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925:/ "O dreadful day, o my crime!"). Unexpectedly, Raymond, Gaston's squire, appears in a state of exhaustion and he begs Roger, whom he believes to be a holy man, for help, telling him that others of his Crusader group are lost. Roger hurries off to help them. Hélène and Isaure come down the pathway seeking the hermit who they think can tell them of Gaston's fate. They are surprised to find Raymond, who tells them that Gaston is still alive but held captive in Ramla. While expressing her joy, Hélène and Isaure are led towards the town by Raymond (Aria:
60:
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949:/ "I want to hear your voice again") when the Emir arrives and advises him that escape will result in his death. At that moment, Hélène, having been captured in the city, is brought in. The couple pretends not to know one another, but the Emir is suspicious. However, they are left alone and are joyous in their reunion, until Gaston attempts to dissuade Hélène from associating with him in his dishonor (Aria:
396:
1027:
he is now prepared to be executed. Just then, the mortally wounded Roger is brought in and reveals himself as the Count's brother. He begs for mercy for Gaston and confesses to being the one who planned the murder which almost resulted in his brother's death. All rejoice at the restoration of Gaston's honor and position, as Roger takes one final look at
Jerusalem and he dies.
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288:
including the leading tenor role of Oronte. In the restructured libretto, the central romance is given more prominence, and a happier ending. In addition, Verdi added a standard ballet and new music, but re-shaped much of the structure by removing inappropriate material he felt to be weak. As musicologist
1045:
soldered together by linking passages of far greater significance than the string-accompanied recitative which they replace. The entire opera, as befits one designed for the French stage, is more "through-composed" than its parent work; and only a sentimentalist could regret the omission of all that
1026:
Hélène and Isaure wait for news of the outcome of the battle for
Jerusalem. They hear shouts of victory from outside and the Count, the Legate, and Crusaders enter followed by Gaston with the visor of his helmet closed. Praised for his bravery and asked to reveal his identity, Gaston announces that
1017:
The hermit Roger is alone near the camp. A procession of
Crusaders and women arrives, Hélène amongst them. The procession continues on, although Hélène hangs back as the Legate approaches Roger and asks him to give some comfort to the condemned man who is then brought out. Gaston is brought out, but
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Hélène is surrounded by the ladies of the harem who express some sympathy with her plight. But, when the Emir enters and is told that the
Christians are close to attacking the city, he orders that if the invaders are successful, Hélène's head should be thrown to the Count. In despair, she considers
932:
A group of distraught pilgrims climbs down from the hills around the cave. They are met by a band of newly arrived
Crusaders led by the Count, who praises God for saving him from the assassin's dagger, and the Papal Legate. Roger appears requesting that he may be allowed to join them in their battle
287:
of 1095–1099. Characters' names changed from
Italian to French and one, Arvino (who was renamed as the Count of Toulouse, though elements of his character were given to the principal tenor role, Gaston) was now a baritone instead of a tenor. Several roles present in the original version were deleted,
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In describing the changes made to the original opera, Budden observes that the revised version has far greater strengths than those acknowledged by many
Italian and English writers and that "the diffuse drama which Solera had distilled from an epic poem is replaced by a far tauter, more concentrated
895:
The Count proclaims the reconciliation and gives Gaston Hélène's hand in marriage. However, standing to one side, Roger, the Count's brother is quietly furious, since he is in love with Hélène. He leaves, after which the Papal Legate announces that the Pope has appointed Gaston to lead the
Crusade,
387:
On 27 July 1847, having left London, Verdi returned to Paris. To friends in Italy, he had written from London (or wrote from Paris) about "being able to lead the life I wish" and "intend to stay a month in Paris, if I liked it". With the exception of a return to Italy after the 18 March 1848 bloody
907:
From inside the chapel the sound of uproar is heard. The soldier-murderer rushes out pursued by others while Roger gloats in his triumph. But it is Gaston who emerges, announcing that the Count has been struck down. The captured murderer is brought in before Roger; quietly Roger arranges for him to
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Roger Parker finds two particularly strong elements in the French version: firstly, "that by converting Arvino from a tenor to a baritone, solves one of the problems of vocal distribution that occurred " and, secondly, that this version "serves as a fascinating first document in charting Verdi's
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as "something less than a masterpiece", but his chapter concludes with a summary of what the experience of working in Paris did for Verdi and the part it played in moving the composer forward towards his mature style: "It fixed his dramatic imagination, refined his scoring, sharpened his harmonic
425:
Baldini tells us that "at the end of 1847 Verdi rented a little house in Passy, and went to live there with
Giuseppina", but Phillips-Matz does not go so far, noting only that "he may have moved into her apartment or a separate apartment in her building", but later does confirm the move to Passy,
341:
Many writers, including
Baldini and Frank Walker, have speculated on supposed relationships which Verdi, a man then close to (and then in) his thirties, might have had (or did have) with women in the years following his first wife's death. However, the only real evidence, visible in Walker's
986:
Gaston has escaped and rushes in to find Hélène, but their joy is short-lived as the Crusaders, led by the Count, burst into the room and demand Gaston's death, still believing that he was responsible for the attempt on the Count's life. Defiantly, Hélène challenges the Crusaders (Aria:
360:
in 1842. She sang the first Abigaille, and continued on and off with that role in spite of her declining voice up to her retirement and move to Paris in October 1846 where she became a singing teacher in November and also planned a concert of Verdi's music for the following June.
2020:
882:
Late at night Hélène is with her lover, Gaston. His family and hers have long been in conflict, but on the following day and prior to Gaston's departure for the First Crusade, it has been agreed that there will be a solemn reconciliation between the two families. (Duet:
429:
However, the couple were to remain together for many years, and when the time came to leave Paris, Verdi left in late July and "made straight for Busseto to wait for her there", while it appear that Strepponi visited her family in Florence and Pavia before joining him.
953:/ "You cannot share in the horror and shame of my wandering life!"). She remains firmly resolved to remain with him. From a window, they see the approaching Crusaders and, in the chaos, determine to escape but are thwarted by the arrival of the Emir's soldiers.
605:
in Genoa using an arrangement of the score "based on Verdi's Paris autograph," which has to be regarded as the most authentic, as long as there is no critical, complete Verdi edition," and these performances were recorded and released on
232:, as the Paris Opéra was officially known. Among 19th-century Italian composers, there had been an increasing interest in writing for Paris, where the combination of money, prestige, and flexibility of style were appealing. Musicologist
409:
However, as far as the relationship with Strepponi proceeded, Phillips-Matz recounts that Verdi was "living in an apartment around the corner from Strepponi's house", that the news of this had reached Italy ("Verdi had been seen
999:
Gaston is brought in and the Legate tells him that he has been condemned by the Pope and, following his public disgrace that day, he will be executed the following day. Gaston pleads for his honor to remain intact (Aria:
900:/ "Oh! In darkness and mystery remain hidden, guilty passion") and approaches a soldier with whom he has plotted to kill his rival. He instructs the soldier to kill the man who will not be wearing the white cloak. (Aria:
1040:
but also avoids the problem of a second tenor who needs to be weightier and more heroic than the first." He continues by acknowledging that the newly composed numbers and the repositioning of the original ones were:
2025:
418:, he had received her help to the extent that a handwritten love duet in the composer's autograph score contains alternative lines in her handwriting and in his. This is described by British music critic
978:
1018:
Roger refuses to give him his blessing. Instead, he hands his sword to Gaston urging him to place his hands on its hilt where it forms a cross and then to go off and fight for the Lord.
364:
It is known that the two had conducted friendly correspondence over several years and that Strepponi had offered various pieces of advice to the composer. As is known, Verdi and
1987:
896:
Gaston swears to follow him and he is awarded the Count's white cloak as a symbol of his loyalty. They enter the chapel. Returning, Roger proclaims his hatred of Gaston (Aria:
497:
in Venice in 1963. Two years later, in May 1965, when the La Fenice company were in Munich, they gave a performance in Italian under Ettore Gracis, the Gaston being sung by
228:, had invited Verdi to compose an opera for the company in November 1845 and February 1846, but initially Verdi declined. This was the composer's first encounter with the
2990:
268:
to a new French libretto. The adaptation meant that Verdi could "try his hand at grand opera" without having to write something entirely new, a strategy which both
1993:
447:, the premiere of the opera took place on 26 November 1847, but even while writing the French version and before its premiere, Verdi had contacted his publisher,
1054:
Not surprisingly, Budden (and others writing on the subject over the past 30 years, including Baldini who calls it "a tired, disheartened reshuffle" ), regard
2681:
908:
point to Gaston as the one who instigated the murder. Although protesting his innocence, Gaston is cursed by all and ordered into exile by the Papal Legate.
648:
292:
notes, "only a few of the original numbers in their former positions." Verdi himself described the new work as having "transformed out of recognition".
2014:
2057:
380:, about whom rumours of her reluctance to come to England abounded, was already present and ready to go to work. While Verdi remained in the city,
388:
uprising in Milan against the Austrians (when the composer was away from early April to mid-May) and the period of overseeing the rehearsals of
301:
2075:
264:
in London and within a week of Verdi's arrival in Paris on 27 July 1847, he received his first commission from the company, agreeing to adapt
1913:
1794:
991:/ "No ... no, your anger, your unworthy outrage") as well as her father ("The shame and crime are yours!"). The Count drags her away.
451:, regarding an Italian version. He did not find a translator while in Paris, but in 1850, the French text was translated into Italian by
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2975:
2955:
1975:
1954:
1930:
1896:
1879:
1865:
1848:
1840:
1826:
1764:
1750:
1733:
1726:
1702:
1683:
1666:
2003:
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2503:
601:
sang Gaston, Philippe Rouillon (the Count), and Marina Mescheriakova (Hélène). In November/December 2000 it was performed at the
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2907:
255:
in earlier years, librettos which music historian David Kimball regards as having something of grand opera in their structure.
2779:
2121:
1884:
1814:
1114:
594:
162:
111:
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Knights, ladies, pages, soldiers, pilgrims, penitents, and executioner, Arab sheiks, women of the harem, and people of Ramla
392:
in Rome (from before Christmas 1848 to early February 1849 after its premiere on 27 January 1849), Verdi remained in Paris.
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229:
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731:
663:
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Given in the original French, the opera was staged by the Opéra in Paris in March/April 1984 under Donato Renzetti with
419:
659:
2639:
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relationship with the French stage, a relationship that was to become increasingly important during the next decade."
583:
2437:
1582:
2749:
2401:
478:
2769:
2610:
2281:
402:
59:
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1789:. Chicago: The University of Chicago Press (1982 paperback reprint with a new introduction by Philip Gossett).
622:
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Gaston is admitted and expresses his desire to be close to Héléne again. He begins to plan his escape (Aria:
160:. The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera,
474:
However, the opera was given in Turin in 1850 and between 1854 and 1865, in Venice, Verona and Rome (twice).
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2839:
2674:
2655:
2647:
2548:
2221:
2043:
2008:
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381:
328:
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in the affections of Italian audiences" and certainly, as Parker comments, while overall being superior to
384:
in her massive biography of the composer, speculates that Verdi saw her in the three days he was present,.
166:. It was the one opera which he regarded as the most suitable for being translated into French and, taking
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2485:
1690:
1438:
887:/ "Farewell, my beloved!"). After he leaves, Hélène and her companion, Isaure, pray for Gaston's safety.
607:
209:
2965:
2759:
2651:
2530:
319:
205:
1004:/ "O my friends, my brothers-in-arms"), but the smashing of his helmet, shield, and sword take place.
921:
Remorseful, Roger has been wandering for years in the desert and he cries out for forgiveness. (Aria:
2985:
2494:
2428:
2331:
2321:
1197:
637:
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as part of its "Verdi Cycle" of all the composer's works to be presented by 2016. Other companies in
536:
490:
351:
251:
However, Verdi had given some consideration of the idea of adapting one of the librettos written by
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2619:
2512:
1473:
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1137:
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602:
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323:
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2291:
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726:
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563:
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1918:
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in various ways, "it failed to establish itself in either the French or the Italian repertory".
1570:
1559:
2716:
1971:
1950:
1926:
1909:
1892:
1875:
1861:
1844:
1836:
1822:
1790:
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1698:
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135:
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in Paris on 26 November 1847. The maiden production was designed by Paul Lormier (costumes),
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provides examples of those composers who had crossed the Alps, the most well-known being
179:
88:
69:
300:
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1853:
1472:: Metamorphosis of an opera", in the booklet accompanying the TDK DVD recording of the
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700:
652:
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614:
365:
225:
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175:
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83:
51:
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2141:
1671:
1529:
1142:
548:
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452:
284:
233:
1807:
Budden, Julian (2000), "First Steps in Grand Opera" in the booklet accompanying the
395:
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2410:
2392:
2261:
2231:
2191:
1959:
1935:
1901:
1707:
571:
540:
510:
334:
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260:
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palate; and in general made possible the amazing advances of the next few years."
929:/ "What rapture! Supreme happiness! God has protected the man I love ...").
279:
There are significant changes in the location and action of the French version of
2917:
2702:
2695:
2271:
1963:
1278:
David Kimbell, in Holden, p. 987: Solera's earlier operas for Verdi begin with
1244:
David Kimbell, in Holden, p. 987: Solera's earlier operas for Verdi begin with
1109:
590:
575:
574:(as Roger). It took over 140 years for the opera to be given its UK premiere by
559:
188:
153:
47:
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2709:
2341:
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377:
338:
which was presented in Naples in December 1849 after Verdi's return to Italy.
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During this period in Paris, Verdi was to work on and complete the score for
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865:
494:
269:
241:
183:
31:
283:, especially given the need to set the story for French involvement in the
17:
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in April 2004. There was a recording made of a concert performance in the
861:
710:
460:
171:
1786:
1571:
The Amsterdam performance details as shown on operadis-opera-discography
1519:
Vienna performance details, 1995, as shown on operadis-opera-discography
2111:
1778:
1286:
1252:
744:
356:
273:
237:
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in Parma presented the opera (in French) in 1986 with Ricciarelli and
2361:
2311:
2131:
1560:
2000 Genoa performance details as shown on operadis-opera-discography
640:
with its "Festival Verdi" have also presented all of Verdi's operas.
633:
1451:
La Fenice performance details as shown on operadis-opera-discography
1327:
Walker, See Chapters 3, 5 ("Verdi and Giuseppina Strepponi"), and 6.
354:, the singer who Verdi first encountered at the time he was writing
212:
and Joseph Thierry (sets for Act II, scene 2 and Act III, scene 2).
933:
and the three proclaim their anticipated victory (Trio and chorus:
208:(sets of Act I, Act II, scene 1, Act III scene 1, and Act IV), and
695:
394:
322:
which took place in Trieste in October 1848. Also, he worked with
299:
2035:
1549:
Geneva performance details as shown on operadis-opera-discography
636:, Spain (the "Tutto Verdi" series presented by ABAO) and Parma's
376:, and the composer had sent Muzio on to London to make sure that
248:
who, before he died in 1835, was planning a French grand opera.)
2351:
1497:
Parma performance details as shown on operadis-opera-discography
1486:
Paris performance details as shown on operadis-opera-discography
625:, Amsterdam on 22 January 2005 with Nelly Miricioiu as Hélène.
2039:
1318:
Verdi to Countess Appiani, 22 September 1847, in Budden, p. 343
1508:
BBC performance details as shown on operadis-opera-discography
1170:
1036:
plot which not only makes fewer demands on our credulity than
982:
Illustration of Act 3, scene 2 (1847) after the Paris premiere
971:/ "What does life matter to me in my extreme unhappiness" and
520:) production of a concert version of the opera in French with
517:
463:, Milan on 26 December 1850. However, "it failed to supersede
332:(then attend its January 1849 Rome premiere), the other being
312:. From Paris, he fulfilled the obligation to write the opera
1659:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
422:
as "one of the more romantic discoveries of recent years".
1923:
Nineteenth-Century Italian Opera: From Rossini to Puccini
547:
with the BBC Philharmonic Orchestra on 11 May 1986, and
1676:
The Operas of Verdi, Volume 1: From Oberto to Rigoletto
1835:. Chicago & London: University of Chicago Press.
1657:
Baldini, Gabriele (1970) (trans. Roger Parker, 1980),
192:. The opera received its premiere performance at the
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2811:
2740:
2631:
2569:
2466:
2383:
2082:
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was most embarrassingly naïf in the original score.
593:recorded the work in the studio in Geneva with the
119:
105:
97:
76:
39:
1908:, Oxford & New York: Oxford University Press.
1745:, London & New York: Oxford University Press.
1661:. Cambridge, et al.: Cambridge University Press.
1381:Porter, p. 249, in Phillips-Matz, pp. 220–221
586:presented a concert performance in February 1998.
891:Scene 2: The following morning outside the chapel
414:Strepponi"), and that, in writing the music for
1721:, Vol. One. London: MacMillan Publishers, Inc.
1644:Recordings on operadis-opera-discography.org.uk
1162:(Recorded at the Teatro Carlo Felice, November)
995:Scene 2: A scaffold in a public square in Ramla
935:Le Seigneur nous promet la victoire! O bonheur!
1831:De Van, Gilles (trans. Gilda Roberts) (1998),
1204:(Broadcast performance Turin, 20 December 1975
543:. It was broadcast in French in Britain under
2051:
1833:Verdi’s Theater: Creating Drama Through Music
937:/ "The Lord promises us victory! Oh joy!").
8:
2682:Orchestra Sinfonica di Milano Giuseppe Verdi
878:Scene 1: The palace of the Count of Toulouse
1906:The New Grove Guide to Verdi and His Operas
1858:Divas and Scholar: Performing Italian Opera
2058:
2044:
2036:
1612:
1610:
1608:
1602:List of singers taken from Budden, p. 340.
628:This opera was performed in March 2014 by
58:
36:
2015:International Music Score Library Project
1860:, Chicago: University of Chicago Press.
1231:
1229:
2991:Opera world premieres at the Paris Opera
1439:Performances listed on librettodopera.it
1066:
1013:Scene 1: The edge of the Crusaders' camp
977:
941:Scene 2: The palace of the Emir of Ramla
672:
658:
647:
1425:
1423:
1225:
917:Scene 1: A cave near Ramla in Palestine
1757:The New Grove Masters of Italian Opera
1460:
1458:
1305:
1303:
1301:
1299:
904:/ "Ah, come, demon, spirit of evil").
613:In Europe, performances were given by
516:1975 saw an Italian radio/television (
296:Verdi in Paris, July 1847 to July 1849
170:'s advice, Verdi agreed that a French
1945:Warrack, John and West, Ewan (1992),
1874:. New York: Dodd, Mead and Company.
973:Mes plaintes mes plaintes sont vaines
477:The US premiere was presented at the
276:had employed for their Paris debuts.
7:
551:was featured in the cast as Hélène.
368:had arrived in Paris on 2 June 1847
182:, who had written the libretto for
2019:Visual evidence of the premiere on
1587:, Sarasota Opera, Florida – review"
967:the uselessness of her life (Aria:
535:singing the role of the Count. The
481:in New Orleans on 24 January 1850.
1940:Giuseppe Verdi: His Life and Works
1697:, New York: Penguin Putnam, 2001.
25:
2032:in English. Retrieved 28 May 2013
1891:, New York: Da Capo Press, Inc.
1719:The New Grove Dictionary of Opera
1119:Chorus of Grand Théatre de Genève
258:After conducting the premiere of
186:'s most successful French opera,
2931:
2930:
2881:Giuseppe Verdi's Rigoletto Story
2609:
1990:on giuseppeverdi.it (in English)
1988:Verdi: "The story" and "History"
1925:, Portland, OR: Amadeus Press.
1872:Verdi: His Music, Life and Times
1821:, New York: Da Capo Press, Inc.
1755:Porter, Andrew (et al.) (1983),
1429:David Kimbell, in Holden, p. 987
1202:RAI Orchestra and Chorus, Turin,
898:Oh dans l'ombre, dans la mystère
1417:Phillips-Matz, pp. 244–249
1363:Phillips-Matz, pp. 229–241
902:Ah! Viens, démon, esprit du mal
682:Premiere Cast, 26 November 1847
493:staged the opera in Italian at
2122:I Lombardi alla prima crociata
2092:Oberto, Conte di San Bonifacio
2000:English. Retrieved 28 May 2013
1968:Verdi: The Man and His Letters
1947:The Oxford Dictionary of Opera
1269:Walker 1962, pp. 181, 183–184.
1115:Orchestre de la Suisse Romande
1002:O mes amis, mes frères d'armes
927:Quell'ivresse, bonheur suprême
595:Orchestre de la Suisse Romande
399:Giuseppina Strepponi (c. 1845)
163:I Lombardi alla prima crociata
112:I Lombardi alla prima crociata
1:
1466:I Lombardi all prima crociata
975:/ "My laments are in vain").
2901:Casa di Riposo per Musicisti
2646:Theatres named after Verdi (
951:Dans la honte et l'épouvante
732:Adolphe Louis Joseph Alizard
664:Adolphe Louis Joseph Alizard
2640:Memorials to Giuseppe Verdi
1889:The Complete Opera of Verdi
1819:The Complete Opera of Verdi
1695:The New Penguin Opera Guide
1530:Performance history at OONY
1464:Alexandra Maria Dielitz, "
989:Non ... non votre rage
584:Opera Orchestra of New York
348:The Story of Giuseppe Verdi
3007:
2750:Portrait of Giuseppe Verdi
1970:, New York, Vienna House.
1759:, New York: W. W. Norton.
1717:, in Stanley Sadie (ed.),
1689:Kimbell, David (2001), in
1100:Marina Mescheriakova,
1084:Opera House and Orchestra
962:Scene 1: The harem gardens
443:Given by the Opéra at the
326:on two librettos, one for
230:Académie Royale de Musique
124:26 November 1847
29:
2927:
2770:Verdi, the King of Melody
2598:String Quartet in E minor
2073:
1336:Baldini, pp. 139–147
1165:Audio CD: Premiere Opera
1072:
1022:Scene 2: The Count's tent
947:Je veux encore entendre..
864:(Act 1); Palestine, near
842:
617:in April 2003 and by the
610:sang the role of Hélène.
562:, also in French, at the
403:Museo Teatrale alla Scala
57:
46:
2976:Operas set in the Levant
2956:Operas by Giuseppe Verdi
2438:Libiamo ne' lieti calici
1739:Phillips-Matz, Mary Jane
1309:Parker, pp. 893–894
578:on 31 March 1990 at the
426:dating it to June 1848.
2675:Giuseppe Verdi Monument
2402:Bella figlia dell'amore
2222:La battaglia di Legnano
1870:Martin, George (1983),
1593:(London), 11 March 2014
1235:Budden, p. 341–342
832:An officer of the Emir
485:20th century and beyond
390:La battaglia di Legnano
382:Mary Jane Phillips-Matz
329:La battaglia di Legnano
66:the siege of Jerusalem"
64:"Tancred of Hauteville,
27:Opera by Giuseppe Verdi
2961:French-language operas
2282:Les vêpres siciliennes
1811:recording by Phillips.
1769:Walker, Frank (1962),
1441:Retrieved 17 June 2013
1048:
983:
857:Time: 1095 and 1099 AD
749:Mme Julian Van Gelder
707:The Count of Toulouse
670:
656:
566:with a cast including
406:
305:
210:Charles-Antoine Cambon
174:was to be prepared by
2447:Un dì, felice, eterea
1539:Retrieved 3 July 2013
1408:Phillips-Matz, p. 234
1372:Phillips-Matz, p. 220
1354:Phillips-Matz, p. 219
1345:Phillips-Matz, p. 213
1207:Audio CD: Opera d’Oro
1043:
981:
923:Ô jour fatal, ô crime
662:
651:
398:
320:Francesco Maria Piave
303:
2981:Operas set in France
2909:Verdi Transcriptions
2559:Un ballo in maschera
2505:La forza del destino
2332:La forza del destino
2322:Un ballo in maschera
2076:List of compositions
2030:on aria-database.com
1678:. London: Cassell.
1476:performances in 2000
1399:Philips-Matz, p. 222
1198:Gianandrea Gavazzeni
1160:Orchestra and Chorus
969:Que m'importe la vie
885:Adieu, mon bien-aimé
768:Adhemar de Monteil,
740:the Count's daughter
491:Gianandrea Gavazzeni
489:In Italy, conductor
352:Giuseppina Strepponi
220:The director of the
2741:Cultural depictions
2620:Quattro pezzi sacri
2468:Opera discographies
1998:on giuseppeverdi.it
1773:. New York: Knopf.
1474:Teatro Carlo Felice
1158:Teatro Carlo Felice
1138:Veronica Villarroel
722:the Count's brother
715:Charles Portheaute
608:Verónica Villarroel
603:Teatro Carlo Felice
434:Performance history
324:Salvadore Cammarano
318:from a libretto by
216:Composition history
2668:Milan Conservatory
2589:Inno delle nazioni
2570:Other compositions
2292:I vespri siciliani
2102:Un giorno di regno
1743:Verdi: A Biography
1535:2013-10-27 at the
1192:Alessandro Cassis,
1105:Roberto Scandiuzzi
1102:Philippe Rouillon,
1077:Count of Toulouse,
984:
821:The Emir of Ramla
777:Hippolyte Bremont
671:
657:
619:Vienna State Opera
564:Vienna State Opera
407:
306:
206:Édouard Desplechin
30:For the city, see
2943:
2942:
2783:(1982 miniseries)
2780:The Life of Verdi
2717:Verdi, California
2429:La donna è mobile
1942:, New York: Knopf
1914:978-0-19-531314-7
1795:978-0-226-87132-5
1213:
1212:
1188:Katia Ricciarelli
1096:Marcello Giordani
849:
848:
691:Viscount of Béarn
599:Marcello Giordani
522:Katia Ricciarelli
479:Théâtre d'Orleans
455:and performed as
445:Salle Le Peletier
253:Temistocle Solera
194:Salle Le Peletier
145:
144:
138:(The Paris Opéra)
136:Salle Le Peletier
16:(Redirected from
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2903:
2893:Related articles
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2013:: Scores at the
1949:New York: OUP.
1919:Pistone, Danièle
1885:Osborne, Charles
1815:Osborne, Charles
1809:Verdi: Jérusalem
1781:. London: Dent.
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1174:Cat: DVUS-OPJER
1075:(Gaston, Hélène,
1067:
684:(Conductor: - )
673:
570:(as Gaston) and
507:Ruggero Raimondi
449:Giovanni Ricordi
304:Verdi about 1850
246:Vincenzo Bellini
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645:
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630:Sarasota Opera
615:Oper Frankfurt
582:in Leeds. The
554:In the 1990s,
435:
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372:to London for
366:Emanuele Muzio
346:and Baldini's
297:
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202:Jules Diéterle
198:Charles Séchan
176:Alphonse Royer
158:Giuseppe Verdi
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1960:Werfel, Franz
1958:
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1900:
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1827:0-306-80072-1
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1771:The Man Verdi
1768:
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1765:0-393-30089-7
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1708:Parker, Roger
1706:
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1703:0-14-029312-4
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1167:Cat:CDNO 4922
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1143:Alain Fondary
1139:
1135:Ivan Momirov,
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580:Grand Theatre
577:
573:
569:
568:José Carreras
565:
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549:June Anderson
546:
545:Edward Downes
542:
538:
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533:Alain Fondary
529:
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2966:Grand operas
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2820:
2803:(2011 opera)
2798:
2788:
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2748:
2632:Recognitions
2618:
2587:
2577:
2558:
2549:
2541:Il trovatore
2540:
2531:
2522:
2513:
2504:
2495:
2486:
2477:
2456:Va, pensiero
2411:Celeste Aida
2393:Anvil Chorus
2370:
2360:
2350:
2340:
2330:
2320:
2310:
2300:
2290:
2280:
2270:
2262:Il trovatore
2260:
2250:
2240:
2232:Luisa Miller
2230:
2220:
2210:
2201:
2200:
2192:I masnadieri
2190:
2180:
2170:
2160:
2150:
2140:
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2120:
2110:
2100:
2090:
2027:
2009:
1995:
1994:Synopsis of
1967:
1964:Stefan, Paul
1946:
1939:
1922:
1905:
1888:
1871:
1857:
1843:(hardback),
1832:
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1279:
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783:
770:Papal Legate
769:
755:
739:
721:
690:
667:
666:as Roger in
638:Teatro Regio
627:
612:
588:
572:Samuel Ramey
555:
553:
541:Cesare Siepi
537:Teatro Regio
530:
515:
511:Leyla Gencer
488:
484:
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476:
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439:19th century
438:
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389:
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374:I masnadieri
373:
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347:
343:
340:
335:Luisa Miller
333:
327:
313:
309:
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290:Roger Parker
280:
278:
265:
261:I masnadieri
259:
257:
250:
244:(as well as
219:
187:
180:Gustave Vaëz
161:
148:
147:
146:
110:
89:Gustave Vaëz
70:Émile Signol
40:
2986:1847 operas
2918:Villa Verdi
2841:La Traviata
2793:(1985 play)
2773:(1953 film)
2763:(1938 film)
2703:Verdi Range
2696:Verdi Inlet
2623:(1889–1897)
2550:La traviata
2285:(June 1855)
2272:La traviata
2026:Arias from
1110:Fabio Luisi
827:M. Guignot
802:M. Prevost
763:Mme Müller
679:Voice type
591:Fabio Luisi
576:Opera North
560:Zubin Mehta
457:Gerusalemme
226:Léon Pillet
222:Paris Opéra
189:La favorite
154:grand opera
48:Grand opera
18:Gerusalemme
2950:Categories
2911:(Finnissy)
2790:After Aida
2710:3975 Verdi
2487:Don Carlos
2345:(1867/84)
2342:Don Carlos
2335:(1862/69)
2212:Il corsaro
2185:(1847/65)
1292:I Lombardi
1258:I Lombardi
1216:References
1122:Audio CD:
1082:Conductor,
1063:Recordings
1038:I Lombardi
868:(Acts 2–4)
838:M. Koenig
796:A Soldier
791:M. Barbot
465:I Lombardi
378:Jenny Lind
315:Il corsaro
266:I Lombardi
128:1847-11-26
77:Librettist
2532:Rigoletto
2305:(1857/81)
2252:Rigoletto
2242:Stiffelio
2202:Jérusalem
2028:Jérusalem
2010:Jerusalem
1996:Jérusalem
1904:(2007),
1887:(1969),
1817:(1969),
1712:Jérusalem
1710:(1998), "
1585:Jérusalem
1470:Jérusalem
1221:Citations
1056:Jérusalem
866:Jerusalem
807:A Herald
782:Raymond,
668:Jérusalem
655:as Gaston
556:Jérusalem
495:La Fenice
416:Jérusalem
310:Jérusalem
270:Donizetti
242:Donizetti
184:Donizetti
149:Jérusalem
41:Jérusalem
32:Jerusalem
2936:Category
2656:Florence
2648:Brindisi
2496:Falstaff
2372:Falstaff
2004:Libretto
1966:(1973),
1938:(1931),
1921:(1995),
1856:(2006),
1741:(1993),
1674:(1984),
1533:Archived
862:Toulouse
852:Synopsis
815:Molinier
760:soprano
754:Isaure,
738:Hélène,
711:baritone
689:Gaston,
589:In 1998
469:Lombardi
461:La Scala
370:en route
281:Lombardi
172:libretto
120:Premiere
109:Verdi's
106:Based on
98:Language
2861:Macbeth
2660:Trieste
2652:Busseto
2608:(1874)
2514:Macbeth
2365:(1887)
2355:(1871)
2325:(1859)
2275:(1853)
2265:(1853)
2255:(1851)
2182:Macbeth
2112:Nabucco
2021:Gallica
1787:2737784
1693:(Ed.),
1287:Nabucco
1253:Nabucco
1124:Philips
1079:Roger)
860:Place:
745:soprano
720:Roger,
357:Nabucco
274:Rossini
238:Rossini
126: (
115:of 1843
2971:Operas
2884:(2005)
2874:(1987)
2864:(1987)
2854:(1986)
2851:Otello
2844:(1983)
2834:(1953)
2824:(1906)
2821:Otello
2753:(1886)
2600:(1873)
2592:(1862)
2582:(1848)
2523:Otello
2375:(1893)
2362:Otello
2315:(1857)
2312:Aroldo
2245:(1850)
2235:(1849)
2225:(1849)
2215:(1848)
2205:(1847)
2195:(1847)
2175:(1846)
2172:Attila
2165:(1845)
2162:Alzira
2155:(1845)
2145:(1844)
2135:(1844)
2132:Ernani
2125:(1843)
2115:(1842)
2105:(1840)
2095:(1839)
2083:Operas
1974:
1953:
1929:
1912:
1895:
1878:
1864:
1847:
1839:
1825:
1793:
1785:
1779:351014
1777:
1763:
1749:
1732:
1725:
1701:
1682:
1665:
1281:Oberto
1247:Oberto
1087:Label
835:tenor
788:tenor
634:Bilbao
101:French
1169:DVD:
1070:Year
1031:Music
1008:Act 4
957:Act 3
912:Act 2
873:Act 1
824:bass
810:bass
799:bass
774:bass
696:tenor
676:Role
644:Roles
152:is a
2871:Aida
2831:Aida
2478:Aida
2352:Aida
1972:ISBN
1962:and
1951:ISBN
1927:ISBN
1910:ISBN
1893:ISBN
1876:ISBN
1862:ISBN
1845:ISBN
1837:ISBN
1823:ISBN
1791:ISBN
1783:OCLC
1775:OCLC
1761:ISBN
1747:ISBN
1730:ISBN
1723:ISBN
1699:ISBN
1680:ISBN
1663:ISBN
1179:2004
1132:2000
1092:1998
1073:Cast
727:bass
606:DVD.
524:and
412:chez
272:and
240:and
204:and
178:and
1171:TDK
813:M.
518:RAI
459:at
68:by
50:by
2952::
2658:-
2654:-
2650:-
1607:^
1589:,
1468:–
1457:^
1422:^
1298:^
1228:^
597:.
528:.
513:.
224:,
200:,
2662:)
2458:"
2454:"
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2440:"
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2059:e
2052:t
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1797:.
1715:"
1686:.
1583:"
1260:.
1200:,
1190:,
1185:,
1155:,
1145:,
1140:,
1117:,
1112:,
1098:,
405:)
401:(
130:)
34:.
20:)
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