By Scott L. Balthazar
Delivering biographical, theatrical, and social-cultural heritage for Verdi's operas, this spouse examines very important basic points in their kind and approach to composition. Verdi's milieu, inventive procedure, and significant reception are therefore explored in essays by means of experts who significantly appraise his accomplishments.
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Extra resources for The Cambridge Companion to Verdi (Cambridge Companions to Music)
9 In his business relationships Verdi’s growing stature and rural pragmatism often led to impatience and intransigence, particularly with impresarios. 10 Whenever possible he dealt directly with the theatrical management, who could browbeat impresarios when necessary. 11 Following the revolutions of 1848–49 and consequent ﬁnancial difﬁculties for theatres, the old system of seasons and new works as well as management by impresarios became less feasible. Meanwhile, music publishers exerted increasing power.
In 1836 he married Margherita Barezzi, a spirited redhead who was his patron’s daughter. A piano teacher whose father had once considered sending her to study singing at the Milan Conservatory, she fought ﬁercely for Verdi’s cause both before and after their marriage. The couple soon had two children, named after heroic characters from the tragedy Virginia by Vittorio Alﬁeri, a revered poet and dramatist. Their daughter Virginia died in 1838. While teaching in Busseto he composed his ﬁrst opera, which he tried in vain to get produced in Parma.
Lucca even drew up contracts with Verdi that sold him future scores (which turned out to be I masnadieri and Il corsaro) and obliged him to produce them in important theatres. From mid-1847 on, however, Ricordi was Verdi’s chief associate. Beginning with J´erusalem and La battaglia di Legnano the composer sold him scores directly prior to performance but not all at once: payments were stipulated for the initial production, for the sale of printing and distribution rights abroad, and for each revival for ten years, the last of these shifting after 1850 from ﬁxed fees to percentages (at ﬁrst 30 and later 40 percent of the rental).
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