Life and Operas of Verdi (Audiobook) | Date: 11 April 2011, 19:03
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The Italians have a word for the sense of dazzling beauty produced by effortless mastery: "sprezzatura."
Perhaps no cultural form associated with Italy is as steeped in the love of sprezzatura as opera, a genre the Italians invented.
And no artist working in opera has embodied the ideal of sprezzatura as magnificently as that gruff, self-described "farmer" from the Po Valley and composer of 28 operas, Giuseppe Verdi (1813–1901).
Opera's Best-Loved Composer
Verdi is still the most popular composer in the 400-year-old history of opera. His operas are produced more than any other composer's, and one (admittedly unverifiable) source claims that his La traviata (1853) has been staged live somewhere around the world every evening for the past 100 years.
What are the treasures of creativity that account for this popularity? With Professor Robert Greenberg, you unpack them in depth and detail in this 32-lecture series.
You explore both famous and not-so-famous Verdi operas, as well as his Requiem Mass of 1874, his one great concert work; his early songs; and his very last composition, the Stabat Mater.
You trace his development from a more or less conventional composer of operas in the traditional Italian bel canto ("beautifully sung") style to a creator of truly innovative musical dramas in which the power of music to intensify and explore human emotion is exploited to the fullest degree.
"Verdi was a great dramatist and a great melodist at the same time, whose artistic evolution never ceased across the 50-year span of his career," says Professor Greenberg.
[b]Enjoy a Mix of Biography and Musical Excerpts[/b]
The course structure is chronological, allowing you to follow easily the developing patterns in Verdi's work. Combining biography with a variety of musical excerpts, Professor Greenberg presents a memorable mixture of "sights to see and things to think about along the way."
To give a few examples:
[list][*]Entertaining anecdotes, including how Verdi first realized Nabucco was a hit, or his response to a dissatisfied operagoer who asked him for a ticket refund—he saw Aida twice and did not like it either time
[*]Enlightening musical analyses, such as Professor Greenberg’s line-by-line examination of the breathtaking "quartet" sequence in Act III of Rigoletto—a musical achievement on a par with Mozart at the top of his operatic game, and an exploration of the massive, 38-minute "Dies irae" movement of the Requiem
[*]The story behind how Verdi became a larger-than-life, iconic hero of Italian nationalism
[*]An explanation of how Verdi worked out his complex creations in dealings with everyone from amazingly gifted librettists (such as Arrigo Boito) to maddening censors
[*]Descriptions of key personal associations with lovers and spouses to business partners and politicians.
[/list]
[hide=Course Lecture Titles][list][*]1. La bell'Italia
[*]2. Beginnings
[*]3. Oberto
[*]4. Nabucco
[*]5. Nabucco, Conclusion and Risorgimento
[*]6. I Lombardi
[*]7. I Lombardi, Conclusion and Ernani
[*]8. Macbeth
[*]9. I masnadieri
[*]10. Luisa Miller and Rigoletto
[*]11. Rigoletto, Act I continued
[*]12. Rigoletto, Acts I, II and III
[*]13. Rigoletto, Act III continued
[*]14. Rigoletto, Conclusion and Il trovatore
[*]15. Il trovatore, Conclusion and La traviata
[*]16. Un ballo in maschera
[*]17. Un ballo in maschera, Conclusion
[*]18. La forza del destino
[*]19. Don Carlo
[*]20. Don Carlo, Conclusion
[*]21. Aida
[*]22. Aida, Conclusion
[*]23. The Requiem
[*]24. The Requiem, Conclusion
[*]25. Otello
[*]26. Otello, Conclusion; Falstaff
[*]27. Falstaff, Act I, Sc. 1
[*]28. Falstaff, Act I, Sc. 1, Conclusion; Sc. 2
[*]29. Falstaff, Act I, Sc. 2, Conclusion; Act II, Sc. 1
[*]30. Falstaff, Act II, Sc. 1, Conclusion; Sc. 2
[*]31. Falstaff, Act II, Sc. 2 continued
[*]32. Falstaff, Act II, Conclusion; Act III
[/list][/hide]
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