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Encyclopedia > Stiffelio

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 l'Évangile et le Foyer by Émile Souvestre and Eugène Bourgeois. First performance: November 16, 1850, Teatro Grande, Trieste. The foyer of Charles Garniers OpÃ©ra, Paris, opened 1875 Opera is an art form consisting of a dramatic stage performance set to music. ... Giuseppe Verdi, by Giovanni Boldini, 1886 (National Gallery of Modern Art, Rome) Giuseppe Fortunino Francesco Verdi (October 10, 1813 â€“ January 27, 1901) was one of the great composers of Italian opera. ... Francesco Maria Piave (18 May 1810 – 5 March 1876) was an Italian librettist who was Verdis life-long friend and collaborator. ... A play is a common form of literature, usually consisting chiefly of dialog between characters, and usually intended for performance rather than reading. ... Ã‰mile Souvestre (April 15, 1806 - July 5, 1854), French novelist was the son of a civil engineer, a native of Morlaix. ... November 16 is the 320th day of the year (321st in leap years) in the Gregorian Calendar, with 45 days remaining. ... 1850 was a common year starting on Tuesday (see link for calendar). ... Location within Italy Trieste (Latin Tergeste, Italian Trieste, Slovenian and Croatian Trst, German and Friulian Triest) is a city in northeastern Italy, capital of Friuli-Venezia Giulia region and Trieste province, population 211,184 (2001). ...

This opera is revised by Verdi in 1857, on four acts, from title Aroldo. 1857 was a common year starting on Thursday (see link for calendar). ... Aroldo is an opera in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on their earlier colaboration, Stiffelio. ...

Categories: Operas by Giuseppe Verdi | Italian-language operas | Operas | Opera stubs

Results from FactBites:

Stiffelio @ Royal Opera House, London: opera review (500 words)
	Stiffelio's power to provoke has gone, but its power to move has not.
	This performance, however, was neither overbearing nor gratuitous: rather, the character's emotional turmoil in facing her husband, her lover, her father and her community was presented with harrowing clarity.
	What pleased was the lack of histrionics: Stiffelio's animalistic, Otello-like rage was kept firmly under lock and key, and when it did burst forth, it did so with venomous fury.

Classical Music :: The Classical Source :: Stiffelio :: Classical Music (529 words)
	Radvanovsky relished the role of Lina, Stiffelio’s wife who is having an affair with Raffaelo (a House debut for Reinaldo Macias, replacing Andrew Sritheran), arousing both her father’s suspicion and her husband’s jealousy – the great denouement being Stiffelio’s act of forgiveness from the pulpit.
	For 140 years “Stiffelio” was something of a lost Verdi opera; censors had savaged the score before the première in Trieste in 1850.
	Act Two, outside the church where Stiffelio discovers Lina’s father Stankar fighting with Raffaelo and finds out about her affair also has a similar vista which is equally as threatening as the claustrophobic interior of the meeting hall, inside which all the action of Acts One & Three is crushed.

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