Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were they and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s operas, in spite of their alleged worthlessness? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain London journalists were positively hostile towards the most talked-about representative of Italian opera, only to change their tune in the years to come. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Yet by the 1850s, Victorian critics, however grudging, could neither deny nor ignore the popularity of Verdi’s operas. Over the final three decades of the nineteenth century, moreover, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualized and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of the Land of Song, referring to the now departed "palmy days of Italian opera." Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception.

Upon the death of the Italian writer and humanist Alessandro Manzoni, whom Verdi had admired all his adult life, Verdi resolved to complete a Requiem for Manzoni. The Requiem was first performed in 1874, the first anniversary of Manzoni's death. Choral score for SATB or SSAATTBB with S, MS, T, B Soli, including piano accompaniment, with text in Latin and English.

Daisy Dalrymple is up to her fashionable bob in a murder case in bohemian post World War I Chelsea. When an opera diva dies during a performance of Verdi's "Requiem", Daisy and Scotland Yard Inspector Alec Fletcher soon discover the singer had her share of adversaries. Did one of them poison the acclaimed mezzo soprano?

Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.

Theatre program.

A beguiling memoir of a childhood in 1950s France from the much-admired New York Times bestselling author of The Piano Shop on the Left Bank "Like the castle, [Carhart's] memoir imaginatively and smoothly integrates multiple influences, styles and whims."--The New York Times For a young American boy in the 1950s, Fontainebleau was a sight both strange and majestic, home to a continual series of adventures: a different language to learn, weekend visits to nearby Paris, family road trips to Spain and Italy. Then there was the chateau itself: a sprawling palace once the residence of kings, its grounds the perfect place to play hide-and-seek. The curiosities of the small town and the time with his family as expats left such an impression on him that thirty years later Carhart returned to France with his wife to raise their two children. Touring Fontainebleau again as an adult, he began to appreciate its influence on French style, taste, art, and architecture. Each trip to Fontainebleau introduces him to entirely new aspects of the chateau's history, enriching his memories and leading him to Patrick Ponsot, the head of the chateau's restoration, who becomes Carhart's guide to the hidden Fontainebleau. What emerges is an intimate chronicle of a time and place few have experienced. In warm, precise prose, Carhart reconstructs the wonders of his childhood as an American in postwar France, attending French schools with his brothers and sisters. His firsthand account brings to life nothing less than France in the 1950s, from the parks and museums of Paris to the rigors of French schooling to the vast chateau of Fontainebleau and its village, built, piece by piece, over many centuries. Finding Fontainebleau is for those captivated by the French way of life, for armchair travelers, and for anyone who has ever fallen in love with a place they want to visit over and over again.

This comprehensive research guide surveys the most significant published materials relating to Giuseppe Verdi. This new edition includes research since the publication of the first edition in 1998.

The subject cannot fail!' exulted Verdi, when recommending Victor Hugo's play Le Roi s'amuse to his librettist. But the censors made every effort to stop it, and the baritone was not easily convinced that a hunchback role would suit him. Jonathan Keates gives a vivid insight into the composition of a masterpiece. Verdi long afterwards thought it his best work, and Roger Parker explains why. Peter Nichols, author of several bestselling books in Italy, picks out some of the peculiarly Italian attitudes and characters in the opera which make it timeless - and incredibly modern.Contents: Introduction, Jonathan Keates; Musical Commentary, Roger Parker; The Timelessness of 'Rigoletto', Peter Nichols; Rigoletto: Text by Francesco Maria Piave after Victor Hugo's 'Le Roi s'amuse'; Rigoletto: English translation by James Fenton

In this third edition of the classic Verdi, renowned authority Julian Budden offers a comprehensive overview of Verdi the man and the artist, tracing his ascent from humble beginnings to the status of a cultural patriarch of the new Italy, whose cause he had done much to promote, and demonstrating the gradual enlargement over the years of his artistic vision. This concise study is an accessible, insightful, and engaging summation of Verdi scholarship, acquainting the non-specialist with the personal details Verdi's life, with the operatic world in which he worked, and with his political ideas, his intellectual vision, and his powerful means of communicating them through his music. In his survey of the music itself, Budden emphasizes the unique character of each work as well as the developing sophistication of Verdi's style. He covers all of the operas, the late religious works, the songs, and the string quartet. A glossary explains even the most obscure operatic terms current in Verdi's time.