文末連結了14部歌劇（「女人心Così fan tutte」；「弄臣Rigoletto 」；「蝴蝶夫人Madama Butterfly」；塔拉斯布爾巴Taras Bulba」；「蝙蝠Die Fledermaus」；「那不可Nabucco」；「卡門Carmen」；「塞維亞的理髮師」Il Barbiere Di Siviglia；「茶花女La Traviata」；「拉美莫爾的露琪亞Lucia di Lammermoor」；「藝術家的生涯La bohème」；「託斯卡Tosca」；「圖蘭朵Turandot」；「愛的甘醇L'elisir d'amore」）+1部義大利電影「Cinema Paradiso天堂電影院」+ 1部法語音樂劇「巴黎聖母院Notre Dame de Pari」+ 16 首義大利名曲 +1首法語歌曲 + 6首歌劇序曲
女主Donna Leonora從山洞中走出，臉色蒼白，疲倦不堪，焦躁不安地唱出心中的苦！！！！
義大利語歌詞
we ria er Presso la grotta di Leonora. Valle tra rupi inaccessibili, attraversata da un ruscello. Nel fondo a sinistra dello spettatore è una grotta con porta praticabile, e sopra una campana che si potrà suonare dall'interno. La scena si oscura lentamente; la luna apparisce splendidissima. Donna Leonora, pallida, sfigurata, esce dalla grotta, agitatissima.
Leonora
LEONORA
Pace, pace, mio Dio!
Cruda sventura
M'astringe, ahimé, a languir;
Come il dì primo
Da tant'anni dura
Profondo il mio soffrir.
L'amai, gli è ver!
Ma di beltà e valore
Cotanto Iddio l'ornò.
Che l'amo ancor.
Né togliermi dal core
L'immagin sua saprò.
Fatalità! Fatalità! Fatalità!
Un delitto disgiunti n'ha quaggiù!
Alvaro, io t'amo.
E su nel cielo è scritto:
Non ti vedrò mai più!
Oh Dio, Dio, fa ch'io muoia;
Che la calma può darmi morte sol.
Invan la pace qui sperò quest'alma
In preda a tanto duol.
Va ad un sasso ove sono alcune provvigioni deposte dal Padre Guardiano
Misero pane, a prolungarmi vieni
La sconsolata vita … Ma chi giunge?
Chi profanare ardisce il sacro loco?
Maledizione! Maledizione! Maledizione!
Torna rapidamente alla grotta, e vi si rinchiude.
英語歌詞
A valley amid precipitous rocks, traversed by a stream. In the background, to the spectator's left, is a cave with a practicable door, above which is a bell that can be rung from within. The sun is going down. The scene darkens slowly; the moon appears, extremely bright.
Donna Leonora, pale and worn, emerges from the cave in a state of great agitation.
LEONORA
Peace, peace, O God!
She comes down.
Cruel misfortune
compels me, alas, to languish;
my suffering has lasted for so many years,
as profound as on the first day.
Peace, peace, O God!
I loved him, it is true! But God had blessed him
with such beauty and courage
that I love him still, and cannot efface his image
from my heart.
Fatal destiny! A crime
has divided us down here!
Alvaro, I love you and in heaven above it is written
that I shall never see you again!
O God, God, let me die, for only death
can bring me peace.
In vain this soul of mine here sought peace,
a prey to so much woe.
She goes to a rock on which the Father Superior has left food for her.
Wretched bread, you come to prolong
my inconsolable life. - But who comes here,
daring to profane this sacred retreat?
A curse! A curse!
She retreats rapidly into the cave, closing it behind
「命運的力量La forza del destino」是俄國聖彼得堡皇家劇院委託47歲的威爾第，6000法郎外加所有開銷，才有了這部歌劇。於1862年（威爾第49歲）在聖彼得堡首演。「命運的力量」序曲也常出現在音樂會的節目單上。
La forza del destino (Italian pronunciation: [la ˈfɔrtsa del deˈstiːno]; The Power of Fate, often translated The Force of Destiny) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. It was first performed in the Bolshoi Kamenny Theatre （葉卡捷琳娜二世(Catherine II)下令修建）of Saint Petersburg, Russia, on 10 November 1862 O.S. (N.S. 22 November).
La forza del destino is frequently performed, and there have been a number of complete recordings. In addition, the overture (to the revised version of the opera) is part of the standard repertoire for orchestras, often played as the opening piece at concerts.
After its premiere in Russia, La Forza underwent some revisions and made its debut in Europe with performances in Rome in 1863 under the title Don Alvaro. Performances followed in Madrid (with the Duke of Rivas, the play's author, in attendance) and the opera subsequently travelled to New York, Vienna (1865), Buenos Aires (1866), and London (1867).
Following these productions, Verdi made further, more extensive revisions to the opera with additions to the libretto by Antonio Ghislanzoni. This version, which premiered at La Scala, Milan, on 27 February 1869, has become the standard performance version. The most important changes were a new overture (replacing a brief prelude); the addition of a final scene to Act 3, following the duel between Carlo and Alvaro; and a new ending, in which Alvaro remains alive, instead of throwing himself off a cliff to his death. The opera in this version is frequently performed in the world's opera houses today.
Overture 序曲The music begins with the opera's "Fate" motif, an ominous three Es unison in the brass.
Act 1 第一幕The mansion of Leonora's family, in Seville
Don Alvaro is a young nobleman from South America (presumably Peru) who is part Indian and who has settled in Seville where he is not very well thought of. He falls in love with Donna Leonora, the daughter of the Marquis of Calatrava, but Calatrava is determined that she shall marry only a man of the highest birth. Despite knowing her father’s aversion to Alvaro, Leonora is deeply in love with him, and she determines to give up her home and country in order to elope with him. In this endeavor, she is aided by her confidante, Curra. (Me pellegrina ed orfana – "Exiled and orphaned far from my childhood home").
When Alvaro arrives to fetch Leonora, she hesitates: she wants to elope with him, but part of her wants to stay with her father; she eventually pulls herself together, ready for their elopement. However, the Marquis unexpectedly enters and discovers Leonora and Alvaro together. He threatens Alvaro with death, and in order to remove any suspicion as to Leonora’s purity, Alvaro surrenders himself. As he flings down his pistol, it goes off, mortally wounding the Marquis, who dies cursing his daughter.
Act 2 第二幕Scene 1: An inn in the village of Hornachuelos
About a year has passed since the death of the Marquis of Calatrava. While fleeing the scene, Leonora and Alvaro became separated, and neither has made any concerted effort to find the other.
In this scene, the Alcalde, several peasant muleteers, Don Carlo of Vargas (the brother of Donna Leonora), and many others are gathered in the kitchen of the inn as dinner is served. Don Carlo, disguised as a student from Salamanca and using the fictitious name Pereda, is now seeking revenge against Alvaro and Leonora for dishonoring the family name. (Son Pereda son ricco d'onore – "I am Pereda, of honorable descent"). During the supper, Preziosilla, a popular young gypsy girl, arrives, and she tells the young men’s fortunes and exhorts them to enlist in the war (Al suon del tamburo – "When side drums rattle") for Italy’s freedom, which all agree to do. Leonora arrives in male attire, on her way to a nearby monastery, but luckily she slips away without being discovered by Carlo.
Scene 2: A monastery nearby
Leonora has come to take refuge in the monastery to live out her remaining days secluded from the rest of mankind. (Son giunta! ... Madre, pietosa Vergine – "I've got here! Oh, thank God!") After a somewhat surly reception by Fra Melitone, she tells the abbot, Padre Guardiano, her true name and her wish to spend the remainder of her life in the monastery's hermitage. The abbot recounts the trials she will have to undergo. Leonora, Padre Guardiano, Fra Melitone, and the other monks join in prayer as she is accepted in the hermitage.
Act 3 第三幕Scene 1: A forest near Velletri, in Italy
Meanwhile Don Alvaro has joined the Spanish army under the name of Don Federico Herreros (La vita è inferno all'infelice ... O tu che in seno agli angeli – "Life is a hell to those who are unhappy....Oh, my beloved, risen among the angels"). One night he saves the life of Don Carlo who is serving in the same army under the name of Don Felix Bornos. They become close friends and go side by side into the Battle of Velletri, an historical event which occurred in 1744.
Scene 2: The officers' quarters
In one of these engagements Don Alvaro returns, believing himself to be mortally wounded. He entrusts to Don Carlo’s care a valise containing a bundle of letters which he orders his friend to destroy as soon as Don Alvaro dies: (Solenne in quest'ora – "Swear to me, in this solemn hour"). Don Carlo has sworn not to look at the contents of the letters; but he becomes suspicious of his friend. (Morir! Tremenda cosa! ... Urna fatale del mio destino – "To die! What an awesome thought...Get away, fatal lot sent to my Destiny!"). He opens thevalise, finds his sister’s picture, and realizes Alvaro's true identity. At that moment a surgeon brings word that Don Alvaro may recover. Don Carlo is overjoyed at the idea of avenging his father’s death.
Scene 3: A camp near the battleground
Having recovered, Alvaro is confronted by Carlo. They begin to duel, but are pulled away from each other by the soldiers. As they restrain Carlo, the anguished Don Alvaro vows to enter a monastery.
The soldiers gather. Trabucco, the peddler, tries to sell them his wares; Fra Melitone chastises them for their godless ways; and Preziosilla leads them in a chorus in praise of the military life (Rataplan, rataplan, della gloria – "Rum-tum-tum on the drum is the music that makes a soldier's martial spirit rise").
Act 4 第四幕Scene 1: The monastery
Impoverished peasants from the region approach Fra Melitone at the monastery at Hornachuelos for food and Padre Guardiano gently scolds Melitone for his less than charitable behavior towards them. Don Carlo then approaches, having learned of the presence of Don Alvaro there. Under the name of Father Raphael, Alvaro has indeed entered the monastery, near which is Leonora’s cave. Don Carlo forces him into a fight (Le minacce, i fieri accenti – "May the winds carry off with them").
Scene 2: A desolate spot near Leonora's hermitage
Leonora prays that she may find peace in death (Pace, pace mio Dio! – "Peace, O mighty Father, give me peace!"). Alvaro runs in, calling for help, having mortally wounded Carlo in their duel. The two lovers recognize each other. Leonora seeks her brother and, as she bends over him, he stabs her in the heart. The dying Leonora returns, supported by Padre Guardiano; he and Alvaro pray to heaven as she dies.
[Original version: Overcome by the guilt at having killed or caused the death of all the Calatravas, Alvaro jumps to his death into the nearby ravine, cursing humankind, over the protests of Father Guardiano].義大利語
La forza del destino è un'opera o melodramma in quattro atti di Giuseppe Verdi su libretto di Francesco Maria Piave tratto da Alvaro o la forza del destino di Ángel de Saavedra.
La prima rappresentazione assoluta ebbe luogo al Teatro Imperiale di San Pietroburgo, oggi conosciuto come Teatro Mariinskij, il 10 novembre 1862.
Il debutto italiano avvenne al Teatro Apollo di Roma il 7 febbraio 1863, con il titolo Don Alvaro con Carlotta Marchisio e Barbara Marchisio. Così il compositore scrisse a Vincenzo Luccardi il successivo 17 febbraio: Se l'opera a Roma è andata abbastanza bene, avrebbe potuto andare mille volte meglio se Jacovacci potesse una volta mettersi in testa che, per avere dei successi, ci vogliono ed opere adatte agli artisti ed artisti adatti alle opere. È certo che nella Forza del Destino non è necessario sapere fare dei solfeggi, ma bisogna aver dell'anima e capir la parola ed esprimerla.
La seconda versione, per la quale Verdi aggiunse la celebre sinfonia, compose un nuovo finale e operò numerose altre modifiche tra le quali la rielaborazione del libretto a cura di Antonio Ghislanzoni, debuttò con successo al Teatro alla Scala di Milano il 27 febbraio 1869. Anche il finale fu cambiato: nella seconda versione Don Alvaro sopravvive alla morte di Leonora, nella prima versione l'opera terminava invece con il suicidio di Alvaro. Così Verdi scrisse ad Opprandino Arrivabene il 1º marzo successivo: Sono ritornato qui ieri sera da Milano a mezzanotte stanco morto di fatica. Ho bisogno di dormire quindici giorni di seguito per rimettermi. A quest'ora tu saprai della Forza del destino: vi fu una buona esecuzione ed un successo. La Stolz e Tiberini superbi. Gli altri bene. Le masse, Cori ed orchestra hanno eseguito con una precisione ed un fuoco indescrivibili. Avevano il diavolo addosso. Bene, assai bene. Ho avuto notizie anche della seconda recita: ancora bene, anzi meglio della prima. I pezzi nuovi sono una sinfonia eseguita meravigliosamente dall'orchestra, un piccolo coro di ronda ed un Terzetto col quale si chiude l'opera. Permetti che ti stringa presto la mano e vada a dormire.
L'azione si svolge in Spagna e in Italia, nel Settecento. Tra il primo e il secondo atto passano circa 18 mesi. Tra il secondo e il terzo alcuni anni; e tra il terzo e il quarto oltre un lustro.
Atto IDonna Leonora di Vargas (soprano) e don Alvaro (tenore), meticcio, per evitare l'opposizione al loro matrimonio del padre di lei, il marchese di Calatrava (basso), si preparano a fuggire nottetempo da Siviglia. Leonora, affezionata nonostante tutto al padre, medita sull'incertezza del proprio destino e dice addio alla terra natia. L'arrivo di Alvaro le fa svanire gli ultimi dubbi, ma i due vengono sorpresi dal marchese, che, tornato all'improvviso, rinnega la figlia e ordina ai servi di arrestare il giovane. Questi, proclamandosi unico colpevole, si dichiara pronto a subire la punizione del marchese e getta a terra la pistola, da cui parte un colpo che uccide il vecchio. I due sventurati amanti scompaiono nella notte.
Atto IIIl fratello di Leonora, don Carlo (baritono), deciso a vendicare la morte del padre, è alla ricerca dei due amanti. Giunto a Hornanchuelos si spaccia per uno studente agli occhi degli avventori di un'osteria, tra i quali si trovano dei pellegrini, la zingara Preziosilla (mezzosoprano), alcuni soldati, un mulattiere, e la stessa Leonora che, travestita da uomo, si sta dirigendo al Monastero della Vergine degli Angeli, nei pressi del quale intende vivere in eremitaggio. Dal racconto di don Carlo Leonora scopre che don Alvaro, creduto morto, è ancora in vita, e teme per la propria stessa incolumità: si appresta quindi a ritirarsi dal secolo con rinnovato vigore.
Giunta al monastero, la giovane si affida alla Vergine pregando perché i propri peccati siano perdonati, quindi chiede un colloquio al padre guardiano (basso), cui rivela la propria identità e il desiderio di espiazione. Il padre, indulgente e comprensivo, l'avverte però che la vita che l'attende è piena di stenti e cerca di convincerla per l'ultima volta a ritirarsi in convento invece che in una misera grotta. Constatando la fiduciosa costanza di Leonora, tuttavia, acconsente al volere di lei e, consegnatole un saio, chiama a raccolta i monaci che, maledicendo chiunque oserà infrangere l'anonimato dell'eremita, si rivolgono in coro alla Madonna.
Atto IIISiamo in Italia, vicino a Velletri. È notte, infuria la lotta tra gli spagnoli e gli imperiali. Don Alvaro è capitano dei granatieri spagnoli e, non potendo sopportare oltre le sue sventure, spera di trovare la morte in battaglia. Rievocando il proprio passato di orfano, figlio di discendenti della famiglia reale Inca, ripensa alla notte fatale in cui vide per l'ultima volta Leonora, e, convinto che la giovane sia morta, le chiede di pregare per lui.
Ad un tratto, sente il lamento di un soldato in difficoltà, accorre in suo aiuto e gli salva la vita: l'uomo altri non è che don Carlo, che però non riconosce il giovane indio. I due si giurano eterna amicizia. L'indomani, tuttavia, Alvaro stesso cade ferito e viene trasportato da don Carlo. Alvaro morente affida a Carlo una valigia con un plico sigillato contenente un segreto che non dovrà mai essere rivelato: alla sua morte il plico dovrà essere bruciato.
Carlo giura di farlo, ma una volta rimasto solo, insospettito dall'orrore provato dall'amico al nome dei Calatrava, apre la valigia, dentro la quale trova un ritratto di sua sorella Leonora: vedendo confermati i propri sospetti, sfida don Alvaro a duello. I due hanno già incrociato le spade quando sopraggiunge la ronda: Alvaro scappa e trova rifugio in un monastero. Nell'accampamento, intanto, ricomincia la vita di sempre: la zingara Preziosilla predice il futuro e incita i soldati alla battaglia.
Atto IVNei pressi del Monastero degli Angeli il frate Melitone (baritono) distribuisce la minestra ai poveri. Questi, lamentandosi per il suo comportamento sgarbato, rimpiangono l'assenza del padre Raffaele, il nome scelto da don Alvaro al momento dell'entrata in monastero.
Lo stesso padre Raffaele è richiesto da don Carlo, che, scoperto il nascondiglio di don Alvaro, lo sfida nuovamente a duello. In un primo momento don Alvaro rifiuta il confronto ma, sentendosi chiamare codardo e mulatto, si prepara ad incrociare nuovamente il ferro con lui.
Presso la grotta dove si è ritirata, Leonora, riconoscendosi ancora innamorata di don Alvaro, piange il proprio destino. Sentendo improvvisamente dei rumori nelle vicinanze, si rifugia nel proprio abituro, ma è richiamata proprio da don Alvaro che, avendo ferito don Carlo a morte, cerca un confessore per dare all'agonizzante gli ultimi conforti. Terrorizzata, Leonora chiama aiuto ma, inaspettatamente riconosciuta dal giovane, si accinge a ricongiungersi con lui. Messa a parte del ferimento di don Carlo, tuttavia, si precipita da lui che, ancora ossessionato dal desiderio di vendetta, la pugnala. Raggiunta dal padre guardiano, Leonora spira tra le braccia di don Alvaro, augurandosi di ritrovarlo in cielo. Egli, rimasto definitivamente solo sulla terra, maledice ancora una volta il proprio destino.
義大利歌劇作曲家朱塞佩·威爾第Giuseppe Verdi （1813-1901），一個被音樂學院拒收的學生，卻躋身於世界偉大作曲家之列（人品好，遇到一個有智慧的嶽父支持他的才華），勇於對歌劇進行改革，也是個愛國人士Arai tu l'inverso, resti l'Italia a me（你可擁有全世界，但把義大利留給我）。一生創作有26部歌劇，包含了「弄臣Rigoletto」、「茶花女La Traviata」、「遊吟詩人Il trovatore」、「奧賽羅Otello」、「阿伊達Aida」、「那不可Nabucco」、「命運的力量La forza del destino」等世界經典。
Giuseppe Fortunino Francesco Verdi (9 or 10 October 1813 – 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron（有錢人支助）. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him.
In his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi, however, did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).
His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata, and the 2013 bicentenary of his birth was widely celebrated in broadcasts and performances.
Childhood and education
4歲開始上拉丁語和義大利語的私教課，6歲上本地學校，7歲在本地教堂裡展示她的音樂天賦，學習管風琴課程，8歲成為正式付費的風琴手。
Verdi, the first child of Carlo Giuseppe Verdi (1785–1867) and Luigia Uttini (1787–1851), was born at their home in Le Roncole, a village near Busseto, then in the Département Taro and within the borders of the First French Empire following the annexation of the Duchy of Parma and Piacenza in 1808. The baptismal register, prepared on 11 October 1813, lists his parents Carlo and Luigia as "innkeeper" and "spinner" respectively. Additionally, it lists Verdi as being "born yesterday", but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. Following his mother, Verdi always celebrated his birthday on 9 October, the day he himself believed he was born.
Verdi had a younger sister, Giuseppa, who died aged 17 in 1833. From the age of four, Verdi was given private lessons in Latin and Italian by the village schoolmaster, Baistrocchi, and at six he attended the local school. After learning to play the organ, he showed so much interest in music that his parents finally provided him with a spinet. Verdi's gift for music was already apparent by 1820–21 when he began his association with the local church, serving in the choir, acting as an altar boy for a while, and taking organ lessons. After Baistrocchi's death, Verdi, at the age of eight, became the official paid organist.
威爾第的父親是非常重視他的教育。
The music historian Roger Parker points out that both of Verdi's parents "belonged to families of small landowners and traders, certainly not the illiterate peasants from which Verdi later liked to present himself as having emerged... Carlo Verdi was energetic in furthering his son's education...something which Verdi tended to hide in later life... he picture emerges of youthful precocity eagerly nurtured by an ambitious father and of a sustained, sophisticated and elaborate formal education.
10歲的威爾第被父母送到布塞託的男孩高級學校，每周日步行幾公裡路去彈管風琴，12歲開始跟當地名師Provesi（當地音樂學校總監、交響樂協會總監）學習音樂，13歲到18歲之間創作了不少曲子。
In 1823, when he was 10, Verdi's parents arranged for the boy to attend school in Busseto, enrolling him in a Ginnasio—an upper school for boys—run by Don Pietro Seletti, while they continued to run their inn at Le Roncole. Verdi returned to Busseto regularly to play the organ on Sundays, covering the distance of several kilometres on foot. At age 11, Verdi received schooling in Italian, Latin, the humanities, and rhetoric. By the time he was 12, he began lessons with Ferdinando Provesi, maestro di cappella at San Bartolomeo, director of the municipal music school and co-director of the local Società Filarmonica (Philharmonic Society). Verdi later stated: "From the ages of 13 to 18 I wrote a motley assortment of pieces: marches for band by the hundred, perhaps as many little sinfonie that were used in church, in the theatre and at concerts, five or six concertos and sets of variations for pianoforte, which I played myself at concerts, many serenades, cantatas (arias, duets, very many trios) and various pieces of church music, of which I remember only a Stabat Mater." This information comes from the Autobiographical Sketch which Verdi dictated to the publisher Giulio Ricordi late in life, in 1879, and remains the leading source for his early life and career. Written, understandably, with the benefit of hindsight, it is not always reliable when dealing with issues more contentious than those of his childhood.
他也遇見了未來的嶽父和資助人Barezzi，雜貨批發商和釀酒商，也是交響樂協會的總監。13歲在自己的家鄉開始了第一場公開音樂表演，並得到本地人的認可。
The other director of the Philharmonic Society was Antonio Barezzi , a wholesale grocer and distiller, who was described by a contemporary as a "manic dilettante" of music. The young Verdi did not immediately become involved with the Philharmonic. By June 1827, he had graduated with honours from the Ginnasio and was able to focus solely on music under Provesi. By chance, when he was 13, Verdi was asked to step in as a replacement to play in what became his first public event in his home town; he was an immediate success mostly playing his own music to the surprise of many and receiving strong local recognition.
16歲到17歲，威爾第建立了交響樂的領導地位。16歲時，老師Provesi覺得已經教不了威爾第，他也開始教Barezzi的女兒Margherita唱歌和鋼琴，18歲就跟她訂婚了。
By 1829–30, Verdi had established himself as a leader of the Philharmonic: "none of us could rival him" reported the secretary of the organisation, Giuseppe Demaldè. An eight-movement cantata, I deliri di Saul, based on a drama by Vittorio Alfieri, was written by Verdi when he was 15 and performed in Bergamo. It was acclaimed by both Demaldè and Barezzi, who commented: "He shows a vivid imagination, a philosophical outlook, and sound judgment in the arrangement of instrumental parts." In late 1829, Verdi had completed his studies with Provesi, who declared that he had no more to teach him. At the time, Verdi had been giving singing and piano lessons to Barezzi's daughter Margherita; by 1831, they were unofficially engaged.
威爾第去被義大利的文化之都米蘭，尋找機會，申請音樂學院被拒。嶽父Barezzi安排大師Lavigna做私教，老師安排了工作機會到Massini帶領的業餘合唱團the Società Filarmonica,漸漸地提拔23歲的威爾第做排練總監兼低音演奏者，鼓勵他寫第一部歌劇Rocester。
Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied unsuccessfully to study at the Conservatory. Barezzi made arrangements for him to become a private pupil of Vincenzo Lavigna , who had been maestro concertatore at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the Società Filarmonica, led by Pietro Massini. Attending the Società frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's La cenerentola) and continuo player. It was Massini who encouraged him to write his first opera, originally titled Rocester, to a libretto by the journalist Antonio Piazza.
1834–1842: First operas
22歲獲得學校總監職位，23結婚。
In mid-1834, Verdi sought to acquire Provesi's former post in Busseto but without success. But with Barezzi's help he did obtain the secular post of maestro di musica. He taught, gave lessons, and conducted the Philharmonic for several months before returning to Milan in early 1835.By the following July, he obtained his certification from Lavigna. Eventually in 1835 Verdi became director of the Busseto school with a three-year contract. He married Margherita in May 1836, and by March 1837, she had given birth to their first child, Virginia Maria Luigia on 26 March 1837. Icilio Romano followed on 11 July 1838. Both the children died young, Virginia on 12 August 1838, Ilicio on 22 October 1839.
In 1837, the young composer asked for Massini's assistance to stage his opera in Milan. The La Scala impresario, Bartolomeo Merelli, agreed to put on Oberto (as the reworked opera was now called, with a libretto rewritten by Temistocle Solera) in November 1839. It achieved a respectable 13 additional performances, following which Merelli offered Verdi a contract for three more works.
While Verdi was working on his second opera Un giorno di regno, Margherita died of encephalitis腦炎 at the age of 26. Verdi adored his wife and children and was devastated by their deaths. Un giorno, a comedy, was premiered only a few months later. It was a flop and only given the one performance. Following its failure, it is claimed Verdi vowed never to compose again,but in his Sketch he recounts how Merelli persuaded him to write a new opera.
Verdi was to claim that he gradually began to work on the music for Nabucco, the libretto of which had originally been rejected by the composer Otto Nicolai: "This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written", he later recalled.By the autumn of 1841 it was complete, originally under the title Nabucodonosor. Well received at its first performance on 9 March 1842, Nabucco underpinned Verdi's success until his retirement from the theatre, twenty-nine operas (including some revised and updated versions) later. At its revival in La Scala for the 1842 autumn season it was given an unprecedented (and later unequalled) total of 57 performances; within three years it had reached (among other venues) Vienna, Lisbon, Barcelona, Berlin, Paris and Hamburg; in 1848 it was heard in New York, in 1850 in Buenos Aires. Porter comments that "similar accounts...could be provided to show how widely and rapidly all [Verdi's] other successful operas were disseminated."
1842–49
A period of hard work for Verdi—with the creation of twenty operas (excluding revisions and translations)—followed over the next sixteen years, culminating in Un ballo in maschera. This period was not without its frustrations and setbacks for the young composer, and he was frequently demoralised. In April 1845, in connection with I due Foscari, he wrote: "I am happy, no matter what reception it gets, and I am utterly indifferent to everything. I cannot wait for these next three years to pass. I have to write six operas, then addio to everything." In 1858 Verdi complained: "Since Nabucco, you may say, I have never had one hour of peace. Sixteen years in the galleys."
After the initial success of Nabucco, Verdi settled in Milan, making a number of influential acquaintances. He attended the Salotto Maffei, Countess Clara Maffei's salons in Milan, becoming her lifelong friend and correspondent. A revival of Nabucco followed in 1842 at La Scala where it received a run of fifty-seven performances, and this led to a commission from Merelli for a new opera for the 1843 season. I Lombardi alla prima crociata was based on a libretto by Solera and premiered in February 1843. Inevitably, comparisons were made with Nabucco; but one contemporary writer noted: "If [Nabucco] created this young man's reputation, I Lombardi served to confirm it."
Verdi paid close attention to his financial contracts, making sure he was appropriately remunerated as his popularity increased. For I Lombardi and Ernani (1844) in Venice he was paid 12,000 lire (including supervision of the productions ) ; Attila and Macbeth (1847) , each brought him 18,000 lire. His contracts with the publishers Ricordi in 1847 were very specific about the amounts he was to receive for new works, first productions, musical arrangements, and so on.He began to use his growing prosperity to invest in land near his birthplace. In 1844 he purchased Il Pulgaro, 62 acres (23 hectares) of farmland with a farmhouse and outbuildings, providing a home for his parents from May 1844. Later that year, he also bought the Palazzo Cavalli (now known as the Palazzo Orlandi) on the via Roma, Busseto's main street. In May 1848, Verdi signed a contract for land and houses at Sant'Agata in Busseto, which had once belonged to his family. It was here he built his own house, completed in 1880, now known as the Villa Verdi, where he lived from 1851 until his death.
第一任老婆和兩個孩子都死了的威爾第，跟有不少私生子的女人Strepponi在一起。
In March 1843, Verdi visited Vienna (where Gaetano Donizetti was musical director) to oversee a production of Nabucco. The older composer, recognising Verdi's talent, noted in a letter of January 1844: "I am very, very happy to give way to people of talent like Verdi... Nothing will prevent the good Verdi from soon reaching one of the most honourable positions in the cohort of composers." Verdi travelled on to Parma, where the Teatro Regio di Parma was producing Nabucco with Strepponi in the cast. For Verdi the performances were a personal triumph in his native region, especially as his father, Carlo, attended the first performance. Verdi remained in Parma for some weeks beyond his intended departure date. This fuelled speculation that the delay was due to Verdi's interest in Giuseppina Strepponi (who stated that their relationship began in 1843). Strepponi was in fact known for her amorous relationships (and many illegitimate children) and her history was an awkward factor in their relationship until they eventually agreed on marriage.
After successful stagings of Nabucco in Venice (with twenty-five performances in the 1842/43 season), Verdi began negotiations with the impresario of La Fenice to stage I Lombardi, and to write a new opera. Eventually, Victor Hugo's Hernani was chosen, with Francesco Maria Piave as librettist. Ernani was successfully premiered in 1844 and within six months had been performed at twenty other theatres in Italy, and also in Vienna. The writer Andrew Porter notes that for the next ten years, Verdi's life "reads like a travel diary—a timetable of visits...to bring new operas to the stage or to supervise local premieres". La Scala premiered none of these new works, except for Giovanna d'Arco. Verdi "never forgave the Milanese for their reception of Un giorno di regno".
During this period, Verdi began to work more consistently with his librettists. He relied on Piave again for I due Foscari, performed in Rome in November 1844, then on Solera once more for Giovanna d'Arco, at La Scala in February 1845, while in August that year he was able to work with Salvadore Cammarano on Alzira for the Teatro di San Carlo in Naples. Solera and Piave worked together on Attila for La Fenice (March 1846).
In April 1844, Verdi took on Emanuele Muzio, eight years his junior, as a pupil and amanuensis. He had known him since about 1828 as another of Barezzi's protégés. Muzio, who in fact was Verdi's only pupil, became indispensable to the composer. He reported to Barezzi that Verdi "has a breadth of spirit, of generosity, a wisdom". In November 1846, Muzio wrote of Verdi: "If you could see us, I seem more like a friend, rather than his pupil. We are always together at dinner, in the cafes, when we play cards...; all in all, he doesn't go anywhere without me at his side; in the house we have a big table and we both write there together, and so I always have his advice." Muzio was to remain associated with Verdi, assisting in the preparation of scores and transcriptions, and later conducting many of his works in their premiere performances in the US and elsewhere outside Italy. He was chosen by Verdi as one of the executors of his will, but predeceased the composer in 1890.
After a period of illness Verdi began work on Macbeth in September 1846. He dedicated the opera to Barezzi: "I have long intended to dedicate an opera to you, as you have been a father, a benefactor and a friend for me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth, which I prize above all my other operas, and therefore deem worthier to present to you." In 1997 Martin Chusid wrote that Macbeth was the only one of Verdi's operas of his "early period" to remain regularly in the international repertoire,although in the 21st century Nabucco has also entered the lists.
Strepponi's voice declined and her engagements dried up in the 1845 to 1846 period, and she returned to live in Milan whilst retaining contact with Verdi as his "supporter, promoter, unofficial adviser, and occasional secretary" until she decided to move to Paris in October 1846. Before she left Verdi gave her a letter that pledged his love. On the envelope, Strepponi wrote: "5 or 6 October 1846. They shall lay this letter on my heart when they bury me."
Verdi had completed I masnadieri for London by May 1847 except for the orchestration. This he left until the opera was in rehearsal, since he wanted to hear "la [Jenny] Lind and modify her role to suit her more exactly". Verdi agreed to conduct the premiere on 22 July 1847 at Her Majesty's Theatre, as well as the second performance. Queen Victoria and Prince Albert attended the first performance, and for the most part, the press was generous in its praise.
For the next two years, except for two visits to Italy during periods of political unrest, Verdi was based in Paris. Within a week of returning to Paris in July 1847, he received his first commission from the Paris Opéra. Verdi agreed to adapt I Lombardi to a new French libretto; the result was Jérusalem, which contained significant changes to the music and structure of the work (including an extensive ballet scene) to meet Parisian expectations. Verdi was awarded the Order of Chevalier of the Legion of Honour. To satisfy his contracts with the publisher Francesco Lucca , Verdi dashed off （充忙完成）Il Corsaro. Budden comments "In no other opera of his does Verdi appear to have taken so little interest before it was staged."
On hearing the news of the "Cinque Giornate", the "Five Days" of street fighting that took place between 18 and 22 March 1848 and temporarily drove the Austrians out of Milan, Verdi travelled there, arriving on 5 April.He discovered that Piave was now "Citizen Piave" of the newly proclaimed Republic of San Marco. Writing a patriotic letter to him in Venice, Verdi concluded "Banish every petty municipal idea! We must all extend a fraternal hand, and Italy will yet become the first nation of the world...I am drunk with joy! Imagine that there are no more Germans here!!"
Verdi had been admonished by the poet Giuseppe Giusti for turning away from patriotic subjects, the poet pleading with him to "do what you can to nourish the [sorrow of the Italian people], to strengthen it, and direct it to its goal." Cammarano suggested adapting Joseph Méry's 1828 play La Bataille de Toulouse, which he described as a story "that should stir every man with an Italian soul in his breast".The premiere was set for late January 1849. Verdi travelled to Rome before the end of 1848. He found that city on the verge of becoming a (short-lived) republic, which commenced within days of La battaglia di Legnano's enthusiastically received premiere. In the spirit of the time were the tenor hero's final words, "Whoever dies for the fatherland cannot be evil-minded".
Verdi had intended to return to Italy in early 1848, but was prevented by work and illness, as well as, most probably, by his increasing attachment to Strepponi. Verdi and Strepponi left Paris in July 1849, the immediate cause being an outbreak of cholera, and Verdi went directly to Busseto to continue work on completing his latest opera, Luisa Miller, for a production in Naples later in the year.
1849–53: Fame
Verdi was committed to the publisher Giovanni Ricordi for an opera—which became Stiffelio—for Trieste in the Spring of 1850; and, subsequently, following negotiations with La Fenice, developed a libretto with Piave and wrote the music for Rigoletto (based on Victor Hugo's Le roi s'amuse) for Venice in March 1851. This was the first of a sequence of three operas (followed by Il trovatore and La traviata) which were to cement his fame as a master of opera. The failure of Stiffelio (attributable not least to the censors of the time taking offence at the taboo subject of the supposed adultery of a clergyman's wife and interfering with the text and roles) incited Verdi to take pains to rework it, although even in the completely recycled version of Aroldo (1857) it still failed to please. Rigoletto, with its intended murder of royalty, and its sordid attributes, also upset the censors. Verdi would not compromise:
What does the sack matter to the police? Are they worried about the effect it will produce?...Do they think they know better than I?...I see the hero has been made no longer ugly and hunchbacked!! Why? A singing hunchback...why not?...I think it splendid to show this character as outwardly deformed and ridiculous, and inwardly passionate and full of love. I chose the subject for these very qualities...if they are removed I can no longer set it to music.
Verdi substituted a Duke for the King, and the public response and subsequent success of the opera all over Italy and Europe fully vindicated the composer. Aware that the melody of the Duke's song "La donna è mobile" ("Woman is fickle") would become a popular hit, Verdi excluded it from orchestral rehearsals for the opera, and rehearsed the tenor separately. 威爾第真是用心良苦。
For several months Verdi was preoccupied with family matters. These stemmed from the way in which the citizens of Busseto were treating Giuseppina Strepponi, with whom he was living openly in an unmarried relationship. She was shunned in the town and at church, and while Verdi appeared indifferent, she was certainly not.Furthermore, Verdi was concerned about the administration of his newly acquired property at Sant'Agata. A growing estrangement between Verdi and his parents was perhaps also attributable to Strepponi (the suggestion that this situation was sparked by the birth of a child to Verdi and Strepponi which was given away as a foundling lacks any firm evidence). In January 1851, Verdi broke off relations with his parents, and in April they were ordered to leave Sant'Agata; Verdi found new premises for them and helped them financially to settle into their new home. It may not be coincidental that all six Verdi operas written in the period 1849–53 (La battaglia, Luisa Miller, Stiffelio, Rigoletto, Il trovatore and La traviata), have, uniquely in his oeuvre, heroines who are, in the opera critic Joseph Kerman's words, "women who come to grief because of sexual transgression, actual or perceived". Kerman, like the psychologist Gerald Mendelssohn, sees this choice of subjects as being influenced by Verdi's uneasy passion for Strepponi.
Verdi and Strepponi moved into Sant'Agata on 1 May 1851. May also brought an offer for a new opera from La Fenice, which Verdi eventually realised as La traviata. That was followed by an agreement with the Rome Opera company to present Il trovatore for January 1853. Verdi now had sufficient earnings to retire, had he wished to. He had reached a stage where he could develop his operas as he wished, rather than be dependent on commissions from third parties. Il trovatore was in fact the first opera he wrote without a specific commission (apart from Oberto).At around the same time he began to consider creating an opera from Shakespeare's King Lear. After first (1850) seeking a libretto from Cammarano (which never appeared), Verdi later (1857) commissioned one from Antonio Somma, but this proved intractable, and no music was ever written.Verdi began work on Il trovatore after the death of his mother in June 1851. The fact that this is "the one opera of Verdi's which focuses on a mother rather than a father" is perhaps related to her death.
In the winter of 1851–52 Verdi decided to go to Paris with Strepponi, where he concluded an agreement with the Opéra to write what became Les vêpres siciliennes, his first original work in the style of grand opera. In February 1852, the couple attended a performance of Alexander Dumas fils's play茶花女 The Lady of the Camellias; Verdi immediately began to compose music for what would later become La traviata.
After his visit to Rome for Il trovatore in January 1853, Verdi worked on completing La traviata, but with little hope of its success, due to his lack of confidence in any of the singers engaged for the season. Furthermore, the management insisted that the opera be given a historical, not a contemporary setting. The premiere in March 1853 was indeed a failure: Verdi wrote: "Was the fault mine or the singers'? Time will tell."Subsequent productions (following some rewriting) throughout Europe over the following two years fully vindicated the composer; Roger Parker has written "Il trovatore consistently remains one of the three or four most popular operas in the Verdian repertoire: but it has never pleased the critics".
1853–60: ConsolidationIn the eleven years up to and including Traviata, Verdi had written sixteen operas. Over the next eighteen years (up to Aida), he wrote only six new works for the stage. Verdi was happy to return to Sant'Agata and, in February 1856, was reporting a "total abandonment of music; a little reading; some light occupation with agriculture and horses; that's all". A couple of months later, writing in the same vein to Countess Maffei he stated: "I'm not doing anything. I don't read. I don't write. I walk in the fields from morning to evening, trying to recover, so far without success, from the stomach trouble caused me by I vespri siciliani. Cursed operas!"An 1858 letter by Strepponi to the publisher Léon Escudier describes the kind of lifestyle that increasingly appealed to the composer: "His love for the country has become a mania, madness, rage, and fury—anything you like that is exaggerated. He gets up almost with the dawn, to go and examine the wheat, the maize, the vines, etc....Fortunately our tastes for this sort of life coincide, except in the matter of sunrise, which he likes to see up and dressed, and I from my bed."
Nonetheless on 15 May, Verdi signed a contract with La Fenice for an opera for the following spring. This was to be Simon Boccanegra. The couple stayed in Paris until January 1857 to deal with these proposals, and also the offer to stage the translated version of Il trovatore as a grand opera. Verdi and Strepponi travelled to Venice in March for the premiere of Simon Boccanegra, which turned out to be "a fiasco" (as Verdi reported, although on the second and third nights, the reception improved considerably).
With Strepponi, Verdi went to Naples early in January 1858 to work with Somma on the libretto of the opera Gustave III, which over a year later would become Un ballo in maschera. By this time, Verdi had begun to write about Strepponi as "my wife" and she was signing her letters as "Giuseppina Verdi". Verdi raged against the stringent requirements of the Neapolitan censor stating: "I'm drowning in a sea of troubles. It's almost certain that the censors will forbid our libretto." With no hope of seeing his Gustavo III staged as written, he broke his contract. This resulted in litigation and counter-litigation; with the legal issues resolved, Verdi was free to present the libretto and musical outline of Gustave III to the Rome Opera. There, the censors demanded further changes; at this point, the opera took the title Un ballo in maschera.
Arriving in Sant'Agata in March 1859 Verdi and Strepponi found the nearby city of Piacenza occupied by about 6,000 Austrian troops who had made it their base, to combat the rise of Italian interest in unification in the Piedmont region. In the ensuing Second Italian War of Independence the Austrians abandoned the region and began to leave Lombardy, although they remained in control of the Venice region under the terms of the armistice signed at Villafranca. Verdi was disgusted at this outcome: "[W]here then is the independence of Italy, so long hoped for and promised?...Venice is not Italian? After so many victories, what an outcome... It is enough to drive one mad" he wrote to Clara Maffei.
46歲的威爾第再次結婚。
Verdi and Strepponi now decided on marriage; they travelled to Collonges-sous-Salève, a village then part of Piedmont. On 29 August 1859 the couple were married there, with only the coachman who had driven them there and the church bell-ringer as witnesses. At the end of 1859, Verdi wrote to his friend Cesare De Sanctis "[Since completing Ballo] I have not made any more music, I have not seen any more music, I have not thought anymore about music. I don't even know what colour my last opera is, and I almost don't remember it." He began to remodel Sant'Agata, which took most of 1860 to complete and on which he continued to work for the next twenty years. This included major work on a square room that became his workroom, his bedroom, and his office.
PoliticsHaving achieved some fame and prosperity, Verdi began in 1859 to take an active interest in Italian politics. His early commitment to the Risorgimento movement is difficult to estimate accurately; in the words of the music historian Philip Gossett "myths intensifying and exaggerating [such] sentiment began circulating" during the nineteenth century.An example is the claim that when the "Va, pensiero" chorus in Nabucco was first sung in Milan, the audience, responding with nationalistic fervour, demanded an encore. As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. But in fact the piece encored was not "Va, pensiero" but the hymn "Immenso Jehova".
The growth of the "identification of Verdi's music with Italian nationalist politics" perhaps began in the 1840s. In 1848, the nationalist leader Giuseppe Mazzini (whom Verdi had met in London the previous year) requested Verdi (who complied) to write a patriotic hymn. The opera historian Charles Osborne describes the 1849 La battaglia di Legnano as "an opera with a purpose" and maintains that "while parts of Verdi's earlier operas had frequently been taken up by the fighters of the Risorgimento...this time the composer had given the movement its own opera"It was not until 1859 in Naples, and only then spreading throughout Italy, that the slogan "Viva Verdi" was used as an acronym for Viva Vittorio Emanuele Re D'Italia (Viva Victor Emmanuel King of Italy), (who was then king of Piedmont). After Italy was unified in 1861, many of Verdi's early operas were increasingly re-interpreted as Risorgimento works with hidden Revolutionary messages that perhaps had not been originally intended by either the composer or his librettists.
In 1859, Verdi was elected as a member of the new provincial council, and was appointed to head a group of five who would meet with King Vittorio Emanuele II in Turin. They were enthusiastically greeted along the way and in Turin Verdi himself received much of the publicity. On 17 October Verdi met with Cavour, the architect of the initial stages of Italian unification. Later that year the government of Emilia was subsumed under the United Provinces of Central Italy, and Verdi's political life temporarily came to an end. Whilst still maintaining nationalist feelings, he declined in 1860 the office of provincial council member to which he had been elected in absentia. Cavour however was anxious to convince a man of Verdi's stature that running for political office was essential to strengthening and securing Italy's future. The composer confided to Piave some years later that "I accepted on the condition that after a few months I would resign." Verdi was elected on 3 February 1861 for the town of Borgo San Donnino (Fidenza) to the Parliament of Piedmont-Sardinia in Turin (which from March 1861 became the Parliament of the Kingdom of Italy), but following the death of Cavour in 1861, which deeply distressed him, he scarcely attended. Later, in 1874, Verdi was appointed a member of the Italian Senate, but did not participate in its activities.
1860–87: from La forza to Otello聖彼得堡皇家劇院給47歲的威爾第，6000法郎外加所有開銷，創作了歌劇「命運的力量La forza del destino」，49歲時在聖彼得堡首演，根據西班牙薩維德拉的「唐阿爾瓦羅」（命運的力量）改編。
In the months following the staging of Ballo, Verdi was approached by several opera companies seeking a new work or making offers to stage one of his existing ones, but refused them all. But when, in December 1860, an approach was made from Saint Petersburg's Imperial Theatre, the offer of 60,000 francs plus all expenses was doubtless a strong incentive. Verdi came up with the idea of adapting the 1835 Spanish play Don Alvaro o la fuerza del sino by Ángel de Saavedra, which became La forza del destino, with Piave writing the libretto. The Verdis arrived in St. Petersburg in December 1861 for the premiere, but casting problems meant that it had to be postponed.
Returning via Paris from Russia on 24 February 1862, Verdi met two young Italian writers, the twenty-year-old Arrigo Boito and Franco Faccio. Verdi had been invited to write a piece of music for the 1862 International Exhibition in London, and charged Boito with writing a text, which became the Inno delle nazioni. Boito, as a supporter of the grand opera of Giacomo Meyerbeer and an opera composer in his own right, was later in the 1860s critical of Verdi's "reliance on formula rather than form", incurring the composer's wrath. Nevertheless, he was to become Verdi's close collaborator in his final operas. The St. Petersburg premiere of La forza finally took place in September 1862, and Verdi received the Order of St. Stanislaus.
A revival of Macbeth in Paris in 1865 was not a success, but he obtained a commission for a new work, Don Carlos, based on the play Don Carlos by Friedrich Schiller. He and Giuseppina spent late 1866 and much of 1867 in Paris, where they heard, and did not warm to, Giacomo Meyerbeer's last opera, L'Africaine, and Richard Wagner's overture to Tannhäuser.The opera's premiere in 1867 drew mixed comments. While the critic Théophile Gautier praised the work, the composer Georges Bizet was disappointed at Verdi's changing style: "Verdi is no longer Italian. He is following Wagner."
During the 1860s and 1870s, Verdi paid great attention to his estate around Busseto, purchasing additional land, dealing with unsatisfactory (in one case, embezzling) stewards, installing irrigation, and coping with variable harvests and economic slumps. In 1867, both Verdi's father Carlo, with whom he had restored good relations, and his early patron and father-in-law Antonio Barezzi, died. Verdi and Giuseppina decided to adopt Carlo's great-niece Filomena Maria Verdi, then seven years old, as their own child. She was to marry in 1878 the son of Verdi's friend and lawyer Angelo Carrara and her family became eventually the heirs of Verdi's estate.
伊斯梅爾掌權的埃及政府，為慶祝蘇伊士運河開啟，委託56歲的威爾第創作了歌劇「阿伊達Aida」，給了15萬法郎，1871年在開羅首演。
Aida was commissioned by the Egyptian government for the opera house built by the Khedive Isma'il Pasha（在巴黎受到歐式教育） to celebrate the opening of the Suez Canal in 1869. The opera house actually opened with a production of Rigoletto. The prose libretto in French by Camille du Locle, based on a scenario by the Egyptologist Auguste Mariette, was transformed to Italian verse by Antonio Ghislanzoni.Verdi was offered the enormous sum of 150,000 francs for the opera (even though he confessed that Ancient Egypt was "a civilization I have never been able to admire"), and it was first performed in Cairo in 1871. Verdi spent much of 1872 and 1873 supervising the Italian productions of Aida at Milan, Parma and Naples, effectively acting as producer and demanding high standards and adequate rehearsal time.During the rehearsals for the Naples production he wrote his string quartet, the only chamber music by him to survive, and the only major work in the form by an Italian of the 19th century.
56歲的威爾第為了紀念羅西尼，創作一曲安魂彌撒，100多年後才首演。
In 1869, Verdi had been asked to compose a section for a requiem mass in memory of Gioachino Rossini. He compiled and completed the requiem, but its performance was abandoned (and its premiere did not take place until 1988).Five years later, Verdi reworked his "Libera Me" section of the Rossini Requiem and made it a part of his Requiem honouring Alessandro Manzoni（曼佐尼）, who had died in 1873. The complete Requiem was first performed at the cathedral in Milan on the anniversary of Manzoni's death on 22 May 1874. The spinto soprano Teresa Stolz (1834–1902), who had sung in La Scala productions from 1865 onwards, was the soloist in the first and many later performances of the Requiem; in February 1872, she had created Aida in its European premiere in Milan. She became closely associated personally with Verdi (exactly how closely remains conjectural), to Giuseppina Verdi's initial disquiet; but the women were reconciled and Stolz remained a companion of Verdi after Giuseppina's death in 1897 until his own death. 威爾第的一生有三個女人。
Verdi conducted his Requiem in Paris, London and Vienna in 1875 and in Cologne in 1876.It seemed that it would be his last work. In the words of his biographer John Rosselli, it "confirmed him as the unique presiding genius of Italian music. No fellow composer...came near him in popularity or reputation". Verdi, now in his sixties, initially seemed to withdraw into retirement. He deliberately shied away from opportunities to publicise himself or to become involved with new productions of his works, but secretly he began work on Otello, which Boito (to whom the composer had been reconciled by Ricordi) had proposed to him privately in 1879. The composition was delayed by a revision of Simon Boccanegra which Verdi undertook with Boito, produced in 1881, and a revision of Don Carlos. Even when Otello was virtually completed, Verdi teased "Shall I finish it? Shall I have it performed? Hard to tell, even for me." As news leaked out, Verdi was pressed by opera houses across Europe with enquiries; eventually the opera was triumphantly premiered at La Scala in February 1887.
1887–1901: Falstaff and last years
Following the success of Otello Verdi commented, "After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little." He had considered a variety of comic subjects but had found none of them wholly suitable and confided his ambition to Boito. The librettist said nothing at the time but secretly began work on a libretto based on The Merry Wives of Windsor with additional material taken from Henry IV, Part 1 and Part 2. Verdi received the draft libretto probably in early July 1889 after he had just read Shakespeare's play: "Benissimo! Benissimo!... No one could have done better than you", he wrote back to Boito. But he still had doubts: his age, his health (which he admits to being good) and his ability to complete the project: "If I were not to finish the music?". If the project failed, it would have been a waste of Boito's time, and have distracted him from completing his own new opera. Finally on 10 July 1889 he wrote again: "So be it! So let's do Falstaff! For now, let's not think of obstacles, of age, of illnesses!" Verdi emphasised the need for secrecy, but continued "If you are in the mood, then start to write."Later he wrote to Boito (capitals and exclamation marks are Verdi's own): "What joy to be able to say to the public: HERE WE ARE AGAIN!!! COME AND SEE US!"
The first performance of Falstaff took place at La Scala on 9 February 1893. For the first night, official ticket prices were thirty times higher than usual. Royalty, aristocracy, critics and leading figures from the arts all over Europe were present. The performance was a huge success; numbers were encored, and at the end the applause for Verdi and the cast lasted an hour. That was followed by a tumultuous welcome when the composer, his wife and Boito arrived at the Grand Hotel de Milan. Even more hectic scenes ensued when he went to Rome in May for the opera's premiere at the Teatro Costanzi, when crowds of well-wishers at the railway station initially forced Verdi to take refuge in a tool-shed. He witnessed the performance from the Royal Box at the side of King Umberto and the Queen.
In his last years Verdi undertook a number of philanthropic ventures, publishing in 1894 a song for the benefit of earthquake victims in Sicily, and from 1895 onwards planning, building and endowing a rest-home for retired musicians in Milan, the Casa di Riposo per Musicisti, and building a hospital at Villanova sull'Arda, close to Busseto. His last major composition, the choral set of Four sacred pieces, was published in 1898. In 1900 he was deeply upset at the assassination of King Umberto and sketched a setting of a poem in his memory but was unable to complete it. While staying at the Grand Hotel, Verdi suffered a stroke on 21 January 1901.He gradually grew more feeble over the next week, during which Stolz cared for him, and died on 27 January at the age of 87.
Verdi was initially buried in a private ceremony at Milan's Cimitero Monumentale. A month later, his body was moved to the crypt of the Casa di Riposo. On this occasion, "Va, pensiero" from Nabucco was conducted by Arturo Toscanini with a chorus of 820 singers. A huge crowd was in attendance, estimated at 300,000. Boito wrote to a friend, in words which recall the mysterious final scene of Don Carlos, "[Verdi] sleeps like a King of Spain in his Escurial, under a bronze slab that completely covers him."
Personality
Not all of Verdi's personal qualities were amiable. John Rosselli concluded after writing his biography that "I do not very much like the man Verdi, in particular the autocratic rentier-cum-estate owner, part-time composer, and seemingly full-time grumbler and reactionary critic of the later years", yet admits that like other writers, he must "admire him, warts and all...a deep integrity runs beneath his life, and can be felt even when he is being unreasonable or wrong."
Budden suggests that "With Verdi...the man and the artist on many ways developed side by side." Ungainly and awkward in society in his early years, "as he became a man of property and underwent the civilizing influence of Giuseppina,...[he] acquired assurance and authority." He also learnt to keep himself to himself, never discussing his private life and maintaining when it suited his convenience legends about his supposed 'peasant' origins, his materialism and his indifference to criticism. Gerald Mendelsohn describes the composer as "an intensely private man who deeply resented efforts to inquire into his personal affairs. He regarded journalists and would-be biographers, as well as his neighbors in Busseto and the operatic public at large, as an intrusive lot, against whose prying attentions he needed constantly to defend himself."
Verdi was similarly never explicit about his religious beliefs. Anti-clerical by nature in his early years, he nonetheless built a chapel at Sant'Agata, but is rarely recorded as going to church. Strepponi wrote in 1871 "I won't say [Verdi] is an atheist, but he is not much of a believer." Rosselli comments that in the Requiem "The prospect of Hell appears to rule...[the Requiem] is troubled to the end," and offers little consolation.
義大利語
Giuseppe Fortunino Francesco Verdi (Le Roncole, 10 ottobre 1813 – Milano, 27 gennaio 1901) è stato un compositore e senatore italiano.
Giuseppe Verdi è universalmente riconosciuto come uno dei più importanti compositori di opere liriche, ma anche come uno dei maggiori compositori in assoluto. Subentrò ai protagonisti italiani del teatro musicale del primo Ottocento: Gioachino Rossini, Vincenzo Bellini e Gaetano Donizetti; come Richard Wagner, interpretò in modo originale, seppur differente, gli elementi romantici presenti nelle sue opere.
Verdi simpatizzò con il movimento risorgimentale che perseguiva l'Unità d'Italia e partecipò attivamente per breve tempo anche alla vita politica; nel corso della sua lunga esistenza stabilì una posizione unica tra i suoi connazionali, divenendo un simbolo artistico profondo dell'unità del Paese. Fu perciò che, un mese dopo la sua morte, una solenne e sterminata processione attraversò Milano, accompagnando le sue spoglie con le note del Va, pensiero, il coro degli schiavi ebrei del Nabucco. Il Va pensiero, da lui scritto circa 60 anni prima, esprimendo di fatto i sentimenti degli italiani verso il loro eroe scomparso, dimostrò fino a che punto la musica di Verdi fosse stata assimilata nella coscienza nazionale.
Le sue opere rimangono ancora oggi tra le più conosciute ed eseguite nei teatri di tutto il mondo, in particolare la cosiddetta "trilogia popolare": Rigoletto (1851), Il trovatore (1853) e La traviata (1853).
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