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Taught by Robert Greenberg | San Francisco Performances | Ph.D., University of California at Berkeley
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.
Course Lecture Titles
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
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