Operas by Giuseppe Verdi

Oberto, Conte di San Bonifacio (1839) Un giorno di regno (1840) Nabucco (1842) I Lombardi alla prima crociata (1843) Ernani (1844) I due Foscari (1844) Giovanna d'Arco (1845) Alzira (1845) Attila (1846) Macbeth (1847) I masnadieri (1847) Jérusalem (1847) Il corsaro (1848) La battaglia di Legnano (1849) Luisa Miller (1849) Stiffelio (1850) Rigoletto (1851) Il trovatore (1853) La traviata (1853) Les vêpres siciliennes (1855) Simon Boccanegra (1857) Aroldo (1857) Un ballo in maschera (1859) La forza del destino (1862) Don Carlos (1867) Aida (1871) Otello (1887) Falstaff (1893) “Verdi” redirects here. ... Image File history File linksMetadata No higher resolution available. ... Oberto, Conte di San Bonifacio is an opera in two acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on a libretto by Antonio Piazza. ... Un giorno di regno, ossia il finto Stanislao (A One-Day Reign, or the false Stanislas) is an opera in two acts by Giuseppe Verdi to an Italian libretto by Felice Romani, based on the play Le faux Stanislas by Alexandre Vincent Pineu-Duval. ... Nabucco is an opera in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the biblical story and the play by Anicet-Bourgeois and Francis Cornu. ... I Lombardi alla prima crociata (The Lombards on the First Crusade) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based epic poem by Tommaso Grossi. ... Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo. ... I due Foscari (The Two Foscaris) is an opera in three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on a historical play The Two Foscari by Lord Byron. ... Giovanna dArco (Joan of Arc) is an opera with a prelude and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the play Die Jungfrau von Orleans by Friedrich von Schiller. ... Alzira is an opera in a prologue and two acts by Giuseppe Verdi to an Italian libretto by Salvatore Cammarano, based on the play Alzire, ou les Américains by Voltaire. ... Attila is an opera in three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the play Attila, König der Hunnen by Zacharias Werner. ... For other uses, see Macbeth (disambiguation). ... I masnadieri (The Bandits) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Andrei Maffei, based on Die Räuber by Friedrich von Schiller. ... Jérusalem is an opera in four acts by Giuseppe Verdi to a French libretto by Alphonse Royer and Gustave Vaëz. ... La battaglia di Legnano (The battle of Legnano) is an Opera in four acts by Giuseppe Verdi from Italian libretto by Salvatore Cammarano, based on play La Battaille de Toulouse by Joseph Méry. ... Luisa Miller is an opera in three acts by Giuseppe Verdi to an Italian libretto by Salvatore Cammarano, based on the play Kabale und Liebe by Friedrich von Schiller. ... Stiffelio is an opera in three acts by Giuseppe Verdi, from an Italian libretto by Francesco Maria Piave, based on the play Le Pasteur, ou lÉvangile et le Foyer by Émile Souvestre and Eugène Bourgeois. ... Giuseppe Verdi, by Giovanni Boldini, 1886 (National Gallery of Modern Art, Rome) Rigoletto is an opera in four acts by Giuseppe Verdi. ... Il trovatore (The Troubadour) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Leone Emanuele Bardare and Salvatore Cammarano, based on the play El Trobador by Antonio García Gutiérrez. ... La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. ... Les vêpres siciliennes (The Sicilian Vespers) is an opera in five acts by Giuseppe Verdi set to a French libretto by Charles Duveyrier and Eugène Scribe from their work Le duc dAlbe. ... Simon Boccanegra is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Simón Bocanegra by Antonio García Gutiérrez. ... Aroldo is an opera in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on their earlier colaboration, Stiffelio. ... Un ballo in maschera, or A Masked Ball, is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. ... La forza del destino (The Force of Destiny) is an Italian opera by Giuseppe Verdi. ... This article refers to the opera Don Carlos by Giuseppe Verdi (and its revised Italian version, known as Don Carlo). ... AIDA is an acronym used in marketing that describes a common list of events that are very often undergone when a person is selling a product or service: A - Attention (Awareness): attract the attention of the customer. ... For the Rossini opera, see Otello (Rossini) or for the eurobeat artist see Gianni Coraini. ... For other uses, see Falstaff (disambiguation). ...

Il corsaro (The Corsair) is an opera in three acts by Giuseppe Verdi, from a libretto by Francesco Maria Piave, based on Lord Byron's poem The Corsair. First performance: Teatro Grande, Trieste, October 25, 1848. “Verdi” redirects here. ... Antonio Ghislanzoni, nineteenth century Italian librettist. ... Francesco Maria Piave Francesco Maria Piave (18 May 1810 – 5 March 1876) was an Italian librettist who was Verdis life-long friend and collaborator. ... Lord Byron, English poet Lord Byron (1803), as painted by Elisabeth Vigee-Lebrun George Gordon Byron, 6th Baron Byron, (January 22, 1788 – April 19, 1824) was the most widely read English language poet of his day. ... The Corsair was a semi-autobiographical tale about a pirate written by Lord Byron, which was extremely popular and influential in its day (it sold ten thousand copies on its first day of sale. ... For other uses, see Trieste (disambiguation). ... is the 298th day of the year (299th in leap years) in the Gregorian calendar. ... Year 1848 (MDCCCXLVIII) was a leap year starting on Saturday (link will display the full calendar) of the Gregorian Calendar (or a leap year starting on Monday of the 12-day slower Julian calendar). ...

^[1] The composer expressed interest in Byron's poem "The Corsaire" as early as 1844, but it was several years before he got around to composing the opera, working with a libretto by Francesco Maria Piave. Meanwhile, Verdi was caught up in a squabble between two publishers doing battle over his work. Il Corsaro was written for the publisher who lost that battle — at least in the composer's eyes — and Verdi may have been anxious to get past it. In any case, when he finished the score in 1848, and turned it over to the publisher, he apparently had no idea where or when it would be produced. When it premiered at the Grand Theater in Trieste later that year, Verdi didn't even bother to attend the first performance. He may have known exactly what he was doing. As it turns out, the opera was poorly received — an unusual occurrence for Verdi. It quickly fell out of favor, and even today it's a bit of a rarity.

Roles

This article is about Tenor vocalists in music. ... This article is about the singing voice part. ... Baritone (French: ; German: ; Italian: ) is most commonly the type of male voice that lies between bass and tenor. ... A bass (or basso in Italian) is a male singer who sings in the deepest vocal range of the human voice. ...

Synopsis

Act 1

^[3] The story is set in the early 1800s, with the action taking place on a Greek island in the Aegean and in the Turkish city of Corone. Act One begins on the Greek island controlled by the corsairs, or pirates. There's a raucous, offstage chorus introducing Corrado, the chief corsair, who is in exile. He receives a letter containing military intelligence about the Turkish Pasha, Seid. It convinces him to set sail with his comrades, and he immediately starts rallying the troops.

The next scene takes place at the home of Medora, Corrado's girlfriend. She's alone, and anxious for his return. She picks up her harp and starts singing a beautiful, but vaguely sinister aria. Some sixth sense seems to be telling her that things are bound to turn out badly. When Corrado finally arrives, the two sing a duet that captures both the serenity of their love and the uncertainty of their future. Corrado then leaves to confront the Pasha.

Act 2

In Corone, the slave girls in Pasha Seid's harem are looking after Gulnara, the Pasha's favorite. Gulnara, though, isn't happy about the Pasha's attentions. She chafes at life in the harem, and longs for freedom and true love. A eunuch brings Gulnara an invitation to a celebratory banquet – anticipating the Pasha's victory in the impending sea battle with the corsairs.

At the banquet, a slave asks the Pasha if a Dervish might be admitted. The Dervish has apparently escaped from the corsairs. Seid grants him an audience, and questions him. Suddenly everyone notices flames at sea. The Pasha's fleet is burning. The Dervish whips off his disguise, and reveals that he is Corrado. His corsairs invade the banquet, and a battle takes place. At first, it seems Corrado and his men will win, but he makes a fatal mistake. Seeing that the harem is burning, Corrado decides to rescue Gulnara and the other women. This gives the Pasha and his men time to regroup. They take Corrado prisoner, and he's condemned to a grisly death.

Act 3

Seid is enjoying his victory, but isn't entirely satisfied. He's in love with Gulnara, and is afraid she's fallen for the dashing Corrado. He sends for her, and she tells him he's right. Seid threatens Gulnara, but she defies him and the Pasha storms out of the room.

Meanwhile, Corrado is in prison and assumes he is doomed. Gulnara bribes a guard to let her into his cell. She vows to help him, saying she herself will kill Seid. Corrado turns down her offer, citing his honor as a combatant. He also senses her deep feelings for him, and tells her that he's in love with Medora. Gulnara leaves, and in a brief interlude we again hear the stormy music that opened the Prelude. This time, the music accompanies a murder. Gulnara returns, and says she has killed the Pasha. With their enemy gone, she and Corrado resolve to escape together to the corsairs' island.

The final scene takes place on the island, where Medora is near death. She's convinced that she'll never see Corrado again, and has taken poison. The ship carrying Gulnara and Corrado appears in the distance. When they arrive, Corrado and Medora throw themselves into each other's arms, but their joy doesn't last for long. Medora dies. With his men trying to stop him, Corrado leaps from a cliff into the sea as the opera ends.

Noted arias

• "Sì, di Corsari il fulmine" - Corrado in Act I, Scene 1
• "Tutto parea sorridere" - Corrado in Act I, Scene 1
• "Non so le tetre immagini" - Medora in Act I, Scene 2
• "Ah conforto è sol la speme" - Gulnara in Act II, Scene 1
• "Vola talor dal carcere" - Gulnara in Act II, Scene 1
• "Salve, Allah! tutta quanta" - Seid in Act II, Scene 2
• "Cento leggiadre vergini" - Seid in Act III, Scene 1
• "S'avvincina il tuo momento" - Seid in Act III, Scene 1

Notes

1. ^ Background excerpted from NPR's "The World of Opera."
2. ^ List of singers taken from Budden, Julian: The Operas of Verdi (Cassell), vol 1, p. 362.
3. ^ Synopsis taken from NPR's "The World of Opera."

External links

• Libretto
• Aria database