Mid and Late Verdi, Verismo

Verdi’s Late Operas benefited from his exposure to others’ operas, e.g. in Paris

· After La Traviata, he wrote few new operas between 1855 and 1871, but revised earlier works, and did lots of experimenting:

· more adventurous harmony

· solo, ensemble and chorus are very freely combined; duets become more prominent than solo arias, and he abandons cantabile-cabaletta

· melodies become more soaring, long-breathed

· orchestral writing includes use of “reminiscence motives” (a melodiy intended to invoke a character).

· These experiments culminate in Aida (1871). This opera incorporates the heroic quality and sound drama of French Grand Opera plus Italian traits of clear character development, pathos, wealth of melodic, harmonic and orchestral color.

· Written for opening of Suez Canal/Opening of Opera House in Alexandria. Delayed by Franco-Prussian War.

· Overture

· Contains reminiscence motive for Aida’s love theme

· Another recurring theme from overture is “ominous descending figure”

· High string ensemble is a signature of Verdi

· There are other recurring themes, and they are used more systematically than in previous works

· After Aida, 16 yrs went by before Verdi wrote another opera. During this time some major works were produced: Wagner’s Ring and Parsifal; Bizet’s Carmen

· Final 2 operas are Otello (1887, tragedy), Falstaff (1893, comedy); each is his apotheosis of the genre. Arrigio Boito (1842-1918) was librettist for both

· Otello uses elements from French and German Opera: French aspect is Shakespearean subject; German is that the musical texture is similar to Wagner’s endless melody.

· Falstaff’s greatest strength is Ensemble (most characteristic aspect of comic opera in 19th century). Falstaff also uses Wagner as model:

· all elements are equal (plot, music, orchestra etc.)

· music is continuous (divisions between set numbers imperceptible)

· thematic reminiscence is used (not really leitmotives)

· aria is virtually replaced by ensembles

· Last scene is typical: everyone on stage, dialogue very rapid, last minute plot points resolved, and moral (“The traps we lay for others are quite often the cause of our own downfall.”)

Verismo: began as a literary movement in Italy, moved into opera. Means “Realism”

· stories usually in rural settings, contemporary (late 19th century)

· characters usually very poor and a rough class of people (as opposed to grand characters in earlier operas)

· stories contain strong passions, leading to violence

· several verist operas were by “One-opera composers” e.g. Mascagni Cavalleria Rusticana (1890), Leoncavallo I Pagliacci (1892)