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Verdi's Ideas on the Production of His Shakespeare Operas

Published online by Cambridge University Press:  01 January 2020

Frank Walker
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Extract

It is not generally realised how much Verdi suffered from atrocious productions of his early operas, how much he had this matter at heart in his middle years, nor what energetic measures he afterwards took to remedy things. At the beginning of his career scarcely any consideration was given in Italian theatres to dramatic effect. The opera existed for the singers; the singers themselves were convinced of this, and the public agreed with them. The composer had to adapt himself, and his work, to these conditions, and if he did not, then suitable adjustments were made by others for him.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 76 , 1949 , pp. 11 - 21
Copyright
Copyright © Royal Musical Association, 1949

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References

1 Copialettere di Giuseppe Verdi, Milan 1913, pp. 34–5.Google Scholar

2 Cesari, G., L'arte superstite del Maestro: Episodi tratti da una corrispondenza inedita. (Corriere della Sera, Milan, January 27th, 1926).Google Scholar

3 Alessandro Luzio, Carteggi Verdiani, Vol. 1, Rome 1935.Google Scholar

4 Those to Varesi in Nuova Antologia, December 16th, 1932, and those to Mme. Barbieri-Nini in Musica (Rome) November 23rd, 1913 (misprinted 1911). The latter are not recorded in any Verdi bibliography.Google Scholar

5 Available in two versions, as drafted in the Copialettere appendix, pp. 452–454, and as actually sent in the Carteggi Verdiani, Vol. 4, pp. 160-161.Google Scholar

6 Articles contributed to the Daily Graphic and the Fortnightly Review at the time of the first performance of Falstaff are reprinted in Studies and Memories (1908).Google Scholar