:
3086:
1514:
1445:
1411:
1376:Verdi to Clara Maffei, 12 May 1858, in
1351:
1283:
1276:
3142:Operas based on works by Eugène Scribe
1591:
1579:
1521:has been outlined by the musicologist.
1476:Kastendieck, Miles (January 7, 1955).
1336:
1307:
648:Earl of Warwick and governor of Boston
177:
1827:. New York: Oxford University Press.
1113:and for the celebrated baritone aria
1045:/ "But if I am forced to lose her").
678:wife of Renato, in love with Riccardo
7:
1620:(2001). "Ballo in maschera, Un". In
1492:– via Met Performance Archive.
1294:challenges Baldini's statement that
1192:adding citations to reliable sources
1876:Verdi's Middle Period, 1849 to 1859
957:Ulrica summons her magical powers:
518:A "hypothetical reconstruction" of
412:eventually, the legal fight ended.
1968:Giuseppe Verdi: His Life and Works
1808:. Vol. 1. London: Macmillan.
14:
3167:Cultural depictions of Gustav III
1953:, Portland, OR: Amadeus Press.
1805:The New Grove Dictionary of Opera
624:: Swedish setting and characters
608:Roles, voice types, premiere cast
3089:
2942:
2941:
2892:Giuseppe Verdi's Rigoletto Story
2620:
1919:Verdi: His Music, Life and Times
1363:Verdi to Somma, 7 February 1858
1164:
1083:, with the characteristics of a
1024:Eri tu che macchiavi quell'anima
178:Problems playing this file? See
145:
3147:Operas set in the United States
2033:Libretto in Italian and English
1762:The Opera Goer's Complete Guide
363:Somma's new libretto, known as
3122:Operas set in the 18th century
2133:I Lombardi alla prima crociata
2103:Oberto, Conte di San Bonifacio
1992:The Oxford Dictionary of Opera
1874:Chusid, Martin, (Ed.) (1997),
1851:Verdi: The Man and His Letters
1675:: Cambridge University Press.
1530:Ralph Hexter, “Masked Balls”.
1478:"Marian at the Met: The Story"
1290:, as editor and translator of
1:
3162:Operas based on actual events
1547:, Sussex Academic Press, 2004
953:Scene 2: At Ulrica's dwelling
215:Gustave III, ou Le bal masqué
192:('A Masked Ball') is an 1859
93:Gustave III, ou Le bal masqué
3172:Fiction about assassinations
2912:Casa di Riposo per Musicisti
2657:Theatres named after Verdi (
1933:The Complete Operas of Verdi
1742:. New York: Penguin Putnam.
1594:, adaptation of the synopsis
16:1859 opera by Giuseppe Verdi
3157:Operas based on real people
2651:Memorials to Giuseppe Verdi
1935:, New York, Da Capo Press,
1740:The New Penguin Opera Guide
1663:Baldini, Gabriele (1980) .
1578:List of singers taken from
1292:The Story of Giuseppe Verdi
983:Ma dall'arido stelo divulsa
550:Homosexuality of Gustav III
281:has been staged in Sweden.
170:(1914), from act 1, scene 2
3188:
2761:Portrait of Giuseppe Verdi
1853:. New York: Vienna House.
1256:
959:Re dell'abisso, affrettati
104:17 February 1859
2938:
2781:Verdi, the King of Melody
2609:String Quartet in E minor
2084:
1931:Osborne, Charles (1994),
1483:New York Journal-American
1111:Morrò, ma prima in grazia
1020:Morrò, ma prima in grazia
494:Brooklyn Academy of Music
166:, Andrés de Segurola and
39:
28:
3127:Operas by Giuseppe Verdi
2449:Libiamo ne' lieti calici
1770:Phillips-Matz, Mary Jane
1634:(2nd ed.). London:
1365:Werfel & Stefan 1973
1043:Ma se m'è forza perderti
749:: Oscar, Gustavo's page
404:1858: The censor blocks
212:'s 1833 five act opera,
3132:Italian-language operas
3007:Jacob Johan Anckarström
2686:Giuseppe Verdi Monument
2413:Bella figlia dell'amore
2233:La battaglia di Legnano
2023:on www.giuseppeverdi.it
1734:Kimbell, David (2001).
1532:Cambridge Opera Journal
998:Scene 1: Renato's house
696:Eugenia Julienne-Dejean
488:; the future president
141:"È scherzo od è follia"
2293:Les vêpres siciliennes
2029:from aria-database.com
1823:Parker, Roger (2007).
1063:La rivedrà nell'estasi
1015:
1007:
939:Alla vita che t'arride
935:La rivedrò nell'estasi
919:
603:
595:
554:Scribe's libretto for
465:
452:set in North America.
386:Una vendetta in domino
349:
310:Una vendetta in domino
254:Una vendetta in domino
134:
2458:Un dì, felice, eterea
1312:Gustavo III di Svezia
1013:
1005:
917:
601:
593:
511:, becoming the first
463:
440:(which was basically
344:
133:
3152:Operas set in Sweden
3060:Un ballo in maschera
2988:Gustav III of Sweden
2920:Verdi Transcriptions
2570:Un ballo in maschera
2516:La forza del destino
2343:La forza del destino
2333:Un ballo in maschera
2087:List of compositions
2012:Un ballo in maschera
1994:New York: OUP: 1992
1796:Un ballo in maschera
1636:Macmillan Publishers
1400:Un ballo in maschera
1260:Un ballo in maschera
1243:Un ballo in maschera
1188:improve this section
1094:accompanied by solo
884:Giovanni Bernardoni
474:Un ballo in maschera
450:Un ballo in maschera
431:Un ballo in maschera
315:A commission by the
293:Un ballo in maschera
262:Un ballo in maschera
238:Un ballo in maschera
223:Gustav III of Sweden
189:Un ballo in maschera
23:Un ballo in maschera
3117:Fiction set in 1792
3022:Johan Tobias Sergel
2752:Cultural depictions
2631:Quattro pezzi sacri
2479:Opera discographies
2021:Libretto in Italian
1697:. London: Cassell.
1463:americaslibrary.gov
1156:Cultural references
610:
576:Royal Swedish Opera
469:Notable productions
456:Performance history
297:Gustavo III (Verdi)
285:Composition history
2679:Milan Conservatory
2600:Inno delle nazioni
2581:Other compositions
2303:I vespri siciliani
2113:Un giorno di regno
1774:Verdi: A Biography
1436:, January 21, 2001
1433:The New York Times
1378:Phillips-Matz 1993
1016:
1008:
920:
753:coloratura soprano
606:
604:
596:
543:, Sweden in 2002.
509:Metropolitan Opera
466:
350:
332:Saverio Mercadante
135:
3077:
3076:
3012:Ulrica Arfvidsson
2954:
2953:
2794:(1982 miniseries)
2791:The Life of Verdi
2728:Verdi, California
2440:La donna è mobile
1970:, New York: Knopf
1834:978-0-19-531314-7
1704:978-0-19-520068-3
1645:978-1-56159-239-5
1534:14 (2002): 93–108
1224:
1223:
1216:
1037:Scene 2: The ball
888:
887:
827:Amelia's servant
822:Stefano Santucci
801:Giuseppe Bazzoli
715:Count Anckarström
667:Gaetano Fraschini
638:17 February 1859
354:Ulrica Arfvidsson
196:in three acts by
150:
125:
124:
86:'s libretto for
3179:
3094:
3093:
3085:
3017:Alexander Roslin
2981:
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2904:Related articles
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2823:Film adaptations
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2048:
2035:on murashev.com.
2014:: Scores at the
1990:and West, Ewan,
1947:Pistone, Danièle
1917:Martin, George,
1864:
1838:
1819:
1787:
1765:
1753:
1730:
1708:
1686:
1667:. Translated by
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1238:Titmuss Regained
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1199:
1168:
1160:
1081:Di' tu se fedele
966:Di' tu se fedele
878:
790:Zelina Sbriscia
781:a fortune-teller
697:
611:
609:
537:Gothenburg Opera
534:
513:African-American
482:Academy of Music
317:Teatro San Carlo
208:'s libretto for
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1973:Walker, Frank,
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1869:Further reading
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709:
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632:Premiere cast (
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528:"grafted" onto
505:Marian Anderson
490:Abraham Lincoln
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200:. The text, by
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2431:Di quella pira
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2395:Opera excerpts
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2078:Giuseppe Verdi
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2018:
2007:
2006:External links
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1390:Philip Gossett
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1988:Warrack, John
1986:
1984:
1983:0-226-87132-0
1980:
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1975:The Man Verdi
1972:
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1964:Toye, Francis
1962:
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1941:0-306-80072-1
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1910:
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1840:
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1815:0-333-73432-7
1811:
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1800:Stanley Sadie
1797:
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1792:Parker, Roger
1789:
1785:
1783:0-19-313204-4
1779:
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1751:
1749:0-14-029312-4
1745:
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1737:
1736:Amanda Holden
1732:
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1726:0-226-30482-5
1722:
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1682:0-521-29712-5
1678:
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1671:. Cambridge,
1670:
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1660:
1659:
1658:
1657:Cited sources
1647:
1641:
1637:
1633:
1632:
1627:
1626:Tyrrell, John
1623:
1619:
1618:Parker, Roger
1613:
1611:
1609:
1607:
1605:
1603:
1601:
1597:
1593:
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1585:
1582:, p. 360
1581:
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1560:. Oct 6, 2014
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1263:
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1252:
1250:
1248:
1247:Covent Garden
1244:
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1233:
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1218:
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1197:
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1189:
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1178:
1173:This section
1171:
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1162:
1161:
1155:
1153:
1146:
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1140:
1138:
1134:
1128:
1126:
1125:
1124:opéra comique
1120:
1116:
1112:
1109:
1104:
1101:
1097:
1093:
1088:
1086:
1082:
1076:
1074:
1073:
1072:joie de vivre
1066:
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1055:
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936:
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916:
909:
906:
903:, Sweden, or
902:
898:
897:
893:
891:
883:
880:
876:
871:
867:
862:
859:
858:
855:Cesare Rossi
854:
851:
849:
848:Count Ribbing
845:
840:
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832:
829:
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585:
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577:
573:
572:Göran Gentele
568:
566:
561:
560:homosexuality
557:
549:
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531:
527:
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491:
487:
483:
479:
478:Teatro Apollo
475:
468:
464:Verdi in 1859
462:
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234:Teatro Apollo
230:
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206:Eugène Scribe
203:
202:Antonio Somma
199:
195:
191:
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183:
181:
169:
165:
164:Maria Duchêne
161:
160:Frieda Hempel
157:
156:Enrico Caruso
142:
117:
116:Teatro Apollo
102:
98:
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84:Eugène Scribe
82:
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66:Antonio Somma
64:
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56:A Masked Ball
54:
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2814:(2011 opera)
2809:
2799:
2789:
2779:
2769:
2759:
2643:Recognitions
2629:
2598:
2588:
2569:
2560:
2552:Il trovatore
2551:
2542:
2533:
2524:
2515:
2506:
2497:
2488:
2467:Va, pensiero
2422:Celeste Aida
2404:Anvil Chorus
2381:
2371:
2361:
2351:
2341:
2332:
2331:
2321:
2311:
2301:
2291:
2281:
2273:Il trovatore
2271:
2261:
2251:
2243:Luisa Miller
2241:
2231:
2221:
2211:
2203:I masnadieri
2201:
2191:
2181:
2171:
2161:
2151:
2141:
2131:
2121:
2111:
2101:
2040:
1991:
1974:
1967:
1950:
1932:
1918:
1907:(hardback),
1896:
1875:
1850:
1847:Stefan, Paul
1824:
1803:
1795:
1773:
1761:
1739:
1716:
1694:
1672:
1669:Roger Parker
1664:
1656:
1655:
1629:
1587:
1574:
1562:. Retrieved
1552:
1544:
1539:
1531:
1526:
1518:
1515:Gossett 2006
1510:
1487:. Retrieved
1481:
1471:
1462:
1453:
1446:Kimbell 2001
1441:
1431:
1419:
1412:Gossett 2006
1407:
1399:
1393:
1385:
1372:
1359:
1352:Gossett 2006
1332:
1324:
1319:
1311:
1303:
1295:
1291:
1288:Roger Parker
1284:Baldini 1980
1279:
1271:
1270:
1259:
1242:
1236:
1234:
1227:
1225:
1210:
1204:October 2020
1201:
1186:Please help
1174:
1150:
1141:
1136:
1129:
1122:
1119:contrapuntal
1114:
1110:
1105:
1089:
1080:
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889:
865:
860:
843:
838:
833:Luigi Fossi
814:: Cristiano
811:
806:
780:
772:
767:
746:
739:
735:
718:
710:
706:
702:
685:
681:
677:
673:
656:
647:
646:: Riccardo,
643:
633:
621:
616:
582:for Berlin.
569:
563:
555:
553:
545:
529:
526:Una vendetta
525:
519:
517:
498:
473:
472:
449:
442:Una vendetta
441:
437:
435:
430:
427:Una vendetta
426:
416:
414:
410:
406:Una vendetta
405:
398:Napoleon III
394:Una vendetta
393:
390:
385:
381:
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368:
364:
362:
351:
335:
324:
314:
309:
305:
294:
290:
276:
274:
270:colonial era
261:
253:
252:, it became
245:
237:
231:
220:
213:
210:Daniel Auber
188:
187:
186:
168:Léon Rothier
91:
88:Daniel Auber
55:
22:
3112:1859 operas
3067:discography
3052:Gustavo III
3044:Gustave III
2929:Villa Verdi
2852:La Traviata
2804:(1985 play)
2784:(1953 film)
2774:(1938 film)
2714:Verdi Range
2707:Verdi Inlet
2634:(1889–1897)
2561:La traviata
2296:(June 1855)
2283:La traviata
1758:Melitz, Leo
1592:Melitz 1921
1580:Budden 1984
1519:Gustave III
1337:Budden 1984
1308:Budden 1984
1262:discography
1096:cor anglais
873: [
757:en travesti
740:Riccardo's
556:Gustave III
521:Gustavo III
438:Gustave III
375:Anckarström
365:Gustavo III
336:Il reggente
306:Gustavo III
304:1857: From
278:Gustavo III
268:during the
246:Gustavo III
227:masked ball
52:Translation
3106:Categories
3002:Gustav III
2995:Characters
2922:(Finnissy)
2801:After Aida
2721:3975 Verdi
2498:Don Carlos
2356:(1867/84)
2353:Don Carlos
2346:(1862/69)
2223:Il corsaro
2196:(1847/65)
1489:2015-10-03
1325:Opera News
1267:References
1253:Recordings
1085:barcarolle
870:Count Horn
705:: Renato,
684:: Amelia,
676:: Amelia,
628:Voice type
541:Gothenburg
501:Copenhagen
446:Rome Opera
242:censorship
180:media help
108:1859-02-17
62:Librettist
2543:Rigoletto
2316:(1857/81)
2263:Rigoletto
2253:Stiffelio
2213:Jérusalem
2027:aria list
1794:(1998). "
1175:does not
1108:obbligato
1092:cantilena
1069:sense of
901:Stockholm
841:: Samuel
809:: Silvano
786:contralto
738:: Oscar,
370:Rigoletto
338:in 1843.
250:Stockholm
2947:Category
2667:Florence
2659:Brindisi
2507:Falstaff
2383:Falstaff
1966:(1931),
1949:(1995),
1849:(1973).
1772:(1993).
1760:(1921).
1715:(2006).
1693:(1984).
1628:(eds.).
894:Synopsis
795:A judge
770:: Ulrica
724:baritone
574:for the
530:Un ballo
429:becomes
334:for his
100:Premiere
90:'s 1833
80:Based on
72:Language
3063:(1859)
2872:Macbeth
2671:Trieste
2663:Busseto
2619:(1874)
2525:Macbeth
2376:(1887)
2366:(1871)
2336:(1859)
2286:(1853)
2276:(1853)
2266:(1851)
2193:Macbeth
2123:Nabucco
1802:(ed.).
1738:(ed.).
1564:Apr 22,
1296:Gustave
1229:La Luna
1196:removed
1181:sources
1100:cadenza
899:Place:
691:soprano
653:Gustavo
418:Nabucco
382:Gustave
347:Delfico
326:Re Lear
264:set in
258:Stettin
256:set in
248:set in
106: (
75:Italian
3137:Operas
3082:Portal
2895:(2005)
2885:(1987)
2875:(1987)
2865:(1986)
2862:Otello
2855:(1983)
2845:(1953)
2835:(1906)
2832:Otello
2764:(1886)
2611:(1873)
2603:(1862)
2593:(1848)
2534:Otello
2386:(1893)
2373:Otello
2326:(1857)
2323:Aroldo
2256:(1850)
2246:(1849)
2236:(1849)
2226:(1848)
2216:(1847)
2206:(1847)
2186:(1846)
2183:Attila
2176:(1845)
2173:Alzira
2166:(1845)
2156:(1844)
2146:(1844)
2143:Ernani
2136:(1843)
2126:(1842)
2116:(1840)
2106:(1839)
2094:Operas
1998:
1981:
1957:
1939:
1925:
1911:
1903:
1889:
1882:
1857:
1831:
1812:
1798:". In
1780:
1746:
1723:
1701:
1679:
1673:et al.
1642:
1115:Eri tu
905:Boston
830:tenor
798:tenor
425:1859:
358:Budden
321:Naples
295:, see
266:Boston
118:, Rome
3096:Opera
3036:Opera
1272:Notes
1133:banda
1056:Music
993:Act 3
972:Act 2
923:Act 1
881:bass
877:]
863:: Tom
852:bass
662:tenor
586:Roles
533:'
194:opera
30:Opera
2882:Aida
2842:Aida
2489:Aida
2363:Aida
1996:ISBN
1979:ISBN
1955:ISBN
1937:ISBN
1923:ISBN
1909:ISBN
1901:ISBN
1887:ISBN
1880:ISBN
1855:ISBN
1829:ISBN
1810:ISBN
1778:ISBN
1744:ISBN
1721:ISBN
1699:ISBN
1677:ISBN
1640:ISBN
1566:2019
1179:any
1177:cite
818:bass
742:page
651:SW:
614:Role
565:man"
1426:by
1245:at
1190:by
539:in
319:in
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1198:.
1184:.
755:(
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182:.
110:)
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