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The sounds of Paris in Verdi's La Traviata
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ISBN: 9781107009011 9780511920615 9781107249936 1107249937 051192061X 9781299772588 1299772587 9781107247444 1107247446 1139888293 1107241146 1107250765 1107248272 1107249104 1107009014 Year: 2013 Volume: *9 Publisher: Cambridge Cambridge University Press

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How did Paris and its musical landscape influence Verdi's La traviata? In this book, Emilio Sala re-examines La traviata in the cultural context of the French capital in the mid-nineteenth century. Verdi arrived in Paris in 1847 and stayed for almost two years: there, he began his relationship with Giuseppina Strepponi and assiduously attended performances at the popular theatres, whose plays made frequent use of incidental music to intensify emotion and render certain dramatic moments memorable to the audience. It is in one of these popular theatres that Verdi probably witnessed one of the first performances of Dumas fils' La Dame aux camélias, which became hugely successful in 1852. Making use of primary source material, including unpublished musical works, journal articles and rare documents and images, Sala's close examination of the incidental music of La Dame aux camélias - and its musical context - offers an invaluable interpretation of La traviata's modernity.

The Cambridge companion to Verdi
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ISBN: 0521635357 0521632285 9780521632287 9780521635356 9781139001052 Year: 2004 Volume: *21 Publisher: Cambridge Cambridge Univesity Press

Leonora's Last Act
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ISBN: 0691015570 1322514348 1400866685 9781400866687 9780691015576 Year: 2014 Volume: *6 Publisher: Princeton, NJ

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In these essays, Roger Parker brings a series of valuable insights to bear on Verdian analysis and criticism, and does so in a way that responds both to an opera-goer's love of musical drama and to a scholar's concern for recent critical trends. As he writes at one point: "opera challenges us by means of its brash impurity, its loose ends and excess of meaning, its superfluity of narrative secrets." Verdi's works, many of which underwent drastic revisions over the years and which sometimes bore marks of an unusual collaboration between composer and librettist, illustrate in particular why it can sometimes be misleading to assign fixed meanings to an opera. Parker instead explores works like Rigoletto, Il trovatore, La forza del destino, and Falstaff from a variety of angles, and addresses such contentious topics as the composer's involvement with Italian politics, the possibilities of an "authentic" staging of his work, and the advantages and pitfalls of analyzing his operas according to terms that his contemporaries might have understood. Parker takes into account many of the interdisciplinary influences currently engaging musicologists, in particular narrative and feminist theory. But he also demonstrates that close attention to the documentary evidence--especially that offered by autograph scores--can stimulate equal interpretive activity. This book serves as a model of research and critical thinking about opera, while nevertheless retaining a deep respect for opera's continuing power to touch generations of listeners.

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