The master’s thesis deals with the theme creation of the opera production of Giuseppe Verdi with the focus on his opera Falstaff and deals with significant important interpretations of this opera. This dissertation is supposed to bring a complete picture of Verdi’s opera production pointing out some details which are not commonly known nor from the public nor in the professional music world. What appears in this work is Verdi’s correspondence (letters). I consider these letters an authentic source to understand Verdi’s creative and artistic intentions. Hereafter I portray an idea of how to perceive opera Falstaff not only from my point of view but I used the lead from the Italian reviews and musicology.

Several interpretations in performances, recordings, and publications of Giuseppe Verdi's Messa da Requiem raise issues concerning the relationship between these readings and the composer's intention. Understanding Verdi's tempo and phrasing in the Requiem is of crucial importance in rediscovering his intention. Knowing that Verdi's metronome markings were not merely performance suggestions but that they actually reflected his final decision is equally important. Unlike his operas, fast tempos are not introduced suddenly in the Requiem; rather, where tempo changes occur gradually from one section to the next, thereby maintaining the music's overall character. Verdi's phrasing is very subtle, and unconventional, because one sign may have multiple meanings. Compounding this complication are the many editorial errors in the published editions. David Rosen, in his critical edition, corrected many of these errors, and made additional editorial suggestions, but there are still numerous places where determining correct phrasing, as well as tempo fluctuations, knowledge of Verdi's use of signs and symbols is difficult.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-10T13:59:07Z No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) / Made available in DSpace on 2017-04-10T13:59:07Z (GMT). No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) Previous issue date: 2017-03-31 / The 19th century Europe has passed for many transformations, among they, the setting of italian unification. This political process had the support of some personalities, as Giuseppe Verdi, one of the most important italian opera composers. Between his most famous compositions, La Traviata stands out for its big sucess in the after year of debut. In its first presentation, this opera were strongly criticized. This research discusses the reception of this drama by the bourgeoisie, through the libretto and literary and historical plot, analyzes few aspects of period. Thus, this opera were considered imoral and offensive for good customs of italian bourgueois society, who recognized his own defects in this spectacle / A Europa do século XIX passou por diversas transformações, entre elas, a consolidação da unificação italiana. Este processo político contou com o apoio de algumas personalidades, como Giuseppe Verdi, um dos mais importantes compositores de ópera italianos. Entre suas composições mais famosas, La Traviata destaca-se por seu grande sucesso, no ano posterior à sua estreia. Em sua primeira apresentação, esta ópera foi duramente criticada. Esta pesquisa, discute a recepção da obra pela burguesia, através do libreto e tramas literária e histórica, analisa alguns aspectos do período. Desta forma, esta ópera foi considerada imoral e ofensiva aos bons costumes da sociedade burguesa italiana, que reconheceu seus próprios defeitos neste espetáculo

If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from. / This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .

Thesis (Ph. D.)--University of Chicago, Dept. of Music, June 1999. / Includes bibliographical references. Also available on the Internet.

The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.

This thesis deals with nthe emergence of the summer festival Nabucco. The first part introduces the opera by Giuseppe Verdi and opera storyline and characters. The second important part is focused on the actual implementation of the project and interviews with key personalities involved in the performance itself. The aim is to outline the work processes that lie behind the final performances of Nabucco productions.

In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.

This study of Verdi's choral style in the Manzoni Requiem includes an investigation of the bibliography pertaining to the subject, and a detailed study of the score to determine and verify the characteristics of each stylistic component, tabulating statistical material and listing examples demonstrating the various characteristics.

No description available.