Giuseppe Verdi

Giuseppe Fortunino Francesco Verdi, a renowned Italian composer, is known for his rich repertoire of opera masterpieces. His compositions played a significant role in the peak of 19th-century Italian opera. Verdi’s talent allowed him to create twenty-six complete operas, a requiem, and numerous instrumental pieces.

Verdi’s quote, “You may have the world, but leave Italy to me,” has been the motto of the ITALY FOR ME website for many years.

Biography

According to historians, opera as we know it today would not exist without Giuseppe Verdi. He is rightfully considered a classic of 19th-century Italian music. His works exude grandeur, precision in depicting complex life processes and transformations within human souls, while his melodies sound beautiful, refined, and noble.

Verdi’s body of work primarily consists of operas that continue to be performed in major theaters for over a century. His most famous works include “La Traviata,” “Rigoletto,” “Otello,” and “Aida.” While many of Verdi’s other manuscripts have been lost to time, his legendary Requiem has survived.

What sets Verdi apart from his contemporary musicians is that he never discussed his own creative principles in programmatic statements or in the press. He did not dedicate himself to a specific method of portraying aesthetics in his musical compositions. Verdi’s main goal was to convey realism as accurately as possible in his opera productions. The composer saw life in all its diversity of conflicts, from social to inner struggles, and he endeavored to present this vision to the audience.

Verdi aimed to demonstrate that despite the constant opposition found both within individuals and in the surrounding world, everyone can find a way to live in harmony with the world as it is.

Childhood and Youth

The future composer was born on October 10, 1813, in the village of Le Roncole, located in Lombardy. Nearby is the town of Busseto, which is now part of the Emilia-Romagna region. During that time, the village was attributed to the First French Empire, so according to documents, Giuseppe Verdi was born in France, although Le Roncole is considered an Italian town.

The boy’s parents had no connection to music. His father, Carlo Verdi, ran a small inn, while his mother, Luigia Uttini, was involved in spinning.

The early years of Giuseppe Verdi were challenging as his family lived in poverty. Young Verdi developed a passion for music when his parents gifted him an instrument resembling a harpsichord, consisting of keys and strings. Historians and biographers tend to assert that his first instrument was a spinet. It was imperfect and didn’t produce a very harmonious sound, but the future composer cherished it until the end of his days.

In his youth, Verdi assisted in conducting masses at the local church. It was here that he delved deeper into the world of music, studying notes and familiarizing himself with the organ. His mentor during this time was the priest Pietro Baistrocchi.

In 1823, at the age of 10, the young boy left his position as an organist and accompanied Antonio to another town. The merchant actively supported the development of Verdi’s musical taste and talent. He hired the best teacher, Fernando Provesi, who at that time was the head of the Philharmonic Society. This person not only taught the future composer the fundamentals but also sparked his interest in serious literature. During their lessons, the young Verdi discovered the works of William Shakespeare, Dante Alighieri, Johann Wolfgang von Goethe, and Johann von Schiller. The favorite work of the future composer became the novel “The Betrothed” by Alessandro Manzoni.

Antonio provided accommodation for the young Verdi, but on weekends, Giuseppe would visit his family and play the church organ again—his attachment to it was undeniable. When his education with Fernando concluded, Barezzi promised to finance further music studies in Milan (Milano). Therefore, Giuseppe set off to try his luck at the Conservatory (which currently bears his name).

The aspiring composer decided to study counterpoint while also attending opera theaters and regular concerts. His acquaintance with the high society of Milan proved beneficial for Giuseppe, and he started seriously considering a career as a composer in the theater.

In 1830, Verdi gives his first concert, which would have been impossible without the support of Barezzi, as the venue for the performance was Antonio’s house. The merchant becomes increasingly enchanted by Giuseppe’s unique talent and offers him to become a teacher for his daughter, Margherita.

First Recognition

The first significant production of the genius was the opera “Oberto” at the La Scala theater in Milan, which not only received warm reception from the audience but also earned praise from critics. As a result, the theater owner, Bartolomeo Merelli, signs a contract with Giuseppe, according to which he is to compose two operas. These become the famous “King for a Day” (“Un giorno di regno”) and “Nabucco,” also known as “Nebuchadnezzar.”

The premiere of the latter was met with a storm of applause on March 9, 1842. It became a turning point in the young Verdi’s career, and the success was overwhelming.

During the following year, “Nabucco” was performed more than sixty-five times throughout Europe. It remains a constant part of the repertoire of theaters worldwide. Inspired by such triumph, Giuseppe goes on to write two more operas: “The Lombards in the First Crusade” (“I Lombardi alla prima crociata”) and “Ernani.” In Italy, these works were performed numerous times on theater stages and enjoyed the same level of success as the composer’s earlier works.

In 1847, the opera “The Lombards” is given a new title, “Jerusalem” (“Jérusalem”), and enters the realm of grand opera. The premiere was scheduled for November 26 of the same year at the Paris Opera House. However, the composer had to undertake significant work on the composition, rewriting it in several parts and replacing some Italian characters with French ones.

Personal Life

Giuseppe Verdi was married twice. His first chosen one was Margherita, whom the composer fell in love with while giving her private lessons at Antonio’s request. The girl reciprocated Giuseppe’s feelings, and on May 4, 1836, they legalized their relationship. Two children were born in this marriage: a daughter named Virginia Marie Louise on March 26, 1837, and a son named Icilio Romano on July 11, 1838.

At the same time, the composer achieved his first creative successes as he received a major commission to create the opera “Lord Hamilton,” which was later successfully staged at La Scala. Verdi’s three compositions were almost immediately published. However, the happy moments in the musical sphere went hand in hand with tragic events in the family.

Within a short period from 1838 to 1839, both the son and the daughter passed away. In 1840, his wife also died, and doctors diagnosed her with encephalitis. When one tragedy after another befell Giuseppe, he noted in his writings that he had decided never to touch the pen again. The situation was further intensified by the fact that his previously created opera, “King for a Day,” of the comedic genre, had been a failure. The genius did not live in abundance but rented a small apartment not far from the church of Santa Sabina.

The composer’s second wife was the famous Italian opera singer Giuseppina Strepponi. She mainly performed bel canto roles and gained fame in partnership with tenor Napoleone Moriani and baritone Giorgio Ronconi. The main role in Donizetti’s opera “Adelia” was written specifically for this woman. Many spoke of Clelia (Strepponi) as a singer with a crystal-clear, soft, and pleasant voice who performed her entrusted roles excellently. Her figure attracted male attention, and she possessed impeccable technique along with a magnificent natural gift. Strepponi invested her soul into every performance.

Giuseppe Verdi fell in love with Strepponi at the age of 38, and they lived together for a considerable time. This was heavily criticized by society. But the genius was happy—his wife created a warm home, and he could speak sincerely with her. Verdi felt that he needed such a woman by his side. At the time of their cohabitation, Verdi was at the peak of his popularity, while Strepponi’s career was gradually declining.

In due course, Strepponi began to lose her magnificent voice, so she decided to end her career. This happened in 1844, and the changes were a result of a hectic performance schedule. The final straw came during a concert in Palermo, where she was booed by the audience. Strepponi’s voice never fully recovered, and she occasionally appeared on the stages of Parisian theaters, but even there, she did not receive a warm reception.

Giuseppe also wanted to stop composing. He was wealthy and famous, and he wanted to live a peaceful and calm life. Historians say that he wished to follow the example of Gioacchino Rossini. However, Clelia managed to convince her husband not to stop composing.

In 1846, Giuseppe Verdi and his wife moved to Paris, where the composer earned his main income from singing lessons. The couple officially registered their marriage only after 11 years of their relationship, in Geneva in 1859. Strepponi provided continuous support to Giuseppe in his musical endeavors until her death in 1897. She passed away at the Sant’Agata estate near Busseto, where they resided.

Creative Activity

Giuseppe Verdi’s creative activity was accompanied by fame and wealth. Shortly after Strepponi convinced him not to stop composing music, Verdi created a new masterpiece, “Rigoletto.” Verdi wrote the libretto, drawing inspiration from Victor Hugo’s play “Le Roi s’amuse.” Later, the composer had to rewrite certain parts of the opera to comply with the censorship standards of the time. Verdi’s nerves were sometimes strained, as he was frustrated by the need to alter the plot and meaning for the censors, causing him to abandon the work and then return to it. In 1851, the premiere of “Rigoletto” was announced in Venice, where Verdi anticipated another triumph.

Two years later, the genius completed his work on “La Traviata,” this time inspired by Alexandre Dumas’ novel “La Dame aux Camélias.” One of the most famous performances of “La Traviata” is attributed to Luciano Pavarotti. You can watch a video of his performance in Brindisi in 1993:

Verdi then went on to compose several equally talented works, including “Les vêpres siciliennes” (The Sicilian Vespers), “Il Trovatore” (The Troubadour), “La forza del destino” (The Force of Destiny), and a second version of the opera “Macbeth.”

In 1869, Verdi composed the “Libera Me,” an addition to the Requiem, which he dedicated to the memory of Gioacchino Rossini. Some parts of it were contributed by several other lesser-known Italian composers. Verdi later revised this addition, five years later, to dedicate it to the death of Alessandro Manzoni, as the writer’s work was close to the composer’s heart.

“Aida,” one of Verdi’s legendary works, was commissioned by the Egyptian authorities for the opening of the Suez Canal. At first, Verdi declined the offer, but when he was in Paris, he received a letter with another proposal through Camille du Locle. Verdi carefully studied the presented scenario and finally agreed to take on the project. Unfortunately, “Aida” is considered one of Verdi’s final works. It premiered in Cairo in 1871, and the audience greeted it with prolonged applause. It was yet another success for Verdi.

The Rivalry Between Verdi and Wagner

The rivalry between Verdi and Wagner lasted throughout their lives. They represented different opera schools, which made it unlikely for them to find common ground.

They never met in person. Verdi’s remarks about Wagner and his works were few and far from friendly. Although there are few surviving comments, they reveal his thoughts: “People like Wagner always choose the crowd; he tries to fly where anyone else would walk and achieve greater results.” When Giuseppe learned about Richard’s death, he uttered just one phrase: “How sad! Now his name will remain a trace in history.”

Only one statement from Wagner about Verdi’s work is known. After listening to Verdi’s Requiem, Richard, who was known for his enthusiastic reviews of many famous authors, said, “It is better to say nothing.”

Verdi’s Style

Throughout his creative career, Giuseppe Verdi consistently used a high “C” in tenor acts. He paid great attention to his own musical intuition and the ways of expressing the characters’ emotions in his operas. He gave special importance to dramatization, but in his works, there was only as much drama as necessary.

Giuseppe fully mastered the expressiveness of the orchestra, and some chords were brilliant and daring, but other composers did not dare to adopt such a technique. Verdi was the first of his kind, constantly searching for a libretto that could match his musical talent. The main strength of Giuseppe’s works lies in their expressiveness. He tried to eliminate unnecessary characters and avoid excessive details. The composer included only what was truly necessary in his operas.

Last Years and Death

In the last years and until his death, after “Aida,” Giuseppe Verdi wrote at a slower pace, primarily focusing on revising his existing works. During this time, he created the opera “Otello,” based on Shakespeare’s famous play. Verdi’s style became more realistic, which some of his fans did not appreciate.

Verdi’s final opera was “Falstaff,” which stylistically was closer to Wagner than Rossini or Mozart. The tempo of the work gives the listener a sense of confusion, and the plot moves swiftly. The concluding part of the opera features a seven-voice fugue, which vividly demonstrates Verdi’s mastery of counterpoint.

On January 21, 1901, Giuseppe Verdi was staying at the 5-star Grand Hotel et de Milan in Milan. He suffered a stroke, and his condition weakened over the next six days. Early in the morning on January 27, the renowned composer passed away. Interestingly, the Grand Hotel et de Milan is still one of the best 5-star hotels in Milan today, located within a 5-minute walk from La Scala, and anyone can make a reservation there.

Initially, Giuseppe Verdi was buried at the Monumental Cemetery in Milan, but later his body was moved to Casa Di Riposo in Musicisti, a retirement home for musicians. Interestingly, the retirement home was created by Verdi himself.

The Memory of the Composer

To preserve the bright memory of the great composer, objects with his portraits and sculptures were created.

In memory of this legendary genius, the following monuments were erected:

• A memorial in Parma, located in front of the Pilotta Palace, as well as a bridge leading to Ducal Park.
• A bust in Busseto, in front of his parental home.
• A monument on the central square in Busseto.
• In Milan, on Piazza Michelangelo Buonarroti.
• A bust by Antonio Ugo near the Teatro Massimo in Palermo.
• A monument in Trieste, a city in the Friuli-Venezia Giulia region.
• A sculpture in Verdi Square, New York, between Amsterdam Avenue and Broadway.
• A bust in Golden Gate Park, San Francisco.

The portrait of Giuseppe Verdi was featured on some postage stamps:

• A 4-kopeck stamp of the USSR in 1963, dedicated to the 150th anniversary of his birth.
• A stamp from Romania in 1963.
• Stamps from the Maltese Order, Portugal, Bolivia, Vatican City, and Monaco in 2013, dedicated to the 200th anniversary of his birth.
• A 25-lira postage stamp from Italy in 1951, commemorating the 50th anniversary of the composer’s death.

Additionally, one of the craters on Mercury was named in memory of Giuseppe Verdi.

About Giuseppe Verdi in Cinema

Several films and TV series have been made about the life of the great composer:

• In 1938, an Italian production titled “Giuseppe Verdi” was released, known in our country as “The Story of a Life.”
• In 1953, a film called “Giuseppe Verdi” was made in Italy.
• In 1982, Italy collaborated with France, Germany, the United Kingdom, and Sweden to create “The Life of Giuseppe Verdi.”
• In 1957, an American film titled “King of Melody” was released.

Interesting Facts

Among all the events that took place in Giuseppe Verdi’s eventful biography, several key ones stand out:

1. Interestingly, Richard Wagner was born in 1813 and would later become Verdi’s main rival.
2. “Verdi” translates literally from Italian as “green” (verde – Verdi). Many biographers see symbolism in this since the color green is associated with the flag of Italy, just as Verdi himself became one of those who brought glory to his country. His works helped unite Italy and elevate its musical culture, which was recognized in other countries.
3. In a remarkable demonstration of patriotism, Verdi actively participated in the Italian Risorgimento, the movement for Italian unification. His powerful chorus “Va, pensiero” from the opera “Nabucco” (1842) became an unofficial anthem for Italian unity and continues to be cherished by the Italian people.
4. Verdi was known for his observant nature and hard work, so during concerts, he enjoyed both the music and paid attention to interesting details, observing the conductor’s hand movements.
5. He liked attending rehearsals because they allowed him better to observe all the nuances of the performers’ behavior.
6. Verdi’s personal life was marked by tragedy. In 1838, he married Margherita Barezzi, the daughter of his benefactor, but she passed away in 1840, followed by their two children. These losses deeply affected Verdi and influenced the emotional depth present in his later compositions.
7. The genius referred to himself as an agnostic, and his second wife subtly noted that her husband had little belief in anyone else’s existence. She found a fundamental difference between agnosticism and “little faith.”

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Quotes of Giuseppe Verdi

Giuseppe Verdi was consumed by his work on his compositions. During the process of writing them, he expressed his views on the qualities of a true musician and how a genuine opera should sound:

• “A true musician must possess great talent, soul, and stage intuition.”
• “The performance of an opera should be meaningful and inspiring, only then will the listeners truly feel it.”
• “If an opera cannot be performed in its original integrity, as the composer intended, then it is better not to perform it at all.”
• “I love everything that exists in art that is beautiful.”
• “I have had the opportunity to become acquainted with the best contemporary works without reading them, by enjoying them in the theater. I would certainly lie if I said that I did not receive strict education in my youth. I have enough strength in my hand to combine notes as I desire, and I often managed to achieve the effects I aimed for. I frequently disregarded rules because they cannot give me what I need, and I do not consider all the current rules necessary to follow.”
• “This plot is contemporary; any other person would surely not have taken it up due to norms and decency, principles of the era, and a thousand other prejudices. But I engage with it with the greatest pleasure.” (Giuseppe Verdi on “La Traviata”)
• “Art belongs to every nation, but its development in each country follows its own path. For example, artistic practice among the Germans differs greatly from ours, and this does not mean that they compose worse. It only confirms that we cannot write like them, and they cannot write like us.”

Things to Know about Giuseppe Verdi