ELENCO GENERALE DEI BRANI DA CANTARE E SUONARE, CON TESTI E BASI MIDI PER KARAOKE VOCALE E STRUMENTALE. Tutti venite armati nabucco. Fantasia PDF forti miei soldati fa la la.
NR 10908900 / Piano / SCORE /
Kalinka Canto dei battellieri del Volga. MOVIE MELODY VOL1 nuova Carisch ed. Re Leone candle in the wind. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, « c. It was not until the 1880s that the composer and librettist’s original wishes were carried out and « realistic » productions were staged.
La traviata has become immensely popular and is the most frequently performed of all operas. For Verdi, the years 1851 to 1853 were filled with operatic activity. First, he had agreed with the librettist Salvadore Cammarano on a subject for what would become Il trovatore, but work on this opera could not proceed while the composer was writing Rigoletto, which premiered in Venice in March 1851. Venice, an additional commission was offered by Brenna, the secretary of La Fenice. After Verdi’s return from Paris a contract was signed in May 1852, with performances scheduled for March 1853, although no subject was chosen at that time.
Verdi and Giuseppina Strepponi had visited Paris from late 1851 and into March 1852. As a result of this, Verdi biographer Mary Jane Phillips-Matz reports, the composer immediately began to compose music for what would later become La traviata. Francesco Maria Piave was to be engaged to write the new libretto and the two men tried to come up with a suitable subject, but the composer complained that his librettist « had not yet offered him an ‘original’ or ‘provocative’ idea ». Writing to Piave, he added that « I don’t want any of those everyday subjects that one can find by the hundreds. When back at Sant’Agata in late January 1853 Verdi was reminded that his contract called for him to be in Venice within a week or two and for the premiere to be held on the « first Saturday in March 1853 ». The audience jeered at times during the premiere, directing some of their scorn at the casting of soprano Fanny Salvini-Donatelli in the lead role of Violetta. Verdi had previously attempted to persuade the manager of La Fenice to re-cast the role with a younger woman, but with no success.
Coincidentally, as Philips-Matz points out, an Italian translation of the play La Dame aux camélias was being presented just a short distance from La Fenice. While there were demands for productions from impresarios in various Italian cities, Verdi was loath to allow them unless he could be sure of the strength of the singers, and in spite of their pleas, the composer refused. Madrid on 1 February 1855 with Maria Spezia-Aldighieri at Teatro Real, in Vienna on 4 May 1855 in Italian and in Barcelona on 25 October at Gran Teatre del Liceu. Today, the opera has become immensely popular and is a staple of the standard operatic repertoire. Violetta Valéry, a famed courtesan, throws a lavish party at her Paris salon to celebrate her recovery from an illness.