Description
Book SynopsisDuring the middle phase of his career, Guiseppe Verdi adopted new compositional procedures to create some of his best-known works. Focusing on the operas he composed during this period, this volume explores Verdi's work from three interlinked perspectives.
Table of ContentsAcknowledgments List of Abbreviations Introduction: Toward an Understanding of Verdi's Middle Period Martin Chusid 1: New Sources for Stiffelio: A Preliminary Report Philip Gossett 2: Compositional Techniques in Stiffelio: Reading the Autograph Sources Kathleen Kuzmick Hansell 3: "A Monk and At Least Some New Things": Verdi, Cammarano, and L'assedio di Firenze Carlo Matteo Mossa 4: "Insolite forme," or Basevi's Garden Path Roger Parker 5: Ottocento Opera as Cultural Drama: Generic Mixtures in Il trovatore James Hepokoski 6: "Something's Been Done to Make Room for Choruses": Choral Conception and Choral Construction in Luisa Miller Markus Engelhardt 7: A New Source for El trovador and Its Implications for the Tonal Organization of Il trovatore Martin Chusid 8: "Proud, Indomitable, Irascible": Allegories of Nation in Attila and Les Vepres siciliennes Mary Ann Smart 9: Masking Music: A Reconsideration of Light and Shade in Un ballo in maschera Elizabeth Hudson 10: "La dama velata": Act II of Un ballo in maschera Harold Powers 11: Meter, Character, and Tinta in Verdi's Operas David Rosen 12: Aspects of Tempo in Verdi's Early and Middle-Period Italian Operas Roberta Montemorra Marvin 13: The Violin Director and Verdi's Middle-Period Operas Linda B. Fairtile List of Contributors Index
