Giuseppe Verdi, whose biography is presented in the article, is a famous Italian composer. The years of his life are 1813-1901. A bunch of immortal works created by Verdi Giuseppe. The biography of this composer is certainly worthy of attention.
His work is considered the highest point in the development of 19th century music in his native country. Verdi's activity as a composer spanned more than half a century. She was mainly associated with the opera genre. Verdi created the first of them when he was 26 years old (Oberto, Count di San Bonifacio), and he wrote the last one at 80 years old (Falstaff). The author of 32 operas (including new editions of works written earlier) is Giuseppe Verdi. His biography still evokes big interest, and Verdi’s creations are still included in the main repertoire of theaters around the world today.
Origin, childhood
Giuseppe was born in Roncola. This village was located in the province of Parma, which at that time was part of the Napoleonic Empire. The photo below shows the house in which the composer was born and spent his childhood. It is known that his father ran a grocery business and maintained a wine cellar.
Giuseppe received his first lessons in Verdi's music from the local church organist. His biography is marked first important event in 1823. It was then that the future composer was sent to Busseto, a neighboring town, where he continued his studies at school. At the age of 11, Giuseppe began to exhibit pronounced musical abilities. The boy began to perform the duties of organist in Ronkola.
Giuseppe was noticed by A. Barezzi, a wealthy merchant from Busseto, who supplied the shop of the boy's father and had a great interest in music. The future composer owes the musical education he received to this man. Barezzi took him into his house, hired the boy the best teacher and began to pay for his education in Milan.
Giuseppe becomes a conductor, studying with V. Lavigny
At the age of 15 he was already the conductor of Giuseppe Verdi's small orchestra. short biography it continues with the arrival in Milan. He went here with money raised by his father’s friends. Giuseppe's goal was to enter the conservatory. However, he was not accepted into this educational institution due to lack of ability. Nevertheless, V. Lavigna, a Milanese conductor and composer, appreciated Giuseppe’s talent. He started teaching him compositions for free. Giuseppe Verdi learned operatic writing and orchestration in practice in the opera houses of Milan. His short biography is marked by the appearance of his first works a few years later.
First works
Verdi lived in Busseto from 1835 to 1838 and worked as a conductor in the municipal orchestra. Giuseppe created his first opera in 1837, entitled Oberto, San Bonifacio. This work was staged 2 years later in Milan. It had big success. By order of La Scala, the famous Milan theater, Verdi wrote a comic opera. He called it "Imaginary Stanislav, or one day of reign." It was staged in 1840 ("The King for an Hour"). Another work, the opera "Nabucco", was presented to the public in 1842 ("Nebuchadnezzar"). In it, the composer reflected the aspirations and feelings of the Italian people, who in those years began the struggle for independence, for deliverance from the Austrian yoke. The audience saw in the suffering of the Jewish people who found themselves in captivity an analogy with contemporary Italy. The choir of captive Jews from this work caused active political demonstrations. Giuseppe's next opera, "The Lombards in crusade", also echoed calls for the overthrow of tyranny. It was staged in Milan in 1843. And in Paris in 1847, the second edition of this opera with ballet ("Jerusalem") was presented to the public.
Life in Paris, marriage to G. Strepponi
In the period from 1847 to 1849 he was mainly in the French capital Giuseppe Verdi. His biography and work at this time were marked by important events. It was in the French capital that he made new edition"Lombards" ("Jerusalem"). In addition, in Paris, Verdi met his friend, Giuseppina Strepponi (her portrait is presented above). This singer took part in productions of “Lombards” and “Nabucco” in Milan and already in those years became close to the composer. They eventually got married 10 years later.
Characteristics of Verdi's early work
Almost all of Giuseppe’s works from the first period of his creative work are permeated through and through with patriotic sentiments and heroic pathos. They are associated with the fight against oppressors. This is, for example, “Ernani”, written after Hugo (the first production took place in Venice in 1844). Verdi based his work “The Two Foscari” on Byron (the premiere took place in Rome in 1844). He was also interested in Schiller's work. " Maid of Orleans"was presented in Milan in 1845. In the same year, the premiere of "Alzira" based on Voltaire took place in Naples. "Macbeth" based on Shakespeare was staged in Florence in 1847. The greatest success of the works of this time were the operas "Macbeth" and "Attila" " and "Ernani". Stage situations from these works reminded the audience of the situation in their country.
Response to the French Revolution by Giuseppe Verdi
Biography, summary works and testimonies of the composer's contemporaries indicate that Verdi warmly responded to French revolution 1848. He witnessed her in Paris. Returning to Italy, Verdi composed The Battle of Legnano. This heroic opera was staged in Rome in 1849. Its second edition dates back to 1861 and was presented in Milan (“The Siege of Harlem”). This work describes how the Lombards fought to unify the country. Mazzini, an Italian revolutionary, commissioned Giuseppe to write a revolutionary anthem. This is how the work “The Trumpet Sounds” appeared.
1850s in the work of Verdi
1850s - new period creativity of Giuseppe Fortunino Francesco Verdi. His biography was marked by the creation of operas that reflect experiences and feelings ordinary people. The struggle of freedom-loving individuals against bourgeois society or feudal oppression became the central theme of the composer’s work of this time. It can be heard already in the first operas belonging to this period. In 1849, "Louise Miller" was presented to the public in Naples. This work is based on the drama “Cunning and Love” by Schiller. In 1850, Stiffelio was staged in Trieste.
Subject social inequality was deployed with even greater force in such immortal creations as Rigoletto (1851), Il Trovatore (1853) and La Traviata (1853). The character of the music in these operas is truly folk. They revealed the composer's gift as a playwright and melodist, reflecting the truth of life in his works.
Development of the "grand opera" genre
The following creations by Verdi belong to the genre " grand opera". These are such historical and romantic works as "Sicilian Vespers" (staged in Paris in 1855), "Un ballo in maschera" (premiered in Rome in 1859), "Force of Destiny", written by order Mariinsky Theater. By the way, in connection with the production of his last opera, Verdi visited St. Petersburg twice in 1862. The photo below shows his portrait taken in Russia.
In 1867, Don Carlos appeared, written after Schiller. In these operas, Giuseppe's themes of fighting oppressors and inequality, which were near and dear to his heart, are embodied in performances that are replete with contrasting, effective scenes.
Opera "Aida"
With the opera "Aida" a new period of Verdi's work begins. It was commissioned by the Egyptian khedive to the composer in connection with an important event - the opening of the Suez Canal. A. Mariette Bey, a famous Egyptologist, suggested to the author interesting story, which represents life Ancient Egypt. Verdi became interested in this idea. Librettist Ghislanzoni worked on the libretto with Verdi. Aida premiered in Cairo in 1871. The success was huge.
The composer's later work
After this, Giuseppe did not create new operas for 14 years. He was reviewing his old works. For example, in Milan in 1881 the premiere of the second edition of the opera Simon Boccanegra, written in 1857 by Giuseppe Verdi, took place. It was said about the composer that because of old age he can no longer create anything new. However, he soon surprised the audience. 72-year-old Italian composer Giuseppe Verdi said he was working on creating new opera"Othello". It was staged in Milan in 1887, and with the ballet in Paris in 1894. And a few years later, 80-year-old Giuseppe attended the premiere of a new work, also created based on It's about about the production of Falstaff in Milan in 1893. Giuseppe found a wonderful librettist, Boito, for Shakespeare's operas. In the photo below are Boito (left) and Verdi.
Giuseppe in his last three operas sought to expand forms, to merge dramatic action and music. He gave recitative a new meaning and strengthened the role played by the orchestra in revealing the images.
Verdi's own path in music
As for Giuseppe's other works, Requiem stands out among them. It is dedicated to the memory of A. Manzoni, a famous poet. Giuseppe's work is distinguished by its realistic character. It is not for nothing that the composer was called the chronicler of the musical life of Europe in 1840-1890. Verdi followed the achievements of contemporary composers - Donizetti, Bellini, Wagner, Meyerbeer, Gounod. However, Giuseppe Verdi did not imitate them. His biography is marked by the creation independent works already in early period creativity. The composer decided to go his own way and was not mistaken. Verdi's intelligible, bright, melodically rich music has become very popular all over the world. Democracy and realism of creativity, humanism and humanity, connection with folk art home country, - these are the main reasons why Verdi gained great fame.
On January 27, 1901, Giuseppe Verdi died in Milan. His brief biography and work are still of interest to music lovers from all over the world.
Giuseppe Verdi is one of the famous Italian composers. His creativity is a huge contribution to the formation opera art, it became the culminating moment in the development Italian opera nineteenth century.
short biography
Giuseppe Verdi (full name Giuseppe Fortunio Francesco) was born on October 10, 1813 in the small Italian village of Le Roncole, which is located in the northern part of Lombardy. At that time, this area was part of the First French Empire, thus, according to documents, Verdi's birthplace is France. An interesting fact is that in the same year Richard Wagner was born, who in the future became Verdi’s main rival and one one of the leading composers of the German opera school.
The early biography of Giuseppe Verdi is interesting because the parents of the future great composer were not musicians. The father ran a tavern, and the mother was a spinner. The family lived very poorly, which is why Verdi’s childhood turned out to be difficult. The first step in his introduction to music was the help of a boy in the village church. The boy learned to play the organ from Pietro Baistrocchi and musical literacy. The parents were pleased with their son's craving for music and even gave him a spinet - a small stringed instrument similar to a harpsichord. The composer kept it until the end of his life.
Meeting with Barezzi
The next step in musical career The boy's meeting was with Antonio Barezzi, a wealthy merchant and music lover who lived in the neighboring town of Busseto. He paid attention to the gifted boy and believed that Giuseppe would not become an innkeeper or village organist in the future. He believed that he had a great future. At the age of ten, Verdi, on the advice of Antonio Barezzi, moved to Busseto, where he continued his studies. However, his life became even harder. On Sundays, Verdi returned to Le Roncole, where he continued to play the organ during the celebration of mass. During these years he got a teacher in compositions - Fernando Provesi, who was director of the Philharmonic Society in the city of Busseto. At the same time, young Giuseppe became interested in the classics of world literature: Schiller, Dante, Goethe, Shakespeare. This is probably where the roots of his work come from.
Milan
The biography of Giuseppe Verdi contains information about numerous moves. At eighteen he went to Milan to continue his education. There he is trying to do to the conservatory, which it is not accepted due to insufficient high level playing the piano. Interesting fact: Now this conservatory is named after Verdi. However, Giuseppe does not despair; he studies counterpoint with a private teacher, while simultaneously attending opera performances and various concerts. He begins to think about a career as a composer for the theater, which he is more and more convinced of by his interactions with Milanese society.
The biography of Giuseppe Verdi cannot be called a short biography, because he went a very long way before becoming famous. In 1830, Verdi returned to Busseto. Antonio Barezzi has not lost faith in his protégé, so he helps him arrange his first public speaking. Giuseppe then becomes a music teacher for Barezzi's daughter, Margherita. Young people fall in love and get married in 1836. The couple will soon have a daughter Virginia Maria Luisa and Icilio Romano's son, however both children die in infancy. Verdi was working on his first opera at this time. In 1840, the composer's wife also died of encephalitis.
Failure and success
Both the biography and work of Giuseppe Verdi can be briefly described as a bright series of ups and downs. The production of the composer's first opera (Oberto, Count Bonifacio) in Milan was quite successful, after which the impresario of La Scala, Bartolomeo Merelli, signed a contract with Giuseppe for two operas. On time, he wrote “King for an Hour” and “Nabucco” (“Nebuchadnezzar”). However, the opera "King for an Hour" failed miserably, and Verdi, who at that time lost his wife and children, wanted to end his career opera composer. However, the second opera, Nabucco, which premiered on March 9, 1842, was a great success. The life of Giuseppe Verdi begins new stage, because it was after the premiere of Nabucco that his excellent reputation was established. Over the next year, the opera was staged sixty-five times, from then to this day it has not left the stage. stages of the best opera houses around the world. The next few operas were also successful in Italy.
In 1847, the opera "The Lombards" was staged at the Paris Opera. It was renamed Jerusalem, and the composer also had to rework his work somewhat, including replacing Italian characters with French ones. The work became his first work in the grand opera style.
Scandalous relationship
One of the most highlights in the biography of Giuseppe Verdi there is an affair with the singer Giuseppina Strepponi. Verdi was thirty-eight years old, and Giuseppina was finishing her career. They entered into legal marriage only eleven years later, and all these years their cohabitation was condemned.
When Giuseppina stopped performing, Verdi decided to end his career with her (perhaps in this he followed the example of Gioachino Rossini). For the first time in many years, he was happy: famous, in love, and also wealthy. At this moment, the biography and work of Giuseppe Verdi are closely intertwined. It was probably Giuseppina who convinced him to continue his career. Perhaps under romantic influence flair, from which geniuses so often draw inspiration, he creates his first masterpiece - the opera "Rigoletto".
The libretto was rewritten several times due to non-compliance with censorship, and Verdi was tempted to quit working on it, but he completed the work, and the first production, which took place in 1851 in Venice, had incredible success. To this day, "Rigoletto" is considered perhaps one of the best operas ever written. Verdi's artistic talent was revealed in full force in this work: beautiful melodies, ensembles and arias are scattered throughout the score, which later become part of the classical operatic repertoire, follow each other, tragedy and comedy merge together.
Career continuation
Two years later, the list of famous works of Giuseppe Verdi is replenished with another masterpiece. It becomes the opera "La Traviata", the libretto of which is based on the play "The Lady of the Camellias" by Alesandre Dumas the Son.
Several more operas were written next. One of them is the Sicilian Supper, constantly performed today; Verdi wrote it at the request of the Paris Opera. These are also the works “Troubadour”, “Masquerade Ball”, “Force of Destiny” (ordered from Russia). "Macbeth" has undergone changes and was released in a second edition.
In 1869 the composer writes Libera Me - part of the Requiem in memory of Rossini, and in 1974 the piggy bank musical works Giuseppe Verdi is replenished with his own requiem for the death of the writer Alessandro Manzoni, of whom the composer was an admirer.
One of Verdi's last great operas is "Aida". The composer received an order to write it from the Egyptian government, which thus wanted to celebrate the opening of the Suez Canal, and at first Verdi refused. However, then, while visiting Paris, he again received the same offer, but through du Locle, the librettist and impresario. This time the composer decided to familiarize himself with the script, and after that he accepted the offer.
Rivals
The biography of Giuseppe Verdi would not be complete without mentioning his rivalry with Wagner. Each of them was the leader of the opera school of their country; all their lives they competed and disliked each other, although they never met. Verdi's reviews of his opponent's music were few and unflattering. He said that Wagner was in vain choosing untrodden paths, trying to “fly” where it would be more effective for a person to walk. However, upon learning of Wagner's death, he was saddened, as he believed that this composer had left a huge mark on the history of music. Only one statement about Verdi is known from Wagner. The great German composer, usually generous with criticism of other maestros, after listening to Verdi's Requiem, said that it was better not to say anything.
Last years
Over the last twelve years, Verdi worked very little, mainly editing his early works. After the death of Richard Wagner, Verdi wrote the opera Othello based on Shakespeare's play. Its premiere took place in Milan in 1887. The unusualness of the work lies in the fact that it does not have the traditional division of the Italian opera school into recitatives and arias - the influence of opera reform Wagner. Again, under the influence of this reform, later works by Verdi became more recitative, which gave the opera a realistic effect, although it sometimes scared off fans of traditional opera.
Verdi's last opera, Falstaff, whose libretto was based on Shakespeare's play The Merry Wives of Windsor, also became unusual. The manner of “end-to-end development” can be traced here, thus the work with a brilliantly written score gravitates much more towards Wagner’s “Die Meistersinger” than to the comic operas of Mozart and Rossini. Elusive and sparkling melodies allow the development of the plot not to linger, which creates a chaotic effect that is so close to the spirit of Shakespeare's comedy itself. The opera culminates with a seven-voice fugue in which Verdi demonstrates his excellent command of counterpoint.
Death of a great composer
In 1901, on January 21, Verdi suffered a stroke. At this time he was at the hotel in Milan. The composer was paralyzed, but he read the scores of the operas “Tosca” and “La bohème” by Puccini, “The Queen of Spades” by Tchaikovsky and “Pagliacci” by Loncavallo, but what he thought about them remained unknown. Six days later, on January 27, the great Italian composer passed away. He was buried in Milan at the Monumental Cemetery, but a month later the body was reburied in the Holiday Home for Retired Musicians, the founder of which was Verdi.
Stylistics
Almost every composer experiences some influence from his colleagues or predecessors. The music of Giuseppe Verdi was no exception. His early works show the influence of Rossini, Bellini, Meyerbeer and especially Donizetti. In the last two operas (Falstaff and Othello), the influence of his main opponent - Richard Wagner. Many of his contemporaries were influenced by Gounod, but Verdi borrowed nothing from the great Frenchman whom many considered the greatest creator era. The opera "Aida" contains passages that reveal familiarity with the work of Mikhail Glinka.
Orchestra and solo parts
The works of Giuseppe Verdi sometimes have not too complex orchestration. It is he who is credited with the phrase that the orchestra is a big guitar. The composer relied on his melodic gift in describing the feelings and emotions of the characters. Often, during the sound of solo vocal parts, the orchestration is very ascetic, the entire orchestra becomes one accompanying instrument. Some critics believed that this was the result of the composer’s own lack of education, however, after listening to many of his works, we can easily be convinced of the opposite. Verdi's work is also characterized by certain innovations that other composers never borrowed because of their strong recognition (for example, strings flying up the chromatic scale).
"Aida" and Requiem further increased Verdi's fame. He turned sixty years old. And despite the fact that his creative powers have not dried up, his voice remains silent for a long time.
Mazzini wrote to him in 1848: “What Garibaldi and I are doing in politics, what our mutual friend What Manzoni does in poetry is what you do in music. We all serve the people as best we can.” This is exactly how - as serving the interests of the people - Verdi understood his creative task. But over the years, observing the onset of political reaction, he came into conflict with the Italian reality around him. A feeling of deep disappointment crept into his soul. Verdi moves away from social activities, reluctantly accepts the title of senator assigned to him in 1860 (in 1865 he refuses it), lives for a long time, without leaving, on his estate of Sant'Agata, where he is engaged in agriculture, and meets few people. He wrote with bitterness after Rossini’s death: “... it was one of the glorious names of Italy. When will there be no other (the letter spoke about Manzoni.- M.D.) - what remains for us? Our ministers and glorious “exploits” under Lissa and Custozza?..." (This refers to the defeat of Italy in the war with Austria.).
Verdi is also painfully wounded by the betrayal of national ideals (a direct consequence of political reaction!), which is observed among Russian artists. The fashion for everything foreign has arrived. The repertoire of musical theaters in Italy is dominated by foreign authors. Young composers are interested in Wagner. Verdi feels lonely.
Under these conditions, he realizes even more deeply his social vocation, which he sees as preserving and further developing the classical traditions of Italian opera at the level of new ideological tasks and aesthetic requirements. The brilliant patriotic composer is now even more demanding than before regarding his work and those works that earned him world fame. He cannot rest on his laurels. This necessitates further deepening and improving the realistic method.
So ten pass by for long years thoughts that separate the completion date of the Requiem from the beginning of work on Othello. But it will still pass three years of hard work before the premiere of Verdi's brilliant opera takes place.
Not a single work required such a strain of creative power from the composer, such careful consideration of every detail, as Othello. And not because Verdi is already over seventy years old: the music he wrote amazes with its freshness and spontaneity, it was born from a single impulse. A deep sense of responsibility for the future of Italian music forced the composer to be so slow. This is his creative testament: he must give an even higher and more perfect expression of the national traditions of Russian opera. There is another circumstance that forced Verdi to think through the dramaturgy of his work in such detail - its literary source belongs to Shakespeare, Verdi’s favorite writer.
Arrigo Boito was a talented and faithful assistant in this work. (Boito’s opera “Mephistopheles,” which gained European fame, was written in 1868 (the second edition was in 1879). The composer was then keen on Wagner. “Aida” forced him to reconsider his artistic positions. His creative friendship with Verdi began in 1881, when Boito received participation in the revision of the libretto of Simon Bocanegra.)- by that time already famous composer, a gifted writer and poet who sacrificed his creative activity in order to become Verdi's librettist. Back in 1881, Boito introduced Verdi full text libretto. However, the composer's plan only gradually matured. In 1884, he began to implement it in earnest, forcing Boito to radically redo a lot of things (the finale of Act I; Iago’s monologue in II, in the same place - Desdemona’s entrance; completely Act III; the last act had four editions). The music was composed over two years. The premiere of Othello, in the preparation of which Verdi took an active part, took place in Milan in 1887. It was a triumph of Italian art.
“The brilliant old man Verdi in Aida and Othello opens up new paths for Italian musicians,” Tchaikovsky noted in 1888 (Having heard “Aida” in Moscow in 1876, Tchaikovsky said that he himself could not write an opera with such a plot and with such characters.). Verdi developed these paths in the genre comic opera. For decades, other plans distracted him. But it is known that in the late 60s he wanted to write an opera based on the plot of “Tartuffe” by Moliere, and even before that, “The Merry Wives of Windsor” by Shakespeare. These plans were not realized, only at the end of his life he managed to create a work of the comic genre.
Falstaff (1893) is Verdi's last opera. It uses content from both The Merry Wives of Windsor and comic interludes from historical chronicle Shakespeare's "Henry IV".
The work of the eighty-year-old master amazes with its youthful cheerfulness, a bizarre combination of cheerful buffoonery with sharp satire (in the depiction of the bourgeoisie of Windsor), light, playful lyrics (of the loving couple Nanette and Fenton) with deep psychological analysis the main image of Falstaff, about whom Verdi said that “this is not just a character, but a type!” In a motley change of episodes, where big role masterfully polished ensembles play (the quartet and nonet of the 2nd scene, the final fugue sparkling with wit), the unifying role of the orchestra increases, it is extremely brilliant and varied in the use of individual timbres. However, the orchestra does not obscure, but rather highlights the richness of the melodic characteristics of the vocal parts. In this respect, Falstaff completes those Italian national traditions comic opera, an unsurpassed example of which was Rossini’s “The Barber of Seville.” At the same time, in developing methods for the musical and dramatic embodiment of the rapidly unfolding stage action Falstaff opens a new stage in the history of musical theater. These methods were adopted by young Italian composers, most notably Puccini.
Before last days Throughout his life, Verdi maintained clarity of mind, creative inquisitiveness, and loyalty to democratic ideals. He died at the age of eighty-seven on January 27, 1901.
The publication was prepared based on the textbook by M. Druskin
Giuseppe Verdi - (full name Giuseppe Fortunato Francesco) - Italian composer. A master of the operatic genre, who created high examples of psychological musical drama.
Operas: “Rigoletto” (1851), “Il Trovatore”, “La Traviata” (both 1853), “Un ballo in maschera” (1859), “Force of Destiny” (for the St. Petersburg Theater, 1861), “Don Carlos” (1867), “Aida” (1870), “Othello” (1886), “Falstaff” (1892), Requiem (1874).
Giuseppe Verdi was born on October 10, 1813, Le Roncole, near Busseto, Duchy of Parma. Died on January 27, 1901, in Milan. Libra.
In art, as in love, first of all you need to be frank.
Verdi Giuseppe
Giuseppe's childhood
Giuseppe Verdi was born in the remote Italian village of Le Roncole in northern Lombardy. peasant family. Extraordinary musical talent and a passionate desire to study music appeared in the child very early. Until the age of 10, Giuseppe studied at native village, then in the town of Busseto. Meeting the merchant and music lover Barezzi helped him receive a city scholarship to continue his musical education in Milan.
Shock of the thirties
However, Giuseppe Verdi was not accepted into the conservatory. He studied music privately with the teacher Lavigna, thanks to whom he attended La Scala performances for free. In 1836 he married his beloved Margherita Barezzi, the daughter of his patron, from whose marriage he had a daughter and a son.
You can take the whole world for yourself, but leave Italy to me.
Verdi Giuseppe
A happy accident helped to receive an order for the opera “Lord Hamilton, or Rochester,” which was successfully staged in 1838 at La Scala under the title “Oberto, Count Bonifacio.” In the same year, 3 vocal works by Verdi were published. But the first creative success coincided with a number of tragic events in his personal life: in less than two years (1838-1840) his daughter, son and wife died. D. Verdi is left alone, and the comic opera “The King for an Hour, or the Imaginary Stanislav”, composed at that time by order, fails. Shocked by the tragedy, Verdi writes: “I... decided never to compose again.”
Way out of the crisis. First triumph
Giuseppe Verdi was brought out of a severe mental crisis by working on the opera “Nebuchadnezzar” (Italian title “Nabucco”).
The opera, staged in 1842, was a huge success, helped by the excellent performers (one of the main roles was sung by Giuseppina Strepponi, who later became Verdi’s wife). Success inspired the composer, bringing new compositions every year. In the 1840s, he created 13 operas, including “Ernani”, “Macbeth”, “Louise Miller” (based on F. Schiller’s drama “Cunning and Love”), etc. And if the opera “Nabucco” made Giuseppe Verdi popular in Italy, then “Ernani” brought him European fame. Many of the works written then are still staged on opera stages around the world.
The works of the 1840s belong to the historical-heroic genre. They are distinguished by impressive crowd scenes, heroic choirs, permeated with courageous marching rhythms. The characteristics of the characters are dominated by expressions not so much of temperament as of emotions. Verdi here creatively develops the achievements of his predecessors Rossini, Bellini, Donizetti. But in individual works (“Macbeth”, “Louise Miller”) the features of the composer’s own, unique style - an outstanding reformer of opera - mature.
In 1847, Giuseppe Verdi makes his first trip abroad. In Paris he becomes close to G. Strepponi. Her idea of living in the countryside, doing art in the lap of nature, led upon her return to Italy to the purchase of a plot of land and the creation of the Sant'Agata estate.
"Three stars". "Don Carlos"
In 1851, “Rigoletto” appeared (based on Victor Hugo’s drama “The King Amuses himself”), and in 1853 “Il Trovatore” and “La Traviata” (based on A. Dumas’ play “The Lady of the Camellias”), which made up the composer’s famous “three stars.” In these works, Verdi moves away from heroic themes and images; ordinary people become his heroes: a jester, a gypsy, a woman of the demimonde. Giuseppe strives not only to show feelings, but also to reveal the characters’ personalities. The melodic language is marked by organic connections with Italian folk song.
In operas of the 1850-60s. Giuseppe Verdi turns to the historical-heroic genre. During this period, the operas “Sicilian Vespers” (staged in Paris in 1854), “Simon Boccanegra” (1875), “Un ballo in maschera” (1859), “Force of Destiny”, which was written by order of the Mariinsky Theater, were created; in connection with its production, Verdi visited Russia twice in 1861 and 1862. Don Carlos (1867) was commissioned by the Paris Opera.
New takeoff
In 1868, the Egyptian government approached the composer with a proposal to write an opera for the opening of a new theater in Cairo. D. Verdi refused. Negotiations lasted two years, and only the script of the Egyptologist Mariette Bey, based on the ancient Egyptian legend, changed the composer's decision. The opera "Aida" became one of his most innovative creations. She's marked with glitter dramatic skill, melodic richness, masterful command of the orchestra.
The death of the writer and Italian patriot Alessandro Manzoni prompted the creation of Requiem, a magnificent creation by the sixty-year-old maestro (1873-1874).
For eight years (1879-1887) the composer worked on the opera Othello. The premiere, which took place in February 1887, resulted in a national celebration. In the year of his eightieth birthday, Giuseppe Verdi creates another brilliant creation - “Falstaff” (1893, based on W. Shakespeare’s play “The Merry Wives of Windsor”), in which he, based on the principles of musical drama, carried out a reform of Italian comic opera. “Falstaff” is distinguished by the novelty of dramaturgy, built on extensive scenes, melodic inventiveness, bold and refined harmonies.
IN last years During his life, Giuseppe Verdi wrote works for choir and orchestra, which in 1897 he combined into the cycle “Four Sacred Pieces.” In January 1901, he was struck by paralysis and a week later, on January 27, he died. The basis creative heritage Verdi composed 26 operas, many of which are included in the world's musical treasury.
Giuseppe Verdi also wrote two choirs, a string quartet, and works of church and chamber vocal music. Since 1961, the vocal competition “Verdi Voices” has been held in Busseto.
Giuseppe Verdi - quotes
There is no need to hesitate, no need to give in when it comes to art. 
In art, as in love, first of all you need to be frank.
In music, as in love, you must first of all be sincere.
Works by Giuseppe Verdi by genre, indicating title, year of creation, genre/performer, with comments.
Operas
- “Oberto, Count Bonifacio” (“Oberto, conte di san Bonifacio”), libretto by A. Piazza and T. Soler. First production on November 17, 1839 in Milan, at the Teatro La Scala.
- “The King for an Hour” (“Un giorno di regno”) or “Imaginary Stanislav” (“Il finto Stanislao”), libretto by F. Romani. First production on September 5, 1840 in Milan, at the Teatro La Scala.
- “Nabucco” or “Nebuchadnezzar”, libretto by T. Soler. First production on March 9, 1842, in Milan, at the La Scala theater.
- “The Lombards in the First Crusade” (“I Lombardi alla prima crociata”), libretto by T. Soler. First production February 11, 1843 in Milan, at the La Scala theater. The opera was later reworked for Paris under the title Jerusalem. Ballet music was written for the second edition. First production on November 26, 1847 in Paris, at the Grand Op?ra theater.
- “Ernani”, libretto by F. M. Piave. First production March 9, 1844 in Venice, at the La Fenice theater.
- “The Two Foscari” (“I due Foscari”), libretto by F. M. Piave. First production on November 3, 1844 in Rome, at the Argentina Theater.
- “Giovanna d’Arco”, libretto by T. Soler. First production on February 15, 1845 in Milan, at the Teatro La Scala.
- “Alzira”, libretto by S. Cammarano. First production on August 12, 1845 in Naples, at the Teatro San Carlo.
- “Attila”, libretto by T. Soler and F. M. Piave. First production on March 17, 1846 in Venice, at the La Fenice theater.
- “Macbeth”, libretto by F. M. Piave and A. Maffei. First production on March 14, 1847 in Florence, at the La Pergola theater. The opera was later revised for Paris. Ballet music was written for the second edition. First production in Paris on April 21, 1865 at the Théâtre Lyrique.
- “The Robbers” (“I Masnadieri”), libretto by A. Maffei. First production on July 22, 1847 in London, at the Theater Royal.
- “The Corsair” (“Il Corsaro”), libretto by F. M. Piave. First production on October 25, 1848 in Trieste.
- “The Battle of Legnano” (“La Battaglia di Legnano”), libretto by S. Cammarano. First production on January 27, 1849 in Rome, at the Argentina Theater. Later, in 1861, the opera was performed with a revised libretto entitled “The Siege of Harlem” (“Assiedo di Harlem”).
- “Luisa Miller”, libretto by S. Cammarano. First production on December 8, 1849 in Naples, at the San Carlo Theater.
- “Stiffelio”, libretto by F. M. Piave. First production on November 16, 1850 in Trieste. The opera was later reworked under the title Aroldo. First production on August 16, 1857 in Rimini.
- “Rigoletto” (“Rigoletto”), libretto by F. M. Piave. First production on March 11, 1851 in Venice, at the La Fenice theater.
- “Il Trovatore” (“Il Trovatore”), libretto by S. Cammarano and L. Bardare. First production on January 19, 1853 in Rome, at the Apollo Theater. For the production of the opera in Paris, ballet music was written and the ending was reworked.
- “La Traviata”, libretto by F. M. Piave. First production on March 6, 1853 in Venice, at the La Fenice theater.
- “Sicilian Vespers” (“I vespri siciliani”), (“Les v?pres siciliennes”), libretto by E. Scribe and C. Duveyrier. First production on June 13, 1855 in Paris, at the Grand Op?ra theater.
- “Simon Boccanegra”, libretto by F. M. Piave. First production on March 12, 1857 in Venice, at the La Fenice theater. The opera was later revised (libretto by A. Boito). First production on March 24, 1881 in Milan, at the La Scala theater.
- “Un ballo in maschera”, libretto by A. Somme. First production on February 17, 1859 in Rome, at the Apollo Theater.
- “The Force of Destiny” (“La Forza del destino”), libretto by F. M. Piave. First production on November 10, 1862 in St. Petersburg, at the Mariinsky Theater. The opera was later revised. First production in Milan on February 20, 1869, at the Teatro La Scala.
- “Don Carlos” (“Don Carlo”), libretto by J. Mary and C. du Locle. First production on March 11, 1867 in Paris, at the Grand Opera. The opera was later revised. First production in Milan on January 10, 1881 at the Teatro La Scala.
- “Aida” (“Aida”), libretto by A. Ghislanzoni. First production on December 24, 1871 in Cairo. An overture (unpublished) was written for the opera, performed during the production of “Aida” in Milan (La Scala) on February 8, 1872.
- “Othello”, libretto by A. Boito. The first production was on February 5, 1887 in Milan, at the La Scala theater (for the production in Paris in 1894, ballet music was written: “Arabian Song”, “Greek Song”, “Hymn to Mohammed”, “Dance of the Warriors”).
- “Falstaff”, libretto by A. Boito. First production on February 9, 1893 in Milan, at the La Scala theater.
Works for choir
- “Sound, trumpet” (“Suona la tromba”) to the words of the hymn by G. Mameli, for male choir and orchestra. Op. 1848
- "Anthem of the Nations" ("Inno delle nazioni"), cantata for high voice, choir and orchestra, to the words of A. Boito. Op. for the London World's Fair. First performance May 24, 1862
Church music
- “Requiem” (“Messa di Requiem”), for four soloists, choir and orchestra. First performance on May 22, 1874 in Milan, in the Church of San Marco.
- "Pater Noster" (text by Dante), for five-voice choir. First performance on April 18, 1880 in Milan.
- "Ave Maria" (text by Dante), for soprano and string orchestra. First performance on April 18, 1880 in Milan.
- “Four Sacred Pieces” (“Quattro pezzi sacri”): 1. “Ave Maria”, for four voices (op. ca. 1889); 2. “Stabat Mater”, for four-voice mixed choir and orchestra (op. ca. 1897); 3. “Le laudi alla vergine Maria” (text from Dante’s “Paradise”), for unaccompanied four-voice female choir (late 80s); 4. “Te Deum”, for double four-voice choir and orchestra (1895-1897). First performance on April 7, 1898 in Paris.
Chamber instrumental music
- String quartet e-moll. First performance on April 1, 1873 in Naples.
Chamber vocal music
- Six romances for voice with piano. to the words of G. Vittorelli, T. Bianchi, C. Angiolini and Goethe. Op. in 1838
- “Exile” (“L’Esule”), ballad for bass with fp. to the words of T. Soler. Op. in 1839
- “Seduction” (“La Seduzione”), ballad for bass with fn. to the words of L. Balestre. Op. in 1839
- “Nocturno” (“Notturno”), for soprano, tenor and bass, accompanied by obligato flute. Op. in 1839
- Album - six romances for voice and piano. to words by A. Maffei, M. Maggioni and F. Romani. Op. in 1845
- “The Beggar” (“Il Poveretto”), romance for voice and piano. Op. in 1847
- “Abandoned” (“L’Abbandonata”), for soprano with fn. Op. in 1849
- “Flower” (“Fiorellin”), romance with lyrics by F. Piave. Op. in 1850
- “The Poet’s Prayer” (“La preghiera del poeta”), lyrics by N. Sole. Op. in 1858
- “Stornelle” (“Il Stornello”), for voice with piano. Op. in 1869 for an album in favor of F. M. Piave.
Youth essays
- Several orchestral overtures, including the overture to " To the Barber of Seville» Rossini. Marches and dances for the Busseto city orchestra. Concert pieces for piano and solo wind instruments. Arias and vocal ensembles(duets, trios). Masses, motets, laudi and other church compositions.
- “The Lamentations of Jeremiah” (according to the Bible, translated into Italian).
- “The Madness of Saul”, for voice and orchestra, lyrics by V. Alfieri. Op. until 1832
- Cantata for solo voice and orchestra in honor of the wedding of R. Borromeo. Op. in 1834
- Choruses for the tragedies of A. Manzoia and “Ode on the Death of Napoleon” - “May 5”, words by A. Manzoni, for voice and orchestra. Op. in the period 1835 - 1838
