The Opera Chorus As Choral Con

INFORMATION TO USERS
This manuscript has been reproduced from the microfilm master. UMI
films the text directly from the original or copy submitted. Thus, some
thesis and dissertation copies are in typewriter face, while others may be
from any type of computer printer.
The quality of this reproduction is dependent upon the quality of the

copy submitted. Broken or indistinct print, colored or poor quality
illustrations and photographs, print bleedthrough, substandard margins,
and improper alignment can adversely affect reproduction.
In the unlikely event that the author did not send UMI a complete
manuscript and there are missing pages, these will be noted. Also, if
unauthorized copyright material had to be removed, a note will indicate
the deletion.
Oversize materials (e.g., maps, drawings, charts) are reproduced by

sectioning the original, beginning at the upper left-hand comer and
continuing from left to right in equal sections with small overlaps. Each
original is also photographed in one exposure and is included in reduced
form at the back of the book.
Photographs included in the original manuscript have been reproduced

xerographically in this copy. Higher quality 6” x 9” black and white
photographic prints are available for any photographs or illustrations
appearing in this copy for an additional charge. Contact UMI directly to
order.
UMI
A Bell & Howell Information Company
300 North Zed) Road, Ann Arbor MI 48106-1346 USA
313/761-4700 800/521-0600
THE OPERA CHORUS AS
CHORAL CONCERT REPERTOIRE
An Examination of Choruses
by Giuseppe Verdi
by
Sheridan J. Ball
A Treatise Presented to the
FACULTY OF THE SCHOOL OF MUSIC

UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
Doctor of Musical Arts
(Choral Music)
August 1995
Copyright 1995 Sheridan J. Ball

UMI Number: 9630738
UMI Microform 9630738

Copyright 1996, by UMI Company. All rights reserved.
This microform edition is protected against unauthorized
copying under Title 17, United States Code.
UMI
300 North Zeeb Road
Ann Arbor, MI 48103
FINAL TREATISE APPROVAL
This tre a tise , written by

Sheridan J. Ball
under the supervision of. Guidance Committee, and approved by all

its members, has been presented to and accepted by the Executive Com
mittee of the School of Music, in partial fulfillment of the requirement
for the degree of
DOCTOR OF MUSICAL ARTS
with major in. Choral Music
D ta a , School o f M u iic
GUIDANCE COMMITTEE:
S - / 7 '
Ch, D oit
lM/5-65
Mus 201
Sheridan J. Ball Dr. David Wilson
Committee Chairman
The Opera Chorus As Choral Concert Repertoire

An Examination of Choruses by Giuseppe Verdi
This treatise examines choruses from thirteen o f Verdi’s twenty-six complete

operas. The primary objective of this work is to provide a convenient reference
resource for conductors seeking information regarding this body of choral literature.
Following a brief introduction, the bulk of this paper takes the form of an
annotated reference catalogue which delineates the essential characteristics and
repertoire potential of each chorus examined.
General information regarding composition dates, voicing, solo requirements,

range of difficulty, performance considerations, and dramatic context is provided for
every chorus.
The choruses are organized alphabetically by opera title and are categorized
in accordance with the following designations:
RI - Recommended independent choral excerpt

RS - Recommended excerpt/soloist(s) required
NR - Not recommended as a choral excerpt
Contents
Chapter 1 ............................................................................................... 1
Treatise Objectives and Research Param eters...................1
Foreward: .................................................................................. 3
Why Opera Choruses?
An Alternative to Musical Theater
W hat's to be gained?
Performance Observations:..................................................... 6
English vs. Original Language Performance
Suggestions for Programming
Use of Soloists. Amateur and /or Professional
Chapter 2 ............................................................................................... 11
Choral Categories Defined...................................................... 11
General Observations: ............................................................ 12
Excerptible Works Per Opera
Lack of Alto Designation in Choral Parts
The Chorus in Early O peras vs. Later Works
Chapter 3 ............................................................................................... 14
Annotated Reference Catalogue
Sample Form ................................................................. 17
A ida................................................................................ 18
Don C arlo.......................................................................24
Ernani............................................................................. 29
Falstaff............................................................................ 40
I Lombardi.......................................................................42
II trovatore......................................................................52
La Forza del D estino....................................................63
La traviata.......................................................................69
Macbeth..........................................................................76
N abucco.........................................................................89
Otello.............................................................................. 97
Rigoletto.........................................................................101
Un Ballo in M aschera...................................................105
Summary................................................................................................ 112
Bibliography
A. Books.....................................................................................113
B. Recordings: Complete O peras...........................................115
C. Recordings: Collections.....................................................117
D. Reference S co res................................................................118
Appendices
Appendix A. Choruses Indexed by Voicing.....................................119

Appendix B. Choruses Indexed Chronologically............................ 122
Appendix C: Opera Composition Chronology................................ 125
Appendix D. Verdi Biographical Chronology...................................126
Appendix E: American Choral Directors Assoc. Convention 128
Lecture/Demonstration Materials
Publishing and Purchase Information
Program
iii
C h a p te r O n e
Treatise Objectives and Research Parameters
The goal of this study is to discover Verdi opera choruses which are suitable for
choral concert repertoire and to organize this information into a practical reference
tool.
In the course of research three basic structural categories began to emerge. In
the first type, the chorus functions as an independent ensemble and the composition
easily stands on its own, comfortably independent of its original operatic format. "Va,
Pensiero" from Nabucco is probably the most successful and well known example of
this type of chorus.
Choruses requiring one or more soloists make up a second category of pieces
that are equally effective as independent concert selections, provided capable soloists
are at hand. The "Brindisi" from La Traviata is a prime example of this second group
of compositions.
In a third category, the choral writing is extensive but functions primarily as
support material for more prominent solo work. Frequently such writing occurs at
theatrical high points in an opera and can be both musically intriguing as well as
dramatically exciting. However, when removed from the context of the opera, a
variety of issues often conspire to undermine successful concert presentation of such
material. The second scene in act three of Don Carlos serves as an apt representative
here, as the crowd rushes in to free Don Carlos and take violent revenge on King
Phillip. The choral writing at that point in the opera is very dramatic, but the scene is
Page -1
so carefully devised as a singular unit that any attempt to segment or excerpt any
portion of the whole would be pointless and ultimately futile Some category three
material might prove useful, however, in constructing a concert around operatic scenes
so, in that context, further examination might prove fruitful.
In the "Annotated Reference Catalogue”, beginning on page sixteen, these three
structural categories of operatic choral work are designated, as follows:
RI Recommended excerpt: Independent choral composition

RS Recommended excerpt: Soloist(s) required
NR Not Recommended: Soloist(s) featured,
Chorus plays supportive function only,
Possible use as a complete scene.
This study examines thirteen o f Verdi's twenty-five complete operas, as a

representative sampling o f the composer's compositonal output.
Page - 2
Foreward
Before proceeding directly to the reference materials, I would like to comment

briefly upon several aspects of the operatic repertoire which are particularly relevant to
the successful programming and performance of this literature.
Why Opera Choruses?
My interest in incorporating opera choruses as more frequent components o f

concert repertoire stems from having encountered this material in a variety of
performance situations over a period of several years.
My initial exposure to this body of literature occurred during my employment as
a touring singer with the William Hall Chorale. Hall would invariably incorporate
several operatic selections in the design o f his rather eclectic programs which ran the
gamut from Tomas Luis de Victoria to Rodgers and Hammerstein. These notably
diverse concerts were invariably received with exuberant enthusiasm, and Hall's
creative approach to programming made a lasting impression.
Several years later I performed a similar concert with John Alexander's Pacific
Chorale in which Montserrat Caballe' was the featured soloist. Though less eclectic
then Hall's program, Alexander's also employed solo, choral, and orchestral forces with
an imaginative balance that not only generated an exciting audience response, but rose
to even higher levels of musical artistry.

Another significant experience which again brought this repertoire vividly to my
attention resulted from an opportunity to teach in Salzburg, Austria. In the process o f
attending as many musical events as the schedule would allow, I became increasingly
Page - 3
aware that my European colleagues were using operatic material with far greater
frequency, and within a much wider range of programs, than one would generally
encounter in the United States.
Indeed, opera selections would often surface in what seemed the most curious
and unlikely of performance situations. The New Year's Eve celebration at the
Salzburg Kurhaus, for example, featured operatic solos and duets as the focal point of
the evening's entertainment. This event was a particularly eclectic affair which included
such diverse offerings as string ensemble music, piano duets, a ballet troupe, and a
small, contemporary rock combo alternately sharing the main stage with a full orchestra
playing Viennese waltzes. This interesting tendency to mix musical textures and
entertainments served to further pique my curiosity as to how one might incorporate
similar concepts in concert programming in the United States.
An Alternative to Musical Theater
All too frequently a young choral director's first job will require the
resuscitation of a neglected choral program. This process can take several years and
requires a prodigious effort and a consistent dedication to the task, particularly in the
area of recruiting. An annual "Broadway" or variety concert which focuses upon
lighter material can prove initially successful but, over the long term, the body of this
repertoire is not substantial enough to sustain the interest of the more serious minded
musicians.1
1In his book, Choral Music Education, Paul Roe offers a number of helpful suggestions
regarding the use of musical theater to bolster a weak vocal music program. In chapter eleven he
makes the following observation, ’Students are enthusiastic about Broadway music, so the
director who is struggling to build up a weak vocal department may elect to use this means to
motivate the students.’ (New Jersey: Prentice-Hall, 1983), 319.
Page - 4
In keeping with the Salzburg proclivity for mixed styles, and following the able
examples of conductors like William Hall and John Alexander, opera choruses and
solos can easily be incorporated into the musical line-up o f a "variety" concert. The
likely result will be a general elevation in the aesthetic quality of the event, while still
maintaining the desirable entertainment values o f variety programming.
What's to be Gained?
With appropriate encouragement from a capable director, operatic repertoire

can incite singers to a much higher level of sensitivity regarding "theatrical" delivery,
and can likewise foster an awareness of healthy yet robust vocal production. Rather
than encouraging the belting technique characteristically associated with musical
theater, operatic choruses promote the implementation of singing techniques which
encourage effective dramatic declamation without being vocally destructive. More
frequently than we might care to acknowledge, musical theater vocal production often
degenerates to something akin to the enthusiastic yelling o f pitch; a quality of sound
which causes most vocal instructors to cringe. If intelligently and enthusiastically
presented, opera material can, on the other hand, counteract the destructive aspects o f
musical theater production and point the way to a healthy, dynamic vocalism.
Opening the door to this repertoire can also heighten a choir's sensitivity to text,
articulation, diction, and associated dramatic concerns.2 The director who cultivates
these theatrical associations may have a better chance of inciting singers to a higher
2While coaching master classes at Juilliard in 1965, Maria Callas invariably considered the
dramatic context of an aria as the fundamental starting point upon which the vocal approach
would be established. Surely this concept has equivalent relevance to the choral art. In Callas'
words, ’Sing the notes, of course; but forget your voice as such. Think first of the drama.” Callas
at Juilliard: The Master C las^ . (New York: Alfred Knopf, 1987), 147.
Page - 5
level of performing vitality than might have otherwise been attained via a steady diet of
standard choral repertoire alone. Once a chorus makes the intellectual and spiritual
connection between drama and music, the entire concept of dramatically based
performance becomes easily transferable from one musical style to another, thereby
adding greater breadth and dramatic range to everything the choir sings.
P e r fo r m a n c e O b s e r v a tio n s
English vs. Original Language: The Debate Continues
In my current position at Cypress College I present opera selections primarily in

English. I am convinced there is an exciting body of material here which needs to be
heard and experienced by both our singers and audiences. I'm equally certain, however,
that the primary reason many people rarely attempt to examine the world of opera is
the unfortunate American preoccupation with singing these works in the original
languages. This is a dubious policy which often fails to serve neither the interests of
the opera nor its composer. The arguments supporting original language performance
are only marginally compelling, particularly when compared with opposing points of
view. I won't digress into a point/counterpoint analysis of the issue at this juncture;
vocal musicians are generally familiar with the fundamental arguments on both sides. I
will, however, make the following observation which I believe goes to the heart of the
issue. Without question, every language contains inherently unique qualities, and the
manner in which the composer exploits the relationship between music and text is of
special interest to those fluent in the language being used. If, however, no one, or
perhaps only a few members of an audience, are fluent in that language, what is the
Page - 6
point? What can possibly be gained by making the concert experience an enigmatic
puzzle for the great majority of audience members who simply do not understand a
word of what they are hearing?
For the devoted Mozart aficionado, for example, an evening of Le nozze di
Figaro will undoubtedly be a pleasurable experience, whether sung in Italian, German,
French or Czech. I remain convinced, however, that the vast majority of listeners will
not only enjoy an opera more fully if performed in their native tongue, but are likely to
comprehend subtleties in plot development and characterization at a far greater depth
of sophistication.
Indeed, most of the world's opera houses do not share this curiously American
fetish for performing in original languages, but instead choose the more practical
approach of presenting opera in the vernacular. The numerous small opera companies
scattered across Germany and Austria, for example, perform almost exclusively in
German. In a similar vein, my introduction to Wagner's Das Reingold, at the Bolshoi
Theater in Moscow, was in Russian. There are, of course, houses which present their
repertoire exclusively in the language of the original composition, but they are more the
exception than the rule.
In conjunction with the ideas expressed above, I favor the use of English
translations in operatic performance for the following reasons relative to my current
position:
1 .1 am introducing opera to a large, general chorus:

A. This is a relatively unsophisticated assemblage o f singers who have
little or no previous experience with operatic material.
B. Though reasonably familiar with the Latin Mass, their experience
with other foreign languages is minimal to non-existent.
C. In their initial contact with the world of opera, I do not wish my
singers to be any more intimidated than they already are.
Page - 7
D. I seek to capitalize on the positive, the innate beauty of the
repertoire, and the intrinsic dramatic quality o f the music.
2. 1 am also introducing opera to an audience unfamiliar and somewhat ill at

ease with the medium.
A. If I can convince them that opera is worth their time, I will be in a
position to methodically educate them at subsequent events.
B The more successful their initial experiences, the more receptive they
will be to future operatic "adventures."
When Can Opera Choruses Be Effectively Programmed?
Any concert in which the director wishes to interject variety is a potential
vehicle for opera choruses. Almost any event can use this material if it is carefully
placed within the program. I recently incorporated opera choruses and solos, for
example, in the first half of a concert which concluded with the Mozart C Minor Mass.
Simply stated, the variety of extant operatic material is its greatest programming
strength.
Some of the more grandiose or bombastic opera choruses work particularly
well in outdoor venues, especially with orchestral accompaniment .3 If an orchestra is
available, the addition o f an opera overture is highly recommended.4 These pieces
oftentimes contain some of Verdi's most exciting writing, and instrumentalists generally
enjoy playing them with particular gusto. An opera overture not only presents the
opportunity to feature the orchestral musicians, but also provides a respite for weary
3The "Anvil Chorus" from 11 trovatore, the "Triumphal March" from Aula, and "Gli arredi
festivi" from Nabucoco are examples of Verdi choruses th at work especially well at outdoor
venues. The Verdi repertoire is replete with choruses of this type.
^ h e overtures to Mozart's l.e nozze di Figaro and ’auberflote, and Strauss's Die
Fledermaus are perennial concert favorites. Verdi's overtures for La Forza del Destino and
Nabucco are also frequently performed but are decidedly more complex and dramatic in content.
Page - 8
vocalists, and at the same time adds yet another dimension of sound to the concert
palette.
Use of Soloists:
I make it standard policy to use members of the ensemble as soloists whenever
possible. Professionals are hired only for extremely difficult works or "show pieces." I
feel conductors, as teachers, have a responsibility to provide opportunities for aspiring
student soloists, provided the material is likely to promote vocal growth and successful
performance. Too often, singers within an ensemble are ignored while outside
professionals are given all the solo work. Such an approach can breed serious, internal
resentment from otherwise loyal choristers. The famous "Brindisi" from La Traviata,
for example, is a rousing, exuberant chorus that requires two soloists. These solos,
however, are only moderately difficult and can be easily negotiated by capable singers
from within the chorus.
There are times, however, when the skill and experience of a professional is
necessary to the success of a performance 5 In such cases the chorus can also benefit
from the experience in the following ways:
First and foremost, hearing a professional vocalist provides an excellent sound
model for less experienced singers. I've repeatedly noticed that choral musicians will
invariably redouble their efforts when striving to support a professional singer, and will
■’The "Veil Song" from Don Carlos is an example of a solo/chorus piece that would probably
require a professional level mezzo. Likewise, the Queen's banquet toast in Macbeth also employs
an exuberant chonis but the coloratura lyricism and range of this selection would probably
require the skill o f a professional soprano.
Page - 9
assume a greater sense of pride and individual responsibility when sharing the stage
with a gifted soloist.
When a professional singer is engaged, the director should program one or two
specialty, solo selections as part of the contractual agreement. This serves to focus the
choir’s attention on the soloist's special abilities, adds variety to the concert format, and
supports the goal of educating both the choral musicians and the concert patrons to the
unique beauties and dramatic vitality inherent in this particular repertoire.
Page - 10
Chapter Two
Chorus Categories Defined:

Verdi uses the chorus to set a variety of moods and to serve specific dramatic
as well as musical functions.6 In defining their usefulness as potential concert
repertoire, the choruses fall into three general categories:
1. Independent, choral excerpts.
2. Choruses which require one or more soloists.
3. Chorus work which serves merely to support the dramatic and musical
activity of the soloists.
The third category is typical of finale sections or any similar climactic point in
the dramatic action of an opera. Choruses in category three can become extremely
complex, but usually do not stand on their own as independent choral literature. An
exception to this assessment would be if the director were to consider the presentation
of an entire scene, in which case, these choruses are worthy of closer examination. The
rehearsal requirements for such an endeavor, however, might prove prohibitive, so the
practicalities of such an undertaking should be given careful consideration.
I'm inclined to recommend that category one and two choruses be interspersed
with well known solos from the same operas. This approach to programming was
frequently observed during my European residency and it helped to create concerts of
interesting diversity for both audience and performers alike.
chapter six of his book. Opera, Charles Hamm distinguishes four specific categories of
opera choruses according to function. His designations are as follows: The chorus as scenery,
sound, narrator or commentator, and protagonist. (New York: Da Capo Press, 1980), 103-124.
Page - 11
Having applied these principles for several seasons, I can personally attest to
the fact that a choir's intimate observation o f fine solo performers does indeed inspire
choristers to higher levels o f vocal execution and technical awareness.
General Observations:
1- Nearly every opera examined for this study has at least two pieces specifically
devised to highlight the chorus. Sometimes one o f these selections will feature
either men or women only, i.e., the soldiers chorus, "Squilli, echeggi", from //
trovatore or the witches chorus, "Tre volte miagola", from Macbeth.
2- Early editions of Verdi opera choruses do not designate any female vocal part as
"alto." The women's choral writing is nearly always constructed for multiple
lines and the lower voices are predictably placed well within the modem alto
range; yet all parts are labeled as "soprano." Modem editions have rectified this
situation by designating the lower female vocal line(s) as "alto."
3- The earlier operas tend to focus more upon the chorus than the later works, and
frequently address broader social issues and the concerns of humanity as a
whole. In Nabucco, for example, the fiindamental problem involves the fate o f
the entire Jewish nation and results in the stirring chorus, "Va Pensiero", in
which the Hebrew slaves long for their freedom. The chorus o f the Scottish
Exiles, "Patria oppressa!", from Macbeth is another example o f this type of
choral treatment.
Later works such as Otello and Falstaff focus more exclusively upon
specific individuals and the interplay between lead characters.
Verdi's empathy for the common man and the plight o f the oppressed,
however, is a rather consistent thread throughout much of his work, and is
Page - 12
expressed at various points during his career. One of the primary dramatic
themes of Verdi's twenty-second opera, Don Carlos, for example, concerns
itself with the injustices being suffered by the conquered Flemish population.
The second scene of act three becomes the pivotal point in a dramatic sequence
which emphasizes the power of a united citizenry. By sheer force of numbers
and conviction, the Spanish populace acquires the means to either support or
depose a tyrannical monarch.7
The dramatic authority and compositional craft which Verdi showered
upon such choruses often allows them to transcend the bounds of their original
operatic function, thus becoming candidates for independent performance.
Indeed, many of these pieces are shining examples of a brilliant composer at the
peak of his ability.
7Hamm provides the following description of a chonis which takes on the dramatic
features of a protagonist: T h e chorus, collectively, is one of the characters in the drama. It
begins in one emotional state and in the course of the scene is transformed to another. It has a
distinct personality, its own text, its own part to play in the drama.” Ibid., 120.
Page - 13
C h a p te r T h r e e
Annotated Reference Catalogue
The following resource materials constitute the main body of this paper and
represent the fundamental purpose of this study: the development of a quick reference
guide for locating operatic choruses which are useful as choral concert repertoire.
The choruses are organized alphabetically by opera title, and each opera is
sorted according to the three categories of use as defined on page ten.
If seeking choruses for specific voicings, an examination of Appendix A, pages
118-120, should prove useful.
Research Form Explained
The blank form on page sixteen was employed as the basic tool for codifying
information on each of the opera choruses examined.

The category indication in the upper right hand corner entitled Recommended
fo r Use contains one of the following three designations for each chorus:
RI Indicates the chorus is a recommended as an

independent choral excerpt.
RS Indicates the chorus is recommended for use but

requires one or more soloists for effective performance.
NR Indicates the chorus is primarily supportive material,

and is not recommended for independent choral
performance.
Page -14
Many choruses do not have specific titles but derive their names instead from
the first line of text, or occasionally the dramatic character of the piece, i.e. The
Gypsy's Chorus or The Soldier’s Chorus. Some choruses have equally well-known
Italian and English names; therefore, the "Title-2" blank is provided to aid in locating a
chorus which might fall into one of these ambiguous categories.
The form blank entitled Act/Scene/Page No. designates the act and scene in
which the opera can be found. The page number refers to the edition of the
piano/vocal score designated at the bottom of the form.
Since computer database technology does not currently allow for the automatic
generation of numbered footnotes, I have created a separate footnote 'field' at the
bottom of each page. Footnotes in the database text will be designated by the use o f an
asterisk. The database also does not permit underlining, so book titles are enclosed in
quotation marks. Otherwise the formatting of footnotes is accomplished in accordance
with the Turabian style manual.8
Performance Resources
G Schirmer has issued a new, piano/vocal edition of the Verdi operas which
contains the original Italian texts with English translations printed directly underneath.
These scores make it easy to employ either language, depending upon the conductor's
preference. Unfortunately, the quality o f the Schirmer translations varies greatly, and
the director may find it necessary to consult a libretto translation, such as those
*Kate Turabian, A Manual for Writers of Term Papers. Theses, and Dissertations.13
(Chicago: University of Chicago Press, 1987).
Page -1 5
published in association with the English National Opera and the Royal Opera,9 or the
Dover Opera Guide series.10
Though most choruses are not published separately, many can be acquired
through a variety of sources (see Appendix E, pages 127-130). Contractual
arrangements can also be made to photocopy choral portions of operatic material which
are not otherwise available.11
If you are fortunate enough to have orchestral forces at your disposal, scores
and parts are available for rental or purchase from several reliable sources (see
Appendix E, page 130). I have found Luck's Music Library in Madison Heights,
Michigan especially helpful in procuring orchestral materials.
When seeking specific information regarding opera histories, plot lines and
general musical features, Stanley Sadie's four volume set, The New Grove Dictionary o f
Opera, is invaluable.12 Another particularly useful resource for any examination of the
Verdi operatic repertoire is the detailed, three volume reference by Julian Budden, The
Operas o f Verdi 13
9Nicholas John, cd - Opera Guide. (New York: Riverrun Press, Inc., 19X4).
10Dover Opera Guide and Libretto Series. (New York: Dover Publications, Inc., 1962).
**Permission to photocopy opera choruses from p i a n o /v o c a l scores can often be secured
directly from the publisher. G. Schirmer, for example, has a department designated specifically to
oversee such contractual agreements (Appendix E, page 129).
^S tan ley Sadie. The New Grove Dictionary of O pera. 4 vols. (New York: MacMillan
Press, 1992).
^ J u lia n Budden, The Operas of Verdi. 3 vols. (New York: Oxford University Press,
1978).
Page - 16
Choral Repertoire: Verdi Opera Choruses
Recommended for Use:

OPERA:
Librettist:
Composed:
CHORUS TITLE:
Title-2:
Act/Scene/Page No.:
Voicing:
Level of Difficulty:
Performance
Notes:
Story Context:
Additional
Comments:
Reference Edition:
*Footnote:
R I - R ecom m ended Independent Hxcerpt R S - R ecom m ended/Soloist(s) R equired

N R - N ot R ecom m ended
Page - 17
Recommended for Use: RI

OPERA: A ida
Librettist: Antonio Ghislanzoni

Composed: 1871
CHORUS TITLE: Gloria alTEgitto

Title-2: Triumphal March
Act/Scene/Page No.: Act II, Scene 2
Voicing: SSTB; TTBB chorus of priests; 3 sop. soli
Level of Difficulty: Difficult
Performance
Notes: Choruses of the People & Priests. One of the most
frequently performed opera choruses. An extensive
instrumental interlude (Ballabile) should be cut if this
chorus is used.
Story Context: This is the parade honoring the victorious Egyptian soldiers
over their Ethiopian enemies. A chorus of Priests also
offers prayers of thanks to the Gods.
Additional
Comments: Give careful attention to balancing the two choirs. Two
trumpets are necessary for an effective performance. The
trumpet interlude is well known and should not be omitted.
Separate trumpet parts are available for rental or purchase.
Reference Edition: G. Schirmer Opera Score Editions, New York, 1963.

•Footnote:
RI - Recommended Independent Excerpt RS - Recoai'oendcd'Sotoui(a) Required

NR - Not Recommended
Page - 18
Recommended for Use: RS

OPERA: A ida

Composed: 1871
CHORUS TITLE: Grand Scene of the Consecration

Title-2:
Act/Scene/Page No.: Art I, Scene II, pg.60
Voicing: SSATTBB/solo sop.
Level of Difficulty: Moderately Difficult
Performance
Notes: Men's Chorus of Priests: horaophonic, 4-part responses to
the High Priestess and her 3-part chorus.
Story Context: The temple of Vulcan in Memphis. Radames is to be

consecrated as the general of the Egyptian forces.*
Additional
Comments: Some very nice writing for chorus that successfully portrays the
"temple" atmosphere. Requires a good soprano soloist but the
part is not excessively difficult.

•Footnote: Milton Cross, "Stories of the Great Operas". (New York: Washington Square
Press, 1967), 4.
Rl- Recommended Independent Excerpt RS ■Recoounended/Sotoat(i) Required

NR - N<x Recommended
Page - 19

OPERA: A ida

Composed: 1871
CHORUS TITLE: Chi m ai, fra g fin n ie i plausi

Title-2: Arise, you songs of Glory
Act/Scene/Page No.: Act II, Scene 1, pg.79
Voicing: SS/solo sop.
Level of Difficulty: Easy
Performance
Notes: Rather simple yet pleasant chorus which requires a capable
soloist. The piece is somewhat mono-dimensional, but it
provides a nice opportunity to feature a mezzo soloist,
(middle C to high G)*
Story Context: Amneris and her ladies in waiting anticipate the return of
Radames and the Egyptian soldiers from battle.
Additional
Comments: The harp is a featured instrument and should be used if
possible. The Moorish dance interlude following Amneris's
solo can be omitted.

♦Footnote: Julian Budden, "The Operas of Verdi", Vol. 3. (New York: Oxford University
Press, 1981), 216.
RI - Recommended Independent Excerpt RS - Reconunended/Sotoi»t(t) Required

Page - 20

OPERA: A ida

Composed: 1871
CHORUS TITLE: Si: dai N um i

Title-2: See Us Sire
Act/Scene/Page No.: Act II, Finale
Voicing: TTBB/TB/SSTTBB/soloists
Performance
Notes: The conclusion of the Act II finale: This is a recapitulation
of the 'Triumphal March' chorus with the addition of the
Prisoners' Chorus and all the soloists. Good for an
ensemble with considerable forces and professional soloists.
Story Context: The Egyptian Priests are demanding revenge on the captive
Ethiopians while the people implore the King to show
mercy. Radames is contemplating his love for Aida and
Amneris is venting her jealousy.
Additional
Comments: "This finale is Verdi's last essay in musical pageantry, crowning
a progress which started in 'Giovanna d'Arco'...he was never
again to aim at this kind of surface grandeur. 'Aida' remains
his farewell to what may be called 'grand opera'..."*

•Footnote: Julian Budden, "The Operas of VeaH", Vol. 3. (New York: Oxford University
Press, 1981), 233.
RI - Recommended Independent Excerpt RS - Recommended/Soloi»t(s) Required

Page - 21
Recommended for Use: NR

OPERA: A ida

Composed: 1871
CHORUS TITLE: AUa cagion v'aduna

Title-2: Grave is the cause that calls you
Act/ Scene/Page No.: Act I, pg.29
Voicing: Chorus & Soloists
Performance
Notes: Chorus supports the soloists - not independently useful.
Story Context: The invasion of Egypt is announced and the people resolve
to go to battle. As they leave the great hall they shout their
support of Radames with the cry, "Ritoma vincitor!"*
Additional
Comments: This chorus is too brief to develop an independent quality or
individual character of any real significance.

•Footnote: Milton Cross, "Stories of the Great Operas". (New York: Washington Square
Press, 1967), 3.
RI - Recommended Independent Excerpt RS - Recommended/SokMit(s) Required

Page - 22

OPERA: Aida
Composed: 1871
CHORUS TITLE: AUa cagion v'aduna

Title-2: Grave is the cause that calls you
Act/Scene/Page No.: Act I, pg-29
Performance
Notes: Chorus supports the soloists - not independently useful.
Story Context: The invasion of Egypt is announced and the people resolve
to go to battle. As they leave the great hall they shout their
support of Radames with the cry, "Ritom a vincitor!"*
Additional
Comments: This chorus is too brief to develop an independent quality or
individual character of any real significance.
Reference Edition: G. Schirmer O pera Score Editions, New York, 1963.

'Footnote: Milton Cross, "Stories of the G reat Operas". (New York: Washington Square
Press, 1967), 3.
R I - R ecom m ended In dependent Excerpt R S - R ecom m ended/SoIoisl(s) R equired

Page - 22

OPERA: Don Carlos
Librettist: Joseph du Locle from Friedrich Schiller

Composed: 1867
CHORUS TITLE: Sotto ai folti/Nei gairdin del bello

Title-2: Veil Song, The
Act/Scene/Page No.: Act I, Scene 2, pg.30
Voicing: SSA/solo sop. & mez.
Level of Difficulty: Medium
Performance
Notes: In two very distinct sections with the first part serving as a
slow introduction to the Moorish dance (veil song). A
congruent, balanced scene when both pieces are used. The
Veil Song can also be performed without the choir.
Story Context: "In the monastery garden, Princess Eboli, Tebaldo and the
ladies in waiting are seated on grassy mounds around a
fountain singing of the beauty surrounding them."’*
Additional
Comments: A good mezzo is required for the Veil Song, but the vocal
writing for the women's ensemble is beautifully devised and
very effective.

•Footnote: David DeVenney and Craig Johnson. "The Chorus in Opera". (Metuchen,
NJ: Scarecrow Press, 1993), 136.
RI - Recommended Independent Excerpt RS - Recommended/SoJoixH t ) Required

Page - 24

OPERA: Don Carlos
Composed: 1867
CHORUS TITLE: Spuntato ecco il d i d'esultanza

Title-2:
Act/Scene/Page No.: Act III, Scene 2, pg.129
Voicing: SSTTBB/Unison male chor.
Performance
Notes: A grand act "opener". The stylistic and structural precursor
of the "Triumphal March" in Aida. The instrumental
processional material, prior to the recapitulation, can be
cut. Effective use of choral imitation. An excellent,
independent chorus.
Story Context: A huge processional (29 separate groups enter*) including

the Spanish royalty, the inquisitors and a group of heretics
that are about to be burned alive.
Additional
Comments: Four distinct sections: 1 - A bombastic, fanfare opening,
SS(A)TB; 2 - The funereal entrance of the inquisitors and
prisoners, unison TB; 3 - The hope of redemption, SSTTBB;
4 - recapitulation of the opening material.

*Footnote: A complete list of the "Order of Procession" is provided in volume three of
Julian Budden's study, "The Operas of Verdi". (New York: Oxford University
Press, 1981), 113-114.
R I - R ecom m ended Independent E xcerpt R S - R ecom m ended/SoIoist(s) R equired
N R - Not R ecom m ended
Page - 25

OPERA: Don Carlos

Composed: 1867
CHORUS TITLE: Su di lo r stenda il Re

Title-2:
Voicing: SSSTTB/6-soloists
Performance
Notes: Chorus plays a supporting role to soloists, yet the music is
well developed. This chorus is generally deleted from the
opera, but might be useful for featuring soloists within a
choral/ensemble framework.
Story Context: The people implore the Spanish Queen, Elizabeth, to

mercifully intercede on behalf of the Flemish prisoners.
The soloists express other aspects of the argument.
Additional
Comments: There are two distinct versions of this opera. The original
5-Act work premiered in Paris in 1867. Verdi rewrote and
restructured the work to a 4-act format which was presented at
La Scala in 1884.*

•Footnote: Stanley Sadie, "The New Grove Dictionaiy of Opera", Vol. 1. (London:
MacMillan Press, 1992), 1198.
RI - Recommended Independent Excerpt RS - Recommcnded/Soioiit<s) Required

NR Not Recommended
Page - 26

OPERA: Don Carlos

Composed: 1867
CHORUS TITLE: Carlo il sommo Imperature

Title-2:
Voicing: TTBB/solo B
Performance
Notes: A men's chorus of monks supports a solitary soloist. This is
a funeral dirge which is not interesting enough on its own to
serve as an independent choral excerpt.
Story Context: Takes place in sixteenth century Spain. Monks are praying
before the tomb of Charles V in the monastery of San
Giusto.*
Additional
Comments: This is the opening chorus of the 4-act version of the opera
(1884). It is found in Act II, Scene 1 of the original 5-act form
of 1867.

•Footnote: Henry Simon. "100 Great Operas and Their Stories". (New York:
Doubleday, 1960), 120.
RI - Recommended Independent Excerpt RS - Reconunended/Solojtt(s) Required

Page - 27

OPERA: Don Carlos
Composed: 1867
CHORUS TITLE: P erir dovra

Title-2: Be free at last!
Act/Scene/Page No.: A ct III, Scene 2
Voicing: SSTTBB/soloists
Performance
Notes: The chorus provides significant support for the dramatic
action but plays only a minor musical role in this section of
the opera.
Story Context: Following the death of Rodrigo the crowd rushes in to free
Don Carlo and kill King Phillip. They are subdued by the
Grand Inquisitor.
Additional
Comments: This chorus occurs in Act IV, Scene 3 of the 5-act version
(1867).*

‘ Footnote: Stanley Sadie, "The New Grove Dictionary of Opera", Vol. 1. (London:
RI - R ecom m ended Independent H xcerpl R S - R ecom m ended/Soloist(s) R equired

NR - N ot R ecom m ended
Page - 2 8

OPERA: Ernani
Librettist: Francesco Piave from Victor Hugo

Composed: 1844
CHORUS TITLE: Evviva! beviam!

Title-2: Companions, let's drink and play.
Act/Scene/Page No.: Act I, pg.3
Voicing: TTBB
Performance
Notes: A brilliant chorus for men's ensemble; vibrant, full-bodied,
and spirited. Very useful as a choral excerpt.
Story Context: This opening chorus of the opera is a rousing drinking song
in which the rebel mountaineers celebrate their carefree
existence and greet their leader, Ernani.
Additional
Comments: "Verdi's superiority lies as usual in greater melodic vitality and
a longer rhythmic sweep. There are four melodic ideas in this
drinking chorus, each distinctively scored and each growing
naturally out of the one before."*
Reference Edition: G. Ricordi & Co., Milano, 1967.

•Footnote: Julian Budden, "The Operas of Verdi", Vol. 1. (New York: Oxford University
Press, 1981), 149.
RI - Recommended Independent Excerpt RS - Recommended/Sok>iit(s) Required

Page - 29

OPER/A Ernani

Composed: 1844
CHORUS TITLE: Esultuuno!

Title-2: Day of Gladness
Act/Scene/Page No.: Act II, pg.97
Voicing: SSTTBB
Level o f Difficulty: Medium
Performance
Notes: This piece is very effective and quite functional as a choral
fanfare for a wedding. It serves as the opening chorus of
Act II.
Story Context: Don Ruy Gomez di Silva is going to marry his niece and
ward, Elvira, who is in love with the bandit chief, Ernani.
"In the grand hall of Silva's castle, a crowd of women,
maids, pages and cavaliers sings of the beauty and virtue of
the bride-to-be."*
Additional
Comments:

RI - Recommended Independent Excerpt RS - Recoaimended/Sok>ist(s) Required

Page - 30

OPERA: Ernani

Composed: 1844
CHORUS TITLE: Si ridesti U Leon di Castiglia

Title-2: Let the Lion of Castile arise
Act/Scene/Page No.: Act III, pg.174
Voicing: TTBB
Performance
Notes: This piece has a powerful, heroic quality, typical of Verdi's
early patriotic choruses. It's an excellent choice for a men's
ensemble.
Story Context: This chorus comes at the height of Act III when the
conspirators plan to assassinate the future Emperor. He
overhears their plans from his hiding-place.
Additional
Comments: A good recording of this particular chorus is available under
the "Naxos" label.*

*Footnote: "Verdi Opera Choruses’. Cond. Oliver Dohnanyi. Slavak Philharmonic Choir
and Slovak Radio Symphony Orchestra. Naxos, CD 8.550241, Bratislava,
1990.
RI - Recommended Independent Excerpt RS - Recommended/Soloist(s) Required
NR • Not Recommended
Page - 31
Recommended tor Use: RI

OPERA: Ernani

Composed: 1844
CHORUS TITLE: Ohcomefelici

Title-2: We welcome, we hail thee
Act/Scene/Page No.: Act IV, pg.200
Voicing: SSTTBB
Performance
Notes: The music must maintain its dance character; a sprightly
3/4.
Story Context: A masked ball celebrating the coming marriage of Emani

and Elvira. On the terrace of Emani's castle.
Additional
Comments: The genesis of this opera from its inception to the premier in
Venice is wonderfully documented by David Kimbell in his
book "Verdi in the Age of Italian Romanticism".*

•Footnote: David Kimbell. "Verdi in the Age of Italian Romanticism’, Chap. VI. (New
York: Cambridge University Press, 1981), 113-136.
RI Recommended Independent Excerpt RS - Recommeoded/Soloist(s) Required

NR Ncx Recommended
Page - 32

OPERA: Ernani

Composed: 1844
CHORUS TITLE: Sia rapita

Title-2: We will seize her
Voicing: TTBB
Performance
Notes: This piece features the tenor soloist and would be
appropriate for use only in that context. It contains a
charming interplay between the chorus and soloist.
Story Context: The men agree to help Ernani abduct Donna Elvira from
her guardian and fiance, Don Ruy Gomez de Silva.
Additional
Comments: Following the opera's successful premiere in Venice, Donizetti
offered to oversee its production in Vienna. Verdi accepted
this help with considerable appreciation.* The two composers
maintained a consistent admiration of each others work.

•Footnote: Frank Walker. "The Man Verdi". (Chicago: University of Chicago Press,
1962), 110-111.
RI - Recommended Independent Excerpt RS - Recommended/Solodt< j ) Required

Page - 33

OPERA: Ernani
Composed: 1844
CHORUS TITLE: In arcione, in arcion, cavalieri

Title-2: To horse! to horse, cavaliers!
Act/Scene/Page No.: Act II, Finale, pg.152
Voicing: TTBB/solo TB
Performance
Notes: Unfortunately, this final chorus of Act II does not seem
completely convincing. It is rather predictable and doesn’t
display any particularly unique qualities which might
encourage separate performance.
Story Context: This is a call to arms in which Ernani, Silva and the soldiers
pledge to overthrow the King.
Additional
Comments: There is a certain bravado in this piece that might have some
appeal and the solo baritone and tenor work might prove
useful in the right situation.

’ Footnote:
R I - R ecom m ended In d e p e n d en t l ucerpt RS - R ecom m endedySoloist(s) R equired

Page - 34

OPERA: Ernani
Composed: 1844
CHORUS TITLE: Quante d'Iberia giovani

Title-2: Lady, how many a noble maid envies thee
Voicing: SSA/solo sop.
Performance
Notes: The women’s chorus is incidental to the solo.
Story Context: Elvira dreads the prospect of her arranged marriage with
Gomez di Silva and prays that Ernani will com e to her
rescue. The women's ensemble tries to offer comfort.
Additional
Comments: "Cast in a bolero rhythm (a rare concession to local colour) it
is essentially a ballet movement with female voices added."*

‘ Footnote: Julian Buddcn, "The Operas of Verdi", Vol. 1. (New York: Oxford University
Press, 1981), 151.
RI - R eco m m en d ed In d e p e n d en t Fixeerpt R S • Recom m ended/Soloisl(s) R equired

N R - N o t Recom m ended
P ag e - 35
d io r a l Repertoire: Vertli Opera Choruses

OPERA: Ernani
Composed: 1844
CHORUS TITLE: Oh cielo! e desso il re!

Title-2: Oh Heaven! It is the King!
Voicing: SSTTBB/6 soloists
Performance
Notes: The chorus writing is hushed in accordance with their
surprise and then punctuated with sudden outbursts relative
to the drama. This is typical finale choral writing which
primarily serves to support the soloists.
Story Context: The assembled household is surprised to find King Carlo in

their midst. H e had entered Elvira's room via a complex
ruse and had kept his identity secret up to this point.*
Additional
Comments:

‘ Footnote: Henry Simon. "100 G reat Operas and Their Stories". (New York:
Doubleday, 1960), 145-146.
RI - R ecom m ended Independent F.xcerpt RS - R ecom m ended/Soloist(s) Required

N R - Not R ecom m ended
Page - 3 6

OPERA: Ernani

Composed: 1844
CHORUS TITLE: M io Signor

Title-2:1, Thy Friend
Performance
Notes: This is a typical Verdi "finale" chorus which primarily serves
a supportive function in deference to the more prominent
solo material.
Story Context: A variety of characterizations and motivations are all

culminating simultaneously. Julian Budden's plot summary
is particularly helpful in clarifying these variously complex
components.*
Additional
Comments:

"Footnote: Julian Budden, "The Operas of Verdi", Vol. t. (New York: Oxford University
Press, 1981), 154-155.
RI - Recommended Independent Excerpt RS - Recommeoded/Sotoist(s) Required

Page - 37

OPERA: Ernani

Composed: 1844
CHORUS TITLE: A d A ugusta!

Title-2: The conspirators chorus
Voicing: TTBB/solos
Performance
Notes: This choral/solo section precedes the more prominent
chorus, "Si ridesti..." and primarily serves to support the solo
material.
Story Context: The conspirators are meeting in the subterranean vaults

containing the tomb of Charlemagne. As they arrive they
exchange passwords and draw lots to see who will strike the
death blow in their plot to assassinate the king.
Additional
Comments: Ernani represented two "firsts" in Verdi’s careen his first
opera to be produced in Venice, and the first time he used a
Piave libretto. Over the course of 18 years Piave provided
Verdi with nine librettos.*

•Footnote: Paul Hume. "Verdi: the Man and his Music". (New York: E.P. Dutton, 1977),
32.
RI - Recommended Independent Euerpt RS - Recommcnded/Sotoift<s) Required


OPERA: Ernani

Composed: 1844
CHORUS TITLE: Osommo Carlo

Title-2: Oh noble Carlos
Performance
Notes: The finale of the Act III. This is a full blown choral finale
that is predictably reliant upon the soloists. It would not
work well as an independent choral ensemble selection.
Story Context: The King pardons the conspirators and all sing his praises.
Ernani and Elvira are to be united in marriage.
Additional
Comments: "The manner in which the massive tuttis are worked in and
contrasted with fragments of Carlo's melody is something new.
Act III ends in a blaze of glory and happiness..."*

Press, 1981), 164-65.
RI Recommended Independent Excerpt RS • Recommended/Soloiit(s) Required

Page - 39

OPERA- Falstaff
Librettist: Arrigo Boito from William Shakespeare
Composed: 1893
CHORUS TITLE: Ruzzola, ruzzola!

Title-2:
Act/Scene/Page No.: Act III, Scene 2
Voicing: TTB/SSSAA dbl,choir/solos SMAB
Performance
Notes: With the exception of this scene, Verdi did not use the
chorus as a dramatic unit to any great extent in Falstaff.
When he does use the chorus it is primarily in support of the
solo voices.
Story Context: Sir John arrives at the stroke of midnight in Windsor Park
under Heme's Oak. He is supposed to meet his intended
lover, Ann, but is instead taunted, pinched and poked by a
chorus of spirits and imps: his disguised tormentors.
Additional
Comments: Though considered a success initially, the public did not share
the same enthusiasm for Falstaff as for Aida and Otello, and
the box office receipts never equalled those of other operas.*

*Footnote: Ferruccio Bonavia. "Verdi". (Westport, Connecticut: Hyperion Press, 1979),
107.
RI - Recommended Independent Excerpt RS - Reconunended/Soloitt(s) Required

Page - 40

OPERA: Falstaff
Librettist: Arrigo Boito from William Shakespeare

Composed: 1893
CHORUS TITLE: Tutto nel m ondo e burla

Title-2: Everything in the World is a Joke.
Voicing: SATB and Soloists
Performance
Notes: Falstaff leads off this spirited finale; a comic fugue in nine
parts which employs the entire company.
Story Context: Ford has been cleverly tricked into blessing the union of his
daughter Nannetta and Fenton. When the ruse is revealed
he accepts defeat philosophically and, with all parties
reconciled, the closing ensemble builds to an exciting
conclusion.
Additional
Comments: "...the final message of the secular Verdi is one of tolerance,
comprehension and humor. If we cannot all agree we can at
least laugh with each other and at ourselves. It is a message of
hope."*

‘ Footnote: Julian Budden, "The Operas of Verdi", Vol. 3. (New York: Oxford University
Press, 1981), 531.
RI - Recommended Independent Excerpt RS ■Recommended/Soloi*t(s) Required

Page - 41

OPERA: | Lombardi
Librettist: Timistocle Solera

Composed: 1843
CHORUS TITLE: Gerusalem!

Title-2: Coro della Processione
Voicing: SSSTTBB
Performance
Notes: The a cappella opening is followed by a section of 2-part
scoring for women's voices. A section for unison men leads
into a 6-part declamation (SSTTBB) which resolves to the
final prayerful "Jerusalem". A very effective chorus.
Stoiy Context: In the valley of Jehoshaphat, with the Mount of Olives and
Jerusalem in sight, a group of pilgrims sings a processional
chorus of deep devotion.
Additional
Comments: "Verdi's two early successes, 'Nabucco' and 'I Lombardi', had
both been written for La Scala, one of the largest stages in Italy
and well suited to the grandiose choral effects of those
works."*
Reference Edition: R. Stabilimento Ricordi, Milano, (no date).

•Footnote: Stanley Sadie, "The New Grove Dictionary of Opera", Vol. 2. (London:
RI - Recommended Independent Excerpt RS - Recommended/Soiobt(j) Required

Page - 42
Recommended for Use: Rl

OPERA: I Lombardi

Composed: 1843
CHORUS TITLE: 0 Signore, dal tetto natio

Title-2: Coro di Crociati e Pellegrini
Act/Scene/Page No.: Act IV, Scene 2, pg.297
Voicing: SSTTBB
Performance
Notes: Cantabile con express., unison (mm. 1-26); SSTTBB,
familiar staccato chorus figure; returns to unison; flute
dueting; ends with a full, resonant chorus. Lyric, rather
delicate in places. Nice contrast.
Story Context: This was a very popular chorus when first introduced, and it
aroused considerable patriotic fervor. "The crusaders sing
a very effective chorus of longing, similar in style to 'Va,
pensiero1from Nabucco."*
Additional
Comments:

’ Footnote: David DeVenney and Craig Johnson. T h e Chorus in Opera*. (Metuchen,
Rl Recommended Independent Excerpt RS - Recommended/SoMstfs) Required

NR - No« Recommended
Page - 43

OPERA: I Lombardi

Composed: 1843
CHORUS TITLE: E dunque vero?

Title-2: Coro di Ambasciatori
Voicing: TTBB/solo B
Performance
Notes: This chorus does not strike me as having sufficient interest
o n its own to justify performance as an independent piece.
It might be useful, however, as a feature selection for a bass
soloist.
Story Context: "In his palace in Antioch, the enthroned Acciano receives a
group of Muslim ambassadors. The visitors invoke Allah's
w rath on the invading army of crusaders.'"* Acciano
describes the devastation th a t will follow and encourages
th e people to unite.
Additional
Comments:
Reference Edition: R. Stabilimento Ricordi, Milano, (n o date).

R l - Recommended Independent Excerpt RS ■Recommended/SoloiicO) Required

NR- Not Recommended
Page - 44

OPERA: I Lombardi
Composed: 1843
CHORUS TITLE: Preludio ed Introduzione

Title-2: Oh nobile esempio!
Act/ Scene/Page No.: Act I, Scene 1
Voicing: TTB/S dbl. choir, SATB divisi
Level of Difficulty: Moderately difficult
Performance
on its own to justify performance as an independent piece.
Story Context: "A crowd in the piazza of Saint Ambrogio in Milan hears
the sounds of rejoicing from inside the cathedral, which
include both a unison women's chorus and a band."*
Additional
Comments: The celebration is in recognition of the reconciled friendship
of the brothers Arvino and Pagano.

•Footnote: David DeVenney and Craig Johnson. T h e Chorus in Opera*. (Metuchen,
Ri Recommended Independent Excerpt RS - Reoommended/SotoiiUs) Required

NR - No« Recommended
Page - 45

OPERA: I L o m b ard i

Composed: 1843
CHORUS TITLE: Coro di ClaustralilSgherri

Title-2:
Act/Scene/Page No.: Act I, pg.63-82
Performance
Notes: The chorus plays a musically, supportive role. It fills out the
harmony and comments upon the action of the main
characters.
Stoiy Context: It's announced that Arvino will lead a crusade and there is a
general chorus of affirmation which exits marching. An off
stage Nuns chorus is heard in transition to Pagano's aria
and his supporters vow to avenge his loss of Viclinda to his
brother.
Additional
Comments: The chorus work here is extensive and important to the
drama, but is not functional as an independent choral excerpt.

•Footnote:
Rl - Recommended Independent Excerpt RS - Recommended/Sotoi»t(») Required

Page - 4 6

OPERA: I Lombardi

Composed: 1843
CHORUS TITLE: A ct I Finale

Title-2:
Performance
Notes: The chorus plays a secondary, supportive role; fills out the
harmony and/or comments upon the action of the main
characters. This chorus would not succeed as an
independant choral excerpt.
Story Context: Pagano has killed his father, Folco, but is apprehended by
his brother, Arvino, who demands that Pagano be put to
death. Giselda advises mercy but Pagano attempts to kill
himself. Everyone finally calls for him to be banished.
Additional
Comments: The opera was apparently frowned upon by the religious
censors but the Milan premiere "was a wild public success".*

Rl - Recommended Independent Excerpt RS • Recommended/Solodt(i) Required

Page - 47

OPERA: I Lombardi

Composed: 1843
CHORUS TITLE: StoltoAUha!

Title-2:
Voicing: TTBB/TB solos
Performance
Story Context: A cave in the vicinity of Antioch. Pagano has now become
a repentant hermit. Arvino arrives with the crusaders and
reveals that Giselda has been captured. Pagano vows to aid
in her rescue and the scene concludes with this brash,
warlike chorus.
Additional
Comments: Verdi dedicated this opera to Maria Luigia, the archduchess of
Parma and former wife of Napoleon. She refused to
accompany the French dictator into exile and remained in Italy
the rest of her life.*
Reference Edition: R Stabilimento Ricordi, Milano, (no date).

‘ Footnote: George Martin. "Aspects of Verdi". (New York: Dodd, Mead & Co., 1988),
5-6.
Rl - Recommended Independent Excerpt RS - Recoramended/Sotobt(j) Required

Page - 48
Recommended fo r Use: NR
OPERA: I Lom bardi
Librettist: Timistocie Solera
Composed: 1843
CHORUS TITLE: Coro d i Schiave

Title-2:
Voicing: SSS Chorus/S solo
Performance
Notes: The chorus plays a secondaiy, supportive role; fills out the
harmony and/or comments upon the action of th e main
Story Context: Inside the harem at Antioch. The womens chorus,

complete with rather bland musical gestures towards
'eastern' local colour, serves as an introduction to the
captive Giselda's full scale, double aria.*
Additional
Comments:
Reference Edition: R. Stabilimento Ricordi, Milano, (no date)-

•Footnote: Stanley Sadie, "The New Grove Dictionary o f Opera", Vol. 2. (London:
Rl - Recommended Independent Excerpt RS - Recomn*oded/Sotot»t(i) Required

Page - 49
Choral Repertoire: Verdi Opera Cfsoruses

OPERA: I Lom bardi

Composed: 1843
CHORUS TITLE: Inno di G uerra e Battaglia

Title-2: Guerra! guerra!
Act/ Scene/Page No.: Act IV, Scene 2, pg.305
Voicing: TTBB/S solo
Performance
Notes: This chorus is first heard as 'Stolto Allha!' in Act II. It
fulfills a secondary, supportive function to th e drama and
doesn't really stand on its own as an independent piece.
This chorus would not succeed as an independent choral
excerpt.
Story Context: The Lombard soldiers are dying of thirst w hen Giselda tells
them where they can find water. Their spirits revived, they
once again prepare for battle with this choral call to arms.
Additional
Comments:
Reference Edition: R- Stabilimento Ricordi, Milano, (no date).

•Footnote:
R I. Recommended lwtependem Excerpt RS • Recotnin«oded/So,0“ l(*) Required

Page - 50

OPERA: I Lom bardi
Composed: 1843
CHORUS TITLE: Te lodiamo, gran Dio d i vUtoria

Title-2: Terzettino ed inno-Finale
Performance
Story Context: Pagano, 'The Hermit', is mortally wounded and reveals his
true identity to Giselda and Arvino. Jerusalem is finally in
the hands of the Crusaders and the opera concludes with
this grand choral hymn.
Additional
Comments: 'Nabucco' and 'I Lombardi' are often viewed as stylistically
similar, but the later work is usually considered more
successful due largely to its wider range of action and
contrasting locales.*

Rl - Recommended Independent Excerpt RS - Recommended/Sotoi»t(i) Required

NR ■Not Recommended
Page - 51

OPERA: I| trovatore
Librettist: Salvatore Cammarano from Gutierrez
Composed: 1853
CHORUS TITLE: Vedi! le fosche nottum e spoglie

Title-2: Anvil Chorus
Act/Scene/Page No.: Act II, No.7
Voicing: SATB
Performance
Notes: The anvil sound derives from the gypsy workman
hammering on their metal works, brass pots, etc. Pipes or
various metal implements can be used to create this sound.
Stoiy Context: A gypsy camp on the slope of a mountain in Biscay, Spain.

The gypsies herald the dawn of a new day while working at
their forges, clanking hammers in rhythm to the music.
Additional
Comments: 'II trovatore' was the most popular first season production of a
Verdi opera in San Francisco's history. For the 11
performances o f 1859 roughly 20,000 tickets were sold to a
population of 55,000.*

*Footnote: George Martin. "Verdi at the Golden Gate". (Los Angeles: University of
California Press, 1993), 137-138.
Rl - Recommended Independent Excerpt RS - Recommended/Sotoiit(s) Required

Page - 52

OPERA: U tro v a to re

Composed: 1853
CHORUS TITLE: Ah! se terror t'ingombra

Title-2: Chorus of Nuns
Act/Scene/Page No.: Act II, Scene 2, No.13
Voicing: SSA/TB/solo Bari.
Performance
Notes: Interesting contrast from the solemn, prayerful harmony of
the nuns to the agitated secrecy of the Count and his
soldiers. The nuns are in 4-parts; the soldiers in unison.
This is a very useable chorus but it requires a capable
baritone soloist.
Story Context: The Count is going to abduct Leonora from the cloister
before she can take the veil.
Additional
Comments: Piave was originally engaged to provide the libretto but the
task was eventually taken over by Cammarano who
unfortunately died before the job was actually finished. Leone
Bardare and Verdi collaborated to complete the libretto.*

•Footnote: Stanley Harris, "An Opera Gala". (Gainsville, FL: Grand Staff Music
Publishers, 1994), 186.
Rl - Recommended Independent Excerpt RS - Recommended/Sotoiit(s) Required

Page - 53

OPERA: II trovatore
Composed: 1853
CHORUS TITLE: SquiUi, echeggi

Title-2:
Act/Scene/Page No.: Act III, Scene 1, No. 16b
Voicing: U (some TTBB)
Performance
Notes: Mainly unison, but there are brief passages in 4-parts at the
climax of phrases. The melody is quite angular; not easy to
sing well. This is Verdi's most famous 'Soldiers' Chorus'.
Story Context: In the military encampment of Count di Luna. The soldiers

are preparing to storm the castle for "fortune and glory",
(see also notes: "Or co’dadi...", page 61)
Additional
Comments: This chorus "has a compelling and resolute presence, its
relentless, grandiose march rhythm broadly fashioned to create
an extremely generous effect, filling every element of the scene
with spaciousness and an unusual articulation of line."*

•Footnote: Gabriele Baldini. "The Stoty of Giuseppe Verdi". (Cambridge: Cambridge
University Press, 1980), 216.
Rl - Recommended Independent Excerpt RS - Recomroended/Sotout(s) Required

Page - 54

OPERA: U trovatore
Composed: 1853
CHORUS TITLE: Miserere

Title-2:
Act/Scene/Page No.: Act IV, Scene 1
Voicing: TTBB/ST solos
Performance
Notes: "The ensuing 'tempo di mezzo', perhaps the most famous in
Italian opera, magnificently combines three contrasting
musical ideas: a solemn 'Miserere' sounding from within,
Leonora's fragmented response, and Manrico's farewell
melody."*
Story Context: Awing of the Aliaferia palace. Manrico's attack on the

Count has failed and he is now a captive. Leonora comes to
the prison to try and save him but the Count is determined
to execute both Manrico and Azucena.
Additional
Comments:

MacMillan Press, 1992), 826-827.
Rl - Recommended Independent Excerpt RS - Reoommended/SoMst(s) Required

Page - 55

OPERA: II trovatore
Composed: 1853
CHORUS TITLE: AIT erta! alF erta!

Title-2:
Act/Scene/Page No.: Act I, Scene 1, No.l
Voicing: TB/solo bass
Performance
Notes: The chorus of soldiers respond primarily in unison to the
bass soloist as his narrative introduces the essentia]
elements of the plot.
Story Context: Aragon, Spain in 1409. A hall in the Aliaferia palace.

Ferrando tells the story of the witch and the Count's missing
younger brother, Garzia. The chorus of soldiers rounds off
each section of the story with interjections and commentary.
Additional
Comments:

•Footnote:
Rl - Recommended Independent Excerpt RS - Recommended/Sotoot(s) Required

Recommended for Use: \ R

OPERA: II trovatore

Composed: 1853
CHORUS TITLE: S u lto rlo dei tetti

Title-2:
Act/Scene/Page No.: Act I, Scene 1, No.3
Voicing: TB/solo bass
Performance
Notes: A continuation of the Narrative from No.l - Not
excerptible, independent material for chorus.
Story Context: The chorus of soldiers joins Ferrando in the ghostly imagery
of the witch that still roams the night sky. "At the climax,
the midnight bell causes universal panic, and all hurriedly
disperse."*
Additional
Comments:

Rl - Recommended Independent Excerpt RS • Reconunended'Solobcfj) Required

Page - 57

OPERfc II tro v ato re
Composed: 1853
CHORUS TITL E: M esta e la tu a canzort!

Title-2: Gypsy Chorus
Performance
Notes: This is a reprise of No.7, the 'Anvil Chorus'.
Story Context:
Additional
Comments:

•Footnote:
Rl - Recommended Independent Excerpt RS - Recommended/Sotoi*l(») Required


OPERA: II tro v ato re
Composed: 1853
CHORUS TITLE: A rdir! andiam

Title-2: Chorus of Followers
Act/Scene/Page No.: Act II, Scene 2, No.l2
Voicing: TTBB/B solo
Performance
Notes: The chorus of soldiers responds in support of the soloist.
Story Context: The Count is resolved to abduct Leonora from the convent.
As he and his m en conceal themselves, this chorus serves as
"a frame for the Counts' vigorous cabaletta of expectation."*
Additional
Comments:

•Footnote: Stanley Sadie, "The New Grove Dictionary ° f Opera". Vo1- 2- (London:
Rl - Recommended Independent Excerpt RS - Recommended/Sotoutts) Required

Recommended for Use: N R

OPERA: II trovatore
Librettist: Salvatore Cammarano
Composed: 1853
CHORUS TITLE: E deggio e posso crederio? (Leonora)

Title-2: Quintet & Double Chorus
Act/Scene/Page No.: Act II, Scene 2, No.15
Performance
Notes: The chorus work serves as support for the solo trio. Not
excerptible.
Story Context: The Count is resolved to abduct Leonora from the convent
but Manrico arrives just as the Count is about to carry out
his plan. The (choral) nuns pray for Heaven's mercy to fall
upon Leonora and the Counts' men fear their master is
thwarting the fates.
Additional
Comments: "The subject of 'II trovatore' is derived from a popular Spanish
play by Garcia Gutierrez."*

•Footnote: Ferruccio Bonavia. "Verdi". (Westport, Connecticut: Hyperion Press, 1979),
61.
Rl - Recommended Independent Excerpt RS - Recommended/Sotout(s) Required

Page - 60

OPERA: n tro v ato re
Composed: 1853
CHORUS TITLE: Or co’ daddi, m a fra poco

Title-2: Soldiers' Chorus
Act/Scene/Page No.: Act III, Scene 1, No. 16a
Voicing: U/TTBB/solo Bari
Performance
Notes: The opening of Act III. This first part of No. 16 is
introductory material (primarily unison) and is generally
deleted in most choral recordings. The following section
( 16b) "Squilli, echeggi..." is more excerptible.
Story Context: The soldiers and Ferrando at the camp of Count di Luna
have been ordered to attack the castle. "Verdi specifies
several passages for specific groups of soldiers. These may
be sung by semi-choruses or the piece can be performed
tutti throughout."*
Additional
Comments:
Reference Edition: G. Schirraer Opera Score Editions, New York, 1926.

•Footnote: David DeVenney and Craig Johnson. T h e Chorus in Opera". (Metuchen,
Rl - Recommended Independent Excerpt RS - Recominended/Soloift(s) Required

Page - 61

OPERA: II trovatore

Composed: 1853
CHORUS TITLE: Tua prole, o turpe zingara

Title-2: Trio & Chorus
Act/Scene/Page No.: Act III, Scene 1, No.17
Voicing: TTBB/BBM soloists
Performance
Notes: The chorus of soldiers supports the bass, baritone, and
mezzo soloists.
Story Context: Ferrando, the captain of the Count's army, has captured
Azucena. As the chorus of soldiers and Ferrando happily
anticipate the spectacle of her being burned at the stake,
Azucena begs for mercy and the Count gloats over his
triumph.
Additional
Comments: "...if one trait can be singled out that best accounts for the
opera's success, it is probably the sheer musical energy
apparent in all the numbers...a relentless rhythmic
propulsion...and melodic lines with consequent explosive
power..."*

Rl - Recommended Independent Excerpt RS - Recommended/Sotout(s) Required

Page - 62

OPERA: La forza del destino
Librettist: Francesco Piave from the Duke of Rivas

Composed: 1862
CHORUS TITLE: Nella guerra e lafollia

Title-2: Long live folly
Voicing: SSSTTBB
Performance
Notes: An enthusiastic toast to the joys of life. A short, sprightly
piece with considerable unison. The two dance breaks need
to be abbreviated and/or dancers might be employed for
variety. Opens up to 7 parts on third repeat.
Story Context: This is part of the ’Rataplan’ scene which features the antics
of the gypsy girl, Preziosilla, and the Jewish peddler's song.
This is primarily a comic diversion scene with a very
interesting variety of music.
Additional
Comments: This is another opera that has undergone extensive revision.
The original was premiered in St. Petersburg in 1862 then
Verdi did a substantial rewrite for a La Scala production in
1869.*

•Footnote: Stanley Sadie, T h e New Grove Dictionary of Opera*, Vol. 2. (London:
Rl - Recommended Independent Excerpt RS - Recommended/SotoiMd) Required

Page - 63

OPERA: La fo rz a del d estin o
Composed: 1862
CHORUS TITLE: Rataplan

Title-2:
Act/Scene/Page No.: Act II, Finale, pg.214
Voicing: SATB divisi/solo M
Performance
Notes: Rataplan is the most frequently recorded chorus from this
opera and much of the piece is a cappella. This chorus is
quite difficult and it is recommended only if used in
conjunction with some of Preziosilla's mezzo solo material.
Story Context: A military encampment near Velletri, Italy - mid. 18th

century. "Preziosilla [the gypsy girl] leads a lively march to
end the act."*
Additional
Comments: The available recordings vary greatly depending upon which
version (1862 o r 1869) is being employed. The now 'famous'
overture is from the 1869 rendition.

'Footnote: David DeVenney and Craig Johnson. T h e Chorus in Opera”. (Metuchen,
Rl - Recommended Independent Excerpt RS - Reeonuneoded/Soioistfs) Required

Page - 64

Composed: 1862
CHORUS TITLE: Lorcke p ifferi e tam buri

Title-2: When the fifes and drums are sounding
Voicing: SSTTBB/solo M
Performance
Notes: The choral parts are prominent and nicely interwoven with
the mezzo solo. The piece requires the solo in order to
succeed. Interesting rhythms (dotted 16ths/32nds). Nice
change of texture & rhythm in the middle (pg.178).
Story Context: Sunrise in the soldiers' camp. An interesting interplay

between the venders, soldiers, and the gypsy soloist,
Preziosilla. A nice piece.
Additional
Comments: The entire closing section of this scene features the chorus and
3 soloists. It concludes with the 'Rataplan' chorus and, with
some careful editing, could serve nicely as a complete section
of a concert.

•Footnote:
Rl - Recommended Independent Excerpt RS - Recommended/Sot*t(») Required

NR - Nor Recommended

Composed: 1862
CH ORU S TITLE: M adre, p ie to sa Vergine

Title-2: Mother, merciful Virgin
Voicing: TTBB/solo Sop.
Performance
Notes: The chorus of friars sings "Venite adoremus" underneath
the more prominent solo material. Not excerptible.
Story Context: Leonora's father, the Marquis o f Calatrava, has been

accidentally slain by her lover, Don Alvaro. They flee the
scene but become separated. Leonora takes refuge at a
nearby monastery where she prays for mercy and
protection.
Additional
Comments: The premiere of 'La Forza...' in St. Petersburg was delayed for
a full year due to the ill health of several singers. Verdi's wife,
Giuseppina, reported this disappointing turn o f events in letter
dated, 20 January 1862. "Ah! the news is true..."*

•Footnote: Frank Walker. "The Man Verdi*. (Chicago: University of Chicago Press,
1962), 243.
Rl - Recommended Independent Eueipt RS ■Reconunendcd/Sok>iit(s) Required

Page - 66


Composed: 1862
CHORUS TITLE: L a vergine degli angeli

Title-2:
Voicing: TTBB/solo BBS
Performance
Notes: Straightforward chordal writing for the chorus. Take care to
properly articulate the double dots. Male solos are doubled
by the chorus. Sop. solo is not difficult. Maintain prayerful
quality.
Story Context: Padre Guardiano grants Leonora refuge in the cave near
the monastery. The friars and Leonore pray that God will
protect her.
Additional
Comments: This chorus does not develop outside of its dramatic context,
and would not succeed as an independent piece.

•Footnote:
RJ - Recommended Independent Excerpt RS • Recommended/Sotoiit(s) Required

Page - 67


Composed: 1862
CHORUS TITLE: C om pagni, so stiam o

Title-2:
Voicing: TTBB
Performance
on its own to justify performance as an independent piece.
Story Context: Alvaro and Carlo have fought a dual. This chorus occurs
several days afterwards and provides a bit of comic relief.
A patrol enters the grounds of the military camp near
Velletri on an inspection tour.
Additional
Comments: This chorus was not in the original production but newly
composed for the 1869 version.*

•Footnote: Stanley Sadie, "The New Grove Dictkmaiy of Opera", Vol. 2. (London:
RI - Recommended Independent Excerpt RS ■Recommended;SokMt(j) Required

Page - 68

OPERA: La tra v ia ta
Librettist: Francesco Maria Piave

Composed: 1853
CHORUS TITLE: S i ridesta in ciel taurora

Title-2: Stretta of the Introduction
Act/Scene/Page No.: Act I, No.5
Voicing: SSSTTB/soloists
Performance
Notes: Some excellent choral writing here. Soloists are not
required since their parts are doubled by the chorus.
Story Context: At the end of the evening Violetta's party guests bid
farewell.
Additional
Comments: This is a perfect 'closer' which would work either at the end of
a concert or to conclude a segment of a performance.
Interesting and clever music which provides the appropriate
dramatic support to the scene. N ot excessively complex.

•Footnote:
RI - Recommended Independent Excerpt RS - Recomraended/Sotoiitd) Required

Clioral Repertoire: Verdi Opera Choruses

OPERA: La traviata
Composed: 1853
CHORUS TITLE: ] )i M ad rid e n o i sia m m a ta d o ri

Title-2: Chorus of M atadors
Act/Scene/Page No.: Act II, No. 13
Voicing: SATTB/solo MBB
Performance
Notes: This chorus features the men (TTB) but also incorporates
womens voices. It's quite effective on its own but combining
with the 'Chorus of Gypsies' is recommended. The
principals are doubled by the chorus.
Story Context: The party guests appear in a variety of different costumes.

In this chorus the men tell the story of a matador's attempt
to impress a lady friend.
Additional
Comments: Though Verdi labeled the Venetian premiere "a solid fiasco!"
it was given a respectable schedule of 11 performances and
Verdi was called out repeatedly for curtain calls. His criticism
was primarily aimed at the principals whom he felt were
inadequate.*

‘ Footnote: David Groover and Cecil Conner. "Skeletons From the Opera Closet".
(Wakefield, Rhode Island: Moyer Bell, 1994), 162-163.
RI - Recommended Independent fixcerpt RS - Recommended/Soloist(s) Required

Page - 70

OPERA: La traviata
Composed: 1853
CHORUS TITLE: Dell invito trascorsa e gia I ora

Title-2:
Voicing: SATB/soloists
Performance
Notes: This piece primarily highlights the leading characters,
however, the following section (No.3) features the chorus
more prominently, in alternation with two soloists.
Story Context: Opening scene - Violetta's party: This would work well in
the context of an opera scene concluding with the famous
'Libiamo' chorus. Not recommended as an isolated choral
selection.
Additional
Comments: "The 'party1music of the first act is far superior to anything
Verdi had previously written in this vein... The dovetailing of
vocal work between soloists and chorus is evidence of a new
technical mastery and psychological insight into characters."*

•Footnote: Dyneley Hussey. "Verdi*. (New York: Collier Books, 1962), 84-85.
RI - Recommended Independent Excerpt RS - Recommended/Sotoiit(s) Required

Page - 71

OPERA: La traviata

Composed: 1853
CHORUS TITLE: Libiamo ne' lieti caiici

Title-2: Drinking Song (Brindisi)
Voicing: SATB/solo TS
Performance
Notes: This is one of the 'classic' opera choruses. Capable soprano
and tenor soloists are required but the solo work is not
particularly demanding. Scoring is SSSTTBB at times; use
altos on lower soprano part.
Story Context: Alfredo leads this toasting song at Violetta's lavish party.
An energetic, fun filled piece and not difficult. "Some light
dialogue between the principals then leads to an exuberant
climax with the chorus."
Additional
Comments:

’ Footnote: David DeVenney and Craig Johnson. "The Chonis in Opera". (Metuchen,
RI ■Recommended Independent EKerpt RS - Recommended/So*ot«t(s) Required

Page - 72

OPERA: La tra v ia ta
Librettist: Francesco M aria Piave

Composed: 1853
CHORUS TITLE: Noi siam o zingarelle

Title-2: Chorus of Gypsies
Voicing: SAA/solo SMB
Performance
Notes: 11 mm. mezzo solo, not difficult (e2); 2 mra. easy bass solo
(F -cl). Excellent vehicle for featuring women of the
ensemble. Should be paired with 'Chorus of Matadors'
which follows. Tambourines are necessary for the general
atmosphere of this piece.
Story Context: The 'gypsies' and 'matadors' are costumed guests at Flora's
masquerade party.
Additional
Comments: The stoty is drawn from the Alexander Dumas play, "Camille".

•Footnote:
RI • Recommended Independent Excerpt RS • Recommended/SotoiiH*) Required

Page - 73

OPERA: L a trav iata

Composed: 1853
CHORUS TITLE: A lfred o ! Voi

Title-2:
Act/Scene/Page No.: Act II, No.14/15
Voicing: SSTTB/Soloists
Performance
Notes: The chorus is very much a part of the drama, but musically
plays a supporting role. No excerptible chorus material in
these two movements.
Story Context: The finale of Act II. A salon in Flora's town house.
Violetta tells Alfredo that she is in love with Baron
Bouphol. Alfredo calls all the guests together and insults
Violetta thereby incurring the anger of all present.
Additional
Comments: Alfredo's father, Germont, also arrives on the scene to further
complicate the moment. This material would be very
functional if presented as a scene. Nice feature sections for
soloists and excellent dramatic support from the chorus.
*Footnote:
RI - R ecom m ended Independent Hxeerpt R S - R ecom m ended/Soloist(s) Required

N R - N ot Recom m ended
Page - 7 4

OPERA: L a trav iata
Composed: 1853
CHORUS TITLE: Largo al quadrupede sir della festa

Title-2: Bacchanal Chorus
Act/Scene/Page No.: Act III, No.17
Voicing: SSTTB
Performance
Notes: This is short, incidental music which would not stand on its
own in a concert context. However, it could serve nicely in
the capacity of a choral fanfare; a musical invitation to
enjoy an evening's entertainment.
Story Context: In the final scene of the opera carnival revelers a re heard in
the streets below as Violetta lies in her deathbed, "...the
joyful sound of masquers outside is in dramatic contrast to
the hushed sickroom on the stage."4
Additional
Comments:
Reference Edition: G. Schirmer O pera Score Editions, New Y ork, 1961.

*Footnote: Robert Donington. "The Opera". (New York: Haroourt Brace Jovanovich,
1978), 128.
RI Recommended Independent Excerpt RS - Recommended/SotoiiU*) Required

Page - 7 5

OPERA: M acbeth
Librettist: Francesco Piave from William Shakespeare

Composed: 1847
CHORUS TITLE: Chefaeeste? dite su!

Title-2: Witches Chorus (No.l)
Voicing: SSSS
Performance
Notes: Not easy; occasionally 4-parts but usually 3; very spirited
tempo but impressive if accurately accomplished. "The
piece is divided into two parts: the first evoking a sinister
atmosphere, the 2nd a more agile, almost dance-like allegro
brillante."*
Story Context: This opening scene of the opera takes place in a wood
where witches appear, one after another, amid thunder and
lightning. They are talking shop (the pleasures of drowning
sailors, etc.) A great "character" chorus.
Additional
Comments: There are four 'witches' choruses in Macbeth that are all very
well written. They could serve as an excellent structural base
upon which to construct a concert. (A Halloween theme in
October maybe?)

•Footnote: Gabriele Baktini. "The Story of Giuseppe Verdi". (Cambridge: Cambridge
RI - Recommended Independent Excerpt RS - Recommended/Sotout(s) Required

NR Not Recommended
Page - 76

OPERA: M acb eth

Composed: 1847
CHORUS TITLE: S'aUontanarono!

Title-2: Witches Chorus (No.2)
Voicing: SSS
Performance
Notes: The conclusion of scene one. Three-part writing and a
substantial amount of unison. Not as complex (or as
interesting) as Witches Chorus No.l.
Stoiy Context: When Macbeth and Banquo leave the witches return to
celebrate their triumph. They have planted the seeds from
which the destruction of Macbeth will unfold.*
Additional
Comments:

•Footnote: Julian Budden, "The Operas of VeijJT, Vol. I. (New York: Oxford University
Press, 1981), 284.
RI • Recommended Independent Excerpt RS - Recommended/Sotoift(s) Required

Page - 77

OPERA: Macbeth
Composed: 1847
CHORUS TITLE: SparveUsol

Title-2: Chorus of Cutthroats
Act/Scene/Page No.: Act II, Scene 2,pg.l21
Voicing: TTBB
Performance
Notes: This quiet, staccato chorus has an almost Gilbert & Sullivan
quality (the assassins creeping about under cover of
darkness). It's a clever piece and particularly well devised
for a men's ensemble.
Story Context: In a park near Macbeth's castle a group o f assassins are

preparing to ambush and m urder Banquo and his son,
Fleance. Following this chorus they conceal themselves to
await the arrival of their perspective victims.
Additional
Comments: This is a very functional choral excerpt, and is especially useful
as contrasting material to the witches' choruses.
Reference Edition: G. Schirtner Opera Score Editions, New York, 1961.

•Footnote:
RI - Recommended Independent Excerpt RS ■RectMtunendcd/SoloatU) Required

Page - 78

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: Tre volte miagola la gatta in fregola

Title-2: Witches Chorus (No.3)
Voicing: SSSS
Performance
Notes: Excellent vehicle for women's ensemble; occasional 4-part
writing but usually 3; spirited, evocative piece enriched by
light chromaticism; vivid orchestration which translates well
to piano accompaniment. This piece is a gem!
Story Context: This chorus occurs following Macbeth's encounter with

Banquo’s ghost. Before he enters the cave the hags are
gathered around a bubbling cauldron preparing their
witches' brew in anticipation of Macbeth’s arrival.
Additional
Comments: An excellent vehicle for staging, particularly if seeking a
uniquely, visual performance.

‘ Footnote:
RI - Recommended Independent Excerpt RS • Recommended/SoMit(s) Required

Page - 79

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: Coro e BaOabUe

Title-2: Ondine e Silfidi
Voicing: SSS
Performance
Notes: Interesting witches chorus in 6/8 - nice orchestration. Not
quite as effective without the special instrumental effects,
but would still succeed with a skilled pianist.
Story Context: After the apparition scene which concludes with another
appearance of Banquo's ghost, Macbeth feints. "There
follows a gentle chorus and dance of the aerial spirits."*
Additional
Comments:

RI Recommended Independent Excerpt RS - Recommeixted/Soloi*t(s) Required

Page - 80

OPERA: M acb eth

Composed: 1847
CHORUS TITLE: Patria oppressa!

Title-2: Chorus of the Scottish Exiles
Voicing: SSSTTBB
Performance
Notes: This is one of Verdi’s finest opera choruses. It has an
almost funereal quality yet contains a remarkably poignant
melody.
Story Context: Macduff is encamped at the Scottish border with refugees

and exiles. They deplore the fate of their oppressed
fatherland and the extermination of their families.
Additional
Comments: There are two distinct versions of 'Macbeth'. The original,
written for the Teatro della Perfola in Florence, was
substantially revised for the Paris production of 1865. 'Patria
oppressa!' was one of the fortunate additions to this second
version.

•Footnote:
Rl Recommended Independent Excerpt RS - Recominended/Soioiil(>) Required

Page - 81

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: A ct I I Finale (part I)

Title-2: Lady Macbeth's toast: "Si colmi il calice"
Voicing: SSTTBB/solo sop.
Performance
Notes: The Queen's toast is musically exuberant and the chorus
response is equally enthusiastic. A nice opportunity to
feature a solo soprano. The piece is quite short. (1 min. 30
sec.) The first section can be deleted; start at the allegretto.
Story Context: All hail the King and Queen in the great hall of Macbeth's
castle. Lady Macbeth then greets the assembled company
with a toast to which the chorus echoes their response.
Additional
Comments: This chorus is very similar in character and design to the
'Brindisi' chorus from 'La traviata'.

‘ Footnote:
RI • Recommended Independent Excerpt RS - Recommended/Sotoietfs) Required

Page - 82

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: A ct II Finale (part 2)

Title-2:
Performance
Notes: Beginning at the Largo (pg.165); an extensive ending which
features the soloists but calls for considerable support from
the chorus. Use primarily in the context of featuring a solo
performer.
Story Context: Macbeth sees Banquo's ghost and succeeds in frightening all
his guests with what appears to be the ravings of a madman.
The soloists and assembled company comment on his
apparently unbalanced mind.
Additional
Comments: This scene is a perfect example of Charles Hamm's third
category of choral writing: 'The Chorus as Narrator and
Commentator'.* Here the chorus is fundamental to the
dramatic focus of the scene as they interject commentary
regarding Macbeth's insanity.

*Footnote: Charles Hamm. "Opera". (New York: Da Capo Press, 1980), 114-118.
RI - Recommended Independent Excerpt RS - Recommended/Soloatd) Requited

Page - 83

OPERA: Macbeth
Composed: 1847
CHORUS TITLE: Inno di vittoria - Finale

Title-2:
Voicing: SSA/TB/TB/2 soloist
Performance
Notes: Triple chorus (Bardi, Soldati & Donne); this is an excellent
finale chorus! Very exciting. Rather complicated to work
out all the part assignments but well worth the effort.
Story Context: The victory chorus which follows the defeat and demise of
Macbeth.
Additional
Comments: This chorus was added in the 1865 Paris revision.

•Footnote:
RI - Recommended Independent Excerpt RS - Recommended/Sokwtfs) Required

Page - 84

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: Finale Act I

Title-2: Schiudi, inferno
Voicing: SSSTTB/6 soloists
Performance
Notes: This section is especially luxurious from a harmonic
standpoint, but definitely features the soloists. Use only as
part of a program which includes other portions of this
opera. The chorus work is not excerptible on its own.
Story Context: Banquo announces to the assembled household that

Duncan, the King of Scotland, has been murdered. The
news launches a tutti outburst of group anguish, a quiet
unaccompanied prayer for God's guidance, and a final cry
for vengeance.*
Additional
Comments:

RI - Recommended Independent Excerpt RS - Recommended/Soloiit(i) Required

Page - 85

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: Gran scena delle Apparizioni

Title-2: Finche appelli
Voicing: SSS/soloists
Performance
Notes: Primarily solo material for Macbeth and the apparitions
with periodic inteijections by the chorus of witches.
Story Context: The witches conjure up three apparitions who make their
predictions regarding Macbeth's fate. They admonish him
in particular to beware of Macduff and Bimam wood.
Additional
Comments: "The premiere of 'Macbeth' so excited the spectators that they
called the composer before the curtain thirty-eight times."*

•Footnote: Paul Hume. "Verdi: the Man and his Music*. (New York: E.P. Dutton, 1977),
46.
RI - Recommended Independent Excerpt RS - Recomnxnd«l/Solob!|s) Required

Page - 86

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: L a patria tradita

Title-2:
Voicing: SSTTB/solo TB
Performance
Notes: The chorus enters after the Allegro (circle 7) but is not
especially prominent until the 3/4 meter change. A very
martial quality but rather monodramatic. Does not display
enough innate interest to justify concert use.
Story Context: Malcolm joins Macduff at the Scottish border with a

contingent of English troops. He orders his men to carry
branches from the nearby Bimem wood as they march on
Macbeth's castle. The rousing duet by Malcolm and
Macduff is echoed by the chorus.
Additional
Comments:

‘ Footnote:
RI • Recommended Independent Excerpt RS - Recommended/Soio«»t(I) Required

Page - 87

OPERA: Macbeth

Composed: 1847
CHORUS TITLE: Ella e m ortal

Title-2: Scena E Battaglia
Voicing: SSTTB/soloists
Performance
Notes: The choral writing is of limited consequence here. The
orchestral scoring, on the other hand, is remarkable; a fugal
fanfare of sorts.
Story Context: Macbeth is told the forest is moving, the battle ensues, and
he is confronted by Malcolm who defeats him in
hand-to-hand combat.
Additional
Comments: In the 1847 Florence version, the opera ended here after a
short melodramatic addendum. For the Paris version of 1865
Verdi replaced this with a Victory Hymn.*

RI Recommended Independent Excerpt RS - Recomroerxled/Sotoutfi) Required

NR - Ncx Recommended
Page - 88

OPERA: N abucco

Composed: 1842
CHORUS TITLE: G li arredi festivi

Title-2: Coro d'introduzione
Voicing: SSSTTBB
Performance
Notes: The opening chorus following the overture. A bombastic
character at the beginning (full chorus), then more
reflective - unison men, women SSA; closes with full,
resounding ensemble. Musically interesting and varied.
Story Context: Jerusalem is about to be invaded by the Babylonians. There

are three major sections to this monumental structure: the
terrified populace; the Levites praying for divine assistence,
and the supplicant virgins also seeidng God's intervention.
Additional
Comments: "...it is one of the longest choruses in Italian opera, and it is
simply and massively constructed...reminiscent of choruses yet
unwritten from 'Lohengrin' and Tannhauser'.*
Reference Edition: G Ricordi & Co., Milano, 1945.

Press, 1981), 98.
RI - Recommended Independent Excerpl RS - RecommeOded/Sotout(j) Required

Page - 89

OPERA: N abucco

Composed: 1842
CHORUS TITLE: Va, Pensiero, suWali dorate

Title-2: Chorus of the Hebrew Slaves
Voicing: SSATTB
Performance
Notes: Beautifully devised composition. Opportunities for
dynamics from pianissimo to fortissimo, with various
elements of dramatic presentation being extremely
important to the total effect. A choral "opportunity".
Story Context: This well-known excerpt is one of the composer's most

famous patriotic choruses. The captive Hebrew slaves sing
of their lost fatherland. This piece is also the most
frequently recorded opera chorus of the entire repertoire.
Additional
Comments: "So moving is the soaring melody of this chorus, that the
audience demanded and received an encore, in spite of a law
forbidding encores-a vain move on the part of the Austrians to
prevent patriotic demonstrations against the absentee rulers."*

•Footnote: Paul Hume. "Verdi: the Man and his Music". (New York: E.P. Dutton, 1977),
26.
RI Recommended Independent Excerpt RS - Reeonwiended/Soloi»«(*) Required

Page - 90

OPERA: Nabucco

Composed: 1842
CHORUS TITLE: L o vedeste?

Title-2:
Performance
Notes: Not excerptible. The chorus plays a secondary, supportive
role; fills out the harmony and/or comments upon the action
of the main characters.
Story Context: Abigaille is a jealous, concealed witness as Fenena and

Ismaele declare their love. The Israelites return to the
temple in flight before the advancing Assyrians and the
chaos of their retreat is musicality portrayed by a
pseudo-fugue.
Additional
Comments: "In Nabucco Verdi combined the influence of Rossini's
excellent construction with splendid choruses, effective if noisy
orchestration, and a vocal intensity which later developed into
Verdi's own characteristic quality."*

•Footnote: Robert Donington. T h e Opera". (New York: Harcourt Brace Jovanovkh,
1978), 125.
RJ - Recommended Independent Excerpt RS - RecommendecVSofc>i«t<s) Required

Page - 91

OPERA: Nabucco

Composed: 1842
CHORUS TITLE: Finale primo

Title-2:
performance
o f the main characters.
Story Context: Nabucco arrives in triumph and the music/dramatic focus

shifts between the principal characters w ith periodic
interjections by the chorus o f Israelites. In the end Nabucco
orders that the temple be sacked. '
Additional
Comments:

•Footnote:
RI - Recommended Independent Excerpt RS - Rec»»iinended/Soio«it(t) Required

NR - Not RetomUKOd*1
Page - 92

OPERA: N ab u cco

Composed: 1842
CHORUS TITLE: // maledetto non ha frutelli

Title-2: Coro di Leviti
Performance
Story Context: Ismaele has saved Fenena from being killed by the Hebrew
high priest, Zacearia. The captive Hebrews now consider
Ismaele a traitor and shun him when they accidentally cross
paths in the palace of Nabucco.
Additional
Comments:

•Footnote:
RJ - Recommended Independent Excerpt RS - Recomn>ende<VSotobt(«) Required

NR Not Recommended
Page - 93

OPERA: Nabucco

Composed: 1842
CHORUS TITLE: Scena efinale secondo

Title-2: D eh fratelli, perdonate!
Performance
Story Context: Zaccaria's sister A nna announces that Ismaele has saved
the Jewess, Fenena, by converting her to Christianity. She
convinces the Levites that Ismaele should be forgiven his
earlier transgressions. Zaccaria confirms Anna's stoty and
all parties rejoice.
Additional
Comments:
Reference Edition: G . Ricordi & Co., Milano, 1945.

•Footnote:
R] - Recommended Independent Excerpt RS - Recotnmended/Sotot*t(s) Required

Page - 94

OPERA: N abucco

Composed: 1842
CHORUS TITLE: /*" L'A ssiria una regina

Title-2: Coro d'Introduzione
Voicing: SATB divisi
Performance
Notes: Though there is considerable choral work here, it is not
sufficiently interesting to justify performance as an
independent piece.
Story Context: The hanging gardens of Babylon. Abigaille is seated on a

throne surrounded by courtiers who are singing her praises.
"The people and the high priests demand that the captive
Jews be put to death."*
Additional
Comments: The duet between Nabucco and Abigaille which follows this
chorus is generally considered one of the opera's best numbers.
In it Nibucco begs her to be merciful but Abigaille remains
coldly inflexible.

'Footnote: David DeVenney and Craig Johnson* T h e Chorus in Opera*. (Metuchen,
R1 ■Recommended Independent Excerpt RS - Recommended/Soloist(s) Required

Page - 95

OPER^V Nabucco
Composed: 1842
CHORUS TITLE: Finale Quarto

Title-2: Immenso Jeovha
Performance
Notes: Not excerptible. This chorus is certainly important to the
dramatic sequence of the opera but it would not be effective
outside of that context.
Story Context: Fenena and the Israelites are being lead to their deaths but
are rescued by Nabucco who has also converted to
Christianity. Abigaille has taken poison. The opera closes
with this grandiose, unaccompanied hymn of praise to their
new God.*
Additional
Comments:

•Footnote: Stanley Sadie, T h e New Grove Dktionaiy of Opera", Vol. 3. (London:
R1 - Recommended Independent Excerpt RS - Reeotnmended/Solottt(s) Required

Page - 96

OPERA: O tello
Librettist: Arrigo Boito

Composed: 1887
CHORUS TITLE: Fuoco d i gioia!

Title-2: Flame burning brightly
Voicing: SAATTTBB
Performance
Notes: A wonderfully well written chorus but it contains
considerable divisi. This piece is charming but requires
great rhythmic precision, especially at the 'Arde la palma'
section which has tightly spaced imitation.
Story Context: Patrons in the tavern following the storm. "The chorus is
sung while a huge fire is lit on the shore, illuminating the
harbor. The music reflects the full flame of the fire as well
as its flickering and dying away." -
Additional
Comments: This is one of Verdi’s most vividly descriptive choruses. Very
energized in its musical description of the fire.
Reference Edition: G. Ricordi & Co., London, (no date).

*Footnote: David DeVenney and Craig Johnson. T h e Chorus in Opera". (Metuchen,
RI ■Recommended Independent Excerpt RS - Recommeoded/Soloist(s) Required

Page - 97

OPERA: Otello

Composed: 1887
CHORUS TITLE: In a ffia Fugola!

Title-2: Iago's Drinking Song
Voicing: SSSTTBB/solo TB
Performance
Notes: The choral ensemble primarily functions as support for the
soloists but there are points when the chorus takes the more
prominent role. This chorus is practical only for use as a
feature piece for the two male soloists.
Story Context: Following the 'Fuoco di giolia!' chorus, Iago and Rodrigo
are drinking with the tavern patrons and plotting the
undoing of Cassio and Otello.
Additional
Comments: "...while the chorus of the early works is entirely conventional,
in 'Otello' and 'Falstaff the occasion for it is prepared with
some care. In the first scenes of Otello the chorus is important
to the action...it adds color and weight to the drama."*

•Footnote: Femiccio Bonavia. "Verdi". (Westport, Connecticut: Hyperion Press, 1979),
101.
RI - Recommended Independent Excerpt RS - Recommended/Sotodi(i) Required

Page - 98

OPERA: O tello

Composed: 1887
CHORUS TITLE: Dove g uardi splertdono raggi

Title-2: Whereso e'er thy glances shed brightness...
Voicing: SSSTTB/Uni.Child’s chor.
Performance
Notes: A pastoral piece of limited interest. The lute part is
important to the mood and should be used if possible. A
good piece in which to feature a children’s chorus.
Story Context: In the garden women from the island, children, and Cypriot
and Albanian sailors surround Desdemona, singing,
strewing flowers, and offering small gifts. Iago lurks in the
background.
Additional
Comments: The score calls for 'extra instruments' including two mandolins
and two guitars but notes that two oboes and four harps can be
substituted.*

•Footnote: Julian Budden, T h e Operas of Verdi", Vol. 3. (New York: Oxford University
Press, 1981), 362.
RI - Recommended Independent Excerpt RS ■Reconuncnded/Soioist(s) Required

Page - 99

OPERA: O tello

Composed: 1887
CHORUS TITLE: Piata

Title-2: Quel'innocente
Voicing: SSSTTBB/6-solos
Performance
Notes: The chorus plays a supportive role in this selection. Though
not a likely excerpt, this is a very exciting and complex
scene.
Story Context: Iago succeeds in destroying Otello's faith in Desdemona &

she laments the loss of his love. Lodovico, the Venetian
ambassador, is bewildered by Otello's animosity & the
chorus attempts to console Desdemona as they remark on
Otello's vicious behavior.*
Additional
Comments: The interaction of the chorus with the soloists and other
members of the ensemble is very important to the dramatic
and musical crescendo of this scene. The chorus part is
masterfully interwoven with the solo material.

'Footnote: Milton Cross, 'Stories of the Great Operas”. (New York: Washington Square
Press, 1967), 254-255.
RI - Recommended Independent Excerpt RS - RecommendedySotout(i) Requited

NR ■Not Recommended
Page - 100

OPER^: Rigoletto
Composed: 1851
CHORUS TITLE: Zitti, zitti moviamo a vendetta

Title-2:
Act/Scene/Page No.: Act I, No.10, pg.103
Voicing: TTBB
Performance
Notes: A 4-part men's chorus. Rather simple but definitely
excerptible. This chorus is similar to the Assassins' chorus
in Macbeth. A sinister, sneaky, almost comic quality. The
principals are doubled in the chorus parts.
Story Context: Believing her to be Rigoletto's mistress, the courtiers

abduct Gilda. They blindfold Rigoletto and engage his help
in holding the ladder. Thus deceived, Gilda is taken from
their home. The chorus is sung primarily sotto voce and
pianissimo.*
Additional
Comments:
Reference Edition: G. Schirmer, New York, 1957.

RI- Recommended Independent Excerpt RS - Recommended/SoJoat(i) Required

Page - 101

OPERA: Rigoletto
Composed: 1851
CHORUS TITLE: Scorrendo uniti rem ota via

Title-2:
Act/Scene/Page No.: Act II, N o.ll, pg.120
Voicing: TTBB/solo TTBB
Performance
Notes: The principal parts are usually doubled in the chorus.
Particularly useful if planning to employ several selections
from this opera. An excellent tenor is required.
Story Context: Three of the conspirators tell the Duke and the gathered
courtiers how they managed to dupe Rigoletto into helping
them abduct Gilda. The courtiers mistakenly believe her to
be the jester's mistress rather than his daughter.
Additional
Comments:

•Footnote:
RI - Recommended Independent Excerpt RS - Rccomn>eDdecl/SoJout(i) Required


OPERA: Rigoletto

Composed: 1851
CHORUS TITLE: Tutto e festa , tutto e gioia

Title-2:
Voicing: TTBB/5-soloists
Performance
Notes: The chorus work is rather extensive here but primarily
subservient to the soloists.
Story Context: The Duke of Mantua desires the Countess Ceprano and
wishes to rid himself of the Count. Rigoletto supports the
Duke in his sinister designs and antagonizes the Count.
The ensemble of courtiers mutter their vengeful thoughts
regarding Rigoletto.
Additional
Comments: The Austrian authorities were very disturbed by various
elements in 'Rigoletto', not the least of which was the
characterization of a libertine prince being the worthy target of
assassination. They initially placed an absolute ban upon its
performance.*

•Footnote: Dyneley Hussey. "Verdi". (New York: Collier Books, 1962), 68-89.
RI - Recommended Independent Excerpt RS - Recommeoded/Sotobtd) Required

Page - 103

OPERA: Rigoletto

Composed: 1851
CHORUS TITLE: Oh tu che la festa audace hai turdato

Title-2: He shall admit me.
Performance
Notes: A continuation of No.4: The chorus still plays a supportive
role. No excerptible material.
Story Context: Monterone has come to the court to upbraid the duke for
dishonoring his daughter, the Countess Ceprano.
Rigoletto's sarcastic remarks incur the wrath of the father
who curses Rigoletto, thereby inciting additional choral
commentary from the ensemble.
Additional
Comments: "Rigoletto is almost always placed as the true beginning of
Verdi's maturity...no earlier work is as impeccably paced...nor
does any show its overall consistency of style."*

‘ Footnote: Stanley Sadie, "The New Grove Dictionaiy of Opera", Vol. 3. (London:
RI -Recommended Independent Excerpt RS - Recommended/Soioist(s) Required

Page - 104

OPERA: Un Ballo in Maschera
Librettist: Antonio Somma from Eugene Scribe
Composed: 1859
CHORUS TITLE: Og’ni cura si doni al diletto

Title-2: For today we forget all distraction
Voicing: SATBB/solo STB
Performance
Notes: This is a full-bodied chorus in which the soloists maintain
the prominent role throughout. This chorus has a buoyant
quality that reaches a dramatic climax at the end. It would
work quite well as a concert excerpt.
Story Context: Riccardo and the assembled company decide to visit the hut
of Ulrica, the fortune-teller. As part of this entertaining
diversion they decide to go in disguise.
Additional
Comments: "...it would seem that Verdi had himself followed the advice he
gave to students to practise fugue 'constantly, tenaciously'.
There are no fugues in the opera, but the texture is often
contrapuntal and consequently more solid."4

•Footnote: Ferruccio Bonavia. "Verdi". (Westport, Connecticut: Hyperion Press, 1979),
74.
RI - Recommended Independent Excerpt RS - Reccwunended/Sotoaid) Required

Page - 105

Composed: 1859
CHORUS TITLE: O fig lio dlnghilterra

Title-2: Long live our King & Father
Voicing: STTB/7-soloists
Performance
Notes: This is the closing section of Act I. It can be an effective
excerpt if strong soloists are available, however, it lacks a
melodic "hook" and primarily relies upon bombastic force.
Story Context: The fortune-teller, Ulrica, has predicted Ricardo's death

but he scorns her craft. The chorus proclaims their love for
the king and trumpet fanfares add dramatic impact to
ending.
Additional
Comments: 'Un Ballo' was very well received at it's Rome premiere, "partly
for patriotic reasons connected with the liberation of Italy
from Austrian rule...There are dark scenes of massive
grandeur and light scenes of brilliant energy."*

•Footnote: Robert Donington. "The Opera". (New York: Harcourt Brace Jovanovkh,
1978), 129.
RI - Recommended Independent Excerpt RS - Recommended/So*oi»t(i) Required

Page - 106


Composed: 1859
CHORUS TITLE: Ferveono amorie danze

Title-2: With laughter and elation
Voicing: SATTBB/soloists
Performance
Notes: This chorus is bold and declamatory. The ballroom scene
employs extensive choral interplay with the soloists and is
worthy of consideration in that context. The king's solo can
be abbreviated or cut.
Story Context: At the masked ball the conspirators are preparing to

murder the king. After considerable interplay between
various soloists, the king is slain but manages to forgive
everyone before he dies.
Additional
Comments: The Papal censor decreed that the setting must be changed to
a non-European country. It was originally set in Sweden
(1792) with the central character, King Gustavus III, being
assassinated at Stocholm's Royal Opera House.*

•Footnote: Paul Hume. "Verdi: the Man and his Music”. (New York: E.P. Dutton, 1977),
162.
RI - Recommended Independent Excerpt RS • Recommended/Sotobtd) Required

Page - 107


Composed: 1859
CHORUS TITLE: Posainpace

Title-2: Happy dreams to our Lord
Act/Scene/Page No.: Act I, Scene 1, No.2
Voicing: TTBB/2 soli Baritones
Performance
Notes: A homophonic men's chorus with two baritone soloists.
Not really interesting enough to warrant independent
concert performance.
Story Context: A hall in the house of Riccardo, the Governor of Boston.

The chorus expresses its loyalty to the Governor while the
two conspirators, Tom and Samuel, plot their revenge.
Additional
Comments: When 'Un Ballo' was finally performed in Sweden the public
derided the historical inaccuracies of the libretto, noting that
Gustavus's sexual preference would not have been for Amelia
and his assassin was never his friend.*

•Footnote: David Groover and Cecil Conner. ’Skeletons From the Opera Closer'.
(Wakefield, Rhode Island: Moyer Bell, 1994), 7.
RI • Recommended Independent Excerpt RS - Recomroeoded/Solotit(i) Required

Page - 108


Composed: 1859
CHORUS TITLE: Con generoso affetto entro

Title-2: He views us with affection
Act/Scene/Page No.: Act I, Scene 1, pg.ll
Voicing: TTBB/solo ST
I^vel of Difficulty: Moderately Difficult
Performance
Notes: A men’s chorus. Unison and homophonic material which
primarily serves to support the soloists.
Story Context: Oscar the page (a pants role) announces the arrival of
Riccardo who makes an appropriately ceremonial entrance,
exchanging greetings with the gathered company.
Additional
Comments: "...the characters move against a marvelous background of
choruses...with an ease and fluency which Verdi had never
before controlled with such a firm hand...The great choruses of
Act I and the ballroom finale 'place' and seal the action."*

'Footnote: Gabriele Baidini. "The Story of Giuaeppe Verdi". (Cambridge: Cambridge
RI - Recommended Independent Excerpt RS - Recommcnded/Soloist<s) Required

f4R - Not Recommended
Page - 109

OPERA: lln Ballo in Maschera
Composed: 1859
CHORUS TITLE: Su, profetessa

Title-2: Come now, magician
Voicing: TTBB/soloists
Performance
Notes: A homophonic, men's chorus. The focus is on the soloists
with periodic inteijections by the ensemble. No real
independent choral writing here; essentially responsorial to
the solo material.
Story Context: Ulrica the fortune-teller performs various incantations and

readings to which the chorus responds. At one point she
disappears completely, becoming a disembodied voice. As
the light returns, however, she reappears to continue the
scene.
Additional
Comments:

•Footnote:
RI - Recommended Independent Excerpt RS - Recommended/Sofc>at(s) Required

Page - 110


Composed: 1859
CHORUS TITLE: Aventiam o

Title-2: Be alert, proceed with caution
Performance
Notes: This chorus is drawn from the contrapuntal material in the
prelude and has an appropriately conspiratorial quality.
Unfortunately, it doesn't develop any significant degree of
independence and would not stand alone as a concert
selection.
Story Context: A lonely field on the outskirts of Boston. The assassins

have come to kill the King but he is forewarned of their
intentions by his secretary, Renato, and manages to escape
just before the conspirators arrive.
Additional
Comments: This opera was originally scheduled to open in Naples but the
censors demanded so many changes that negotiations
eventually broke down. Verdi finally reached an acceptable
compromise with Roman authorities and the work was
premiered there in Feb. 1859.*

•Footnote: Stanley Sadie, T h e New Grove Dictionaiy of Opera", Vol. 1. (London:
RI - Recommended Independent Excerpt RS - Recommeoded/Soioi*t(*) Required

Page - 111
Summary
This study represents only a portion of the choruses to be found in the

Verdi operatic repertoire, but it never the less demonstrates the wealth of
material at hand. In the course of research, La Traviata, Nabucco, and Macbeth
proved to be particularly rich sources of choral repertoire, but every opera
examined contained at least two choruses which would serve as excellent concert
selections.
Moving beyond the sphere of Verdi, the reservoir of usable pieces becomes
vast indeed. The exciting choruses from Carmen, for example, are ideal choices
for concert presentation and, likewise, the Wagnerian operatic repertoire offers
numerous possibilities.
It is important to emphasize that the choruses examined and collated for
this study represent just a small segment of the available material. It is hoped th at
this collection will serve as a starting point from which the enterprising choral
conductor will develop the means and inclination to search out additional worthy
examples of this repertoire.
Page -1 1 2
Bibliography
A. Books
Abbate, Carolyn, Roger Parker, ed. Analyzing Opera. Berkeley: University of

California Press, 1989.
Ardoin, John. Callas at Julliard: The Master Classes. New York: Knopf, 1987.
Baldini, Gabriele. The Story of Giuseppe Verdi. Cambridge: Cambridge

University Press, 1980.
Bonavia, Ferruccio. Verdi. Westport, Connecticut: Hyperion Press, 1979.
Budden, Julian. The Operas of Verdi. 3 vols. London: Cassell, 1981.
Conati, Marcello, ed. Interviews and Encounters with Verdi. London: Gollancz,
1984.
Cross, Milton. Stories of the Great Operas. New York: Washington Square
Press, 1955.
Crowest, Frederick. Verdi: Man and Musician. New York: AMS Press, 1978.
DeVenney, David, Craig Johnson. The Chorus in Opera: A Guide to the

Repertory. Metuchen, New Jersey: The Scarecrow Press, Inc., 1993.
Donington, Robert. The Opera. New York: Harcourt Brace Jovanovich, 1978.
Donington, Robert. The Rise of Opera. London: Faber and Faber, 1981.
Drummond, John D. Opera in Perspective. Minneapolis: University of

Minnesota Press, 1981.
Godefroy, Vincent The Dramatic Genius of Verdi. London: Gollancz, 1975.
Groover, David, Cecil Conner. Skeletons From the Opera Closet. Wakefield,
Rhode Island: Moyer Bell, 1994.
Gruber, Paul, ed. Guide to Recorded Opera. New York: W.W. Norton, 1993.
Hamm, Charles. Opera. New York: Da Capo Press, 1980.
P ag e-113
Harris, Stanley. An Opera Gala. Gainesville, Florida: Grand Staff Press, 1994.
Headington, Christopher, Roy Westbrook, Terry Barfoot. Opera: A History.

London: The Bodley Head, 1987.
Hopkinson, Cecil. A Bibliography of the Works of Giuseppe Verdi. New York:

Broude Bros., 1973.
Hume, Paul. Verdi: The Man and His Music. New York: E.P. Dutton, 1977.
Hussey, Dyneley. Verdi. New York: Collier Books, 1962.
Kimbell, David R.B. Verdi in the Age of Italian Romanticism. Cambridge:

Cambridge University Press, 1981.
Martin, George. Aspects of Verdi. New York: Dodd, Mead, 1988.
Martin, George. Verdi at the Golden G ate. Los Angeles: University of

California Press, 1993.
Moreen, Robert Anthony. Integration of text forrns and Musical Forms in Verdi's
Early Operas. 1975.
Orrey, Leslie. Opera. London: Thames and Hudson, 1987.
Osbourne, Charles. Verdi. London: Macmillan, 1978.
Pauly, Reinhard. Music and the Theater. Englewood Cliffs, New Jersey:
Prentice-Hall, 1970.
Petit, Pierre. Guiseppe Verdi. Geneve: Minerva, 1969.
Roe, Paul. Choral Music Education- Englewood Cliffs, New Jersey: Prentice-
Hall, 1983.
Sadie, Stanley, ed. The New Grove p ictionary r>f Opera. 4 vols. New York:
MacMillan Press, 1992.
Simon, Hemy. 100 Great Operas and Their Stories. New York: Doubleday,
1960.
Page - 114
Southwcll-Sander, Peter. Verdi: His Life and Times. Tumbridge Wells, England:
Midas Books, 1978.
Toye, Francis. Guiseppe Verdi. His Life and Work. New York: Vintage Books,
1959.
Walker, Frank. The Man Verdi. Chicago: University of Chicago Press, 1982.
Weaver, William, Martin Chusid, ed. The Verdi Companion. New York: W.W.
Norton, 1988.
Werfel, Franz, Paul Stefan. Verdi: The Man in His Letters. New York: L.B.
Fischer, 1942.
Ybarra, T.R. Verdi: Miracle Man of Opera. New York: Harcourt, Brace and
Co., 1955.
B. A udio a n d Video R ecordings: C om plete O p e ra s
Verdi, Giuseppe. Aida. Cond. James Levine. With Millo, Domingo, Zajick,
Milnes, Burchuladze, and Kavrakos. Metropolitan Opera Chorus &
Orchestra. Deutsche Grammophon, Video 072 516-3,1989.
Verdi, Giuseppe. Aida. Cond. Georg Solti. With Price, Gorr, Vickers, Merrill,
Tozzi, and Clabassi. Rome O pera Chorus & Orchestra. Decca/London,
CD 417416,1961.
Verdi, Giuseppe. Aida. Cond. Arturo Toscanini. With Nelli, Gustavson, Tucker,
and Valdengo. Robert Shaw Chorale & NBC Symphony Orchestra.
Broadcast recordings from March-April, 1949. RCA Victor, LP VICS-
6113(e), Library of Congress Number: R68-2654. Video 60331-3-RG, n.d.
Verdi, Giuseppe. Don Carlo. Cond. Carlo Maria Giulini. With Domingo,
Caballe, Raimondi, Verrett, Milnes, Foiani, and Estes. Ambrosian Opera
Chorus and Orchestra of the Royal Opera House, Covent Graden. Angel,
LP SDL-3774, Library of Congress Number: 78-752436, n.d.
Verdi, Giuseppe. Ernani. Cond. Riccardo Muti. With Domingo, Freni, Bruson,
and Ghiaurov. Chorus and Orchestra of La Scala. Thom EMI, TVE/TXE
2801, Milan, 1983.
Page - 115
Verdi, Giuseppe. Falstaff. Cond. Victor de Sabata. With Stabile, Silveri, Valletti,
Caruso, Nessi, Maionica, Tebaldi, Noni, Elmo, and Canali. Orchestra and
Coro del teatro alia Scala di Milano. Nuova Era, CD 2220/21, Milano,
1951.
Verdi, Giuseppe. II Trnvatore. Cond. James Levine. With Pavarotti, Milnes,

M arton, and Zajick. Metropolitan Opera Chorus and Orchestra.
Deutsche Grammophon, Video 072 513-3, New York, 1988.
Verdi, Giuseppe. La Fnrra del Destino. Cond. James Levine. W ith Price,
Giacomini, Nucci, and Giaiotti. Metropolitan Opera Chorus and
Orchestra. Bel Canto, Paramount Home Video, 12607,1984.
Verdi, Giuseppe. La Traviata. Cond. Aldo Ceccato. With Sills, G edda, and
Panerai. Royal Philharmonic Orchestra and John Alldis Choir. Angel, LP
SCLX-3780, Library of Congress Number: 70-752966, n.d.
Verdi, Giuseppe. La Tpiviata. Cond. James Levine. With Domingo, Stratas,

MacNeil, Monk, Gall, and Cei. Metropolitan Opera Chorus & Orchestra.
Dir. Zeffirelli. Elektra VBT, Video 80048,1981.
Verdi, Giuseppe. Macbeth. Cond. Giuseppe Sinopoli. With Zampieri, Bruson,

Shicoff, and Lloyd. Chor und Orchestra d er Deutschen Oper, Berlin.
Phillips/Polygram, CD 412 133-2, W.Germany, 1984.
Verdi, Giuseppe. Otello. Cond. James Levine. W ith Domingo, Scotto, Milnes,
and Little. National Philharmonic Orchestra, Ambrosian Opera Chorus
and Boys Chorus. RCA Victor, CD RCD2-22951, Cassette Tapes CRK3-
2951, 1978.
Verdi, Giuseppe. Rigoletto. Cond. Donato Renzetti. With Boyagian, Ferrarini,

and Bello. Chorus and Orchestra Arena di Verona. MasterVision, Video
371, 1981.
Verdi, Giuseppe. 1 in R a I I q in Maschera. Cond. Erich Leinsdorf. With Price,

Bergonzi, Verrett, Merrill, Grist, and Glagello. RCA Italiana Opera
Orchestra and Chorus. RCA Victor, CD 6645-2-RG, n.d.
Page -116
C. Audio Recordings: Collections
Famous Opera Choruses. Various orchestras, choruses and conductors. London,

Cassette 421 176-4, New York, 1988.
Grand & Glorious: Great Operatic Choruses. Cond. Robert Shaw. Atlanta
Symphony Orchestra and Chorus. Recorded: Atlanta, GA, 1993. Telarc,
CD-80333,1994.
Great Opera Choruses. Various orchestras, choruses and conductors. England

and Germany, 1962-83. Phillips, CD 422 266-2, n.d.
Great Opera Choruses. Various orchestras, choruses and conductors. Classics for
Joy, Cassette CFJ-015, n.d.
Italian Opera Chorus. Rome Opera House Chorus and Orchestra. EMI Records
Limited, CD Z 62862 2, England, 1990.
Opera Chorus. Various orchestras, choruses and conductors. RCA Victor, CD

09026-61858-2, New York, 1994.
Vaf Pensiero: Famous Opera Choruses. Various orchestras, choruses and

conductors, Hamburg, 1963-78. Deutsche Grammophon, CD 427 012-2,
n.d.
Verdi Choruses. Cond. Sir George Solti. Chicago Symphony Chorus and
Orchestra. London, CD 430 226-2,1990.
Verdi: Masters of Classical Music. Conductors Georgi Robev and Vassil

Stefanov. Bulgarian National Choir and Sofia Philharmonic Orchestra.
Delta Music Inc., LaserLight Digital CD 15810, Los Angeles, 1988.
Verdi: Opera Choruses. Cond. Oliver Dohnanyi. Slovak Philharmonic Choir and
Slovak Radio Symphony Orchestra. Naxos, CD 8.550241, Bratislava,
1990.
Page -117
D. Reference Scores
Verdi, Giuseppe. Aida. Libretto by Antonio Ghislanzoni. New York: G. Schirmer,

1963.
Verdi, Giuseppe. Don Carlos. Libretto by Joseph du Locle. New York: G. Schirmer,
1958.
Verdi, Giuseppe. E m ani. Libretto by Francesco Maria Piave. Milan: G. Ricordi & Co.,
1967.
Verdi, G iuseppe. Falstaff. Libretto by Arrigo Boito. New York: G. Schirmer, 1963.
Verdi, Giuseppe. I Lombardi all prim a Crociata. Libretto by Timistocle Solera. Milan:
R. Stabilimento Ricordi, n.d.
Verdi, Giuseppe. II Trovatore. Libretto by Salvatore Cammarano. New York: G.

Schirmer, 1926.
Verdi, G iuseppe. La Traviata. Libretto by Francesco M aria Piave. New Y ork: G.

Schirmer, 1961.
Verdi, Giuseppe. La Forza del D estino. Libretto by Francesco M aria Piave. USA:
Boosey & Hawkes, 1944.
Verdi, G iuseppe. La Forza del Destino. Libretto by Francesco M aria Piave. New York:
G. Schirmer, 1968.
Verdi, G iuseppe. M acbeth. Libretto by Francesco M aria Piave. New York: G .

Schirmer, 1961.
Verdi, G iuseppe. Nabucco. Libretto by Timistocle Solera. Milan: G. Ricordi & Co.,
1945.
Verdi, G iuseppe. O tello. Libretto by Arrigo Boito. London: G . Ricordi & Co., n.d.
Verdi, G iuseppe. Rigoletto. Libretto by Francesco Maria Piave. New York: G.

Schirm er, 1930.
Verdi, G iuseppe. U n Ballo in M asehera. Libretto by Antonio Somraa. New York: G.

Schirmer, 1957.
Page -118
Appendix A
V e r d i O p e r a C h o r u s e s E x a m in e d - VOICING INDEX
Macbeth R1 C o r o e B a lla b ile sss

Macbeth RI S'allontanarono! sss
Macbeth RI Che faceale? dite au! ssss
Macbeth RI Tre volte miagola ssss
Ernani RI Esultiamo! SSTTBB
I Lombardi RI O Signore, dal tetto natio SSTTBB
Ernani RI Oh com e felici SSTTBB
Don Carlos RI Spuntato ecco U di d'esultanza SSTTBB Unison men
Aida RI Gloria all'Egitto SSTB/TTBB/ 3 sop. soli
Xabucodonaeor RI GU arredi feativi SSSTTBB
I Lombardi RI Geru salem! SSSTTBB
La forza del destino RI Nella guerra e la follia SSSTTBB
Macbeth RI Patria oppreasal SSSTTBB
La traviata RI Si rideata in ciel 1'aurora SSSTTB/soloists
Nabucodonosor RI Va, Penaiero, aull'ali dorate SSATTB
D trovatore RI Ah! ae t error t'ingombra SSA/TB/solo Bari
Don Carlos RI Sotto ai folti/Nei gairdin del hello SSA/solo sop. & mcx.
Otello RI Fuoco di gioia! SAATTTBB
La traviata RI Di Madride noi aiam matador! SATTB/solo MBB
U n Ballo in Maschera RI Og'ni cura ai doni al diletto SATBB/solo STB
L a forza del destino RI Rataplan SATB dMal/solo M
H trovatore RI Vedil le foache nottum e apoglie SATB
Un Ballo in Maschera RI O flglio d'lnghllterra STTBT -soloists
Macbeth RI Chi v'impoae unirvi a noi? TTBB

Ernani RI E w ival beviam! TTBB
Ernani RI Si rideati 11 Leon di Caatigiia TTBB
Rigoletto RI Zltti, zitti moviamo a vendetta TTBB
11 trovatore RI Squilli, echeggi U (some TTBB)
Soioist(s) Required
Aida RS Chi mad, fragl'innie i plans! SS/solo sop.
La forza del desttno RS Lore he pilfer! e tamburi SSTTBB/solo M
Macbeth RS Act II Finale (paut I) SSTTBB/solo sop.
Macbeth RS Act II Finale (part 2) SSTTBB/4 soloists
Otello RS Inaflla I’ugolal SSSTTBB/solo TB
Don Carlas RS Su di lor atenda il Re SSSTTB/6-soloists
Otello RS Dove guard! aplcndono raggi SSSTTB/UCbildren
RI • Recommended Independent Chorus RS - Recommended/Soloist Requited NR - Not Recommended
Page - 119
La traviata ICS Noi Kiamo zingarelfe SAA/solo SMB
Alda ICS Grand Scen e of the Consecration SSATTBB/solo sop.
T.rn Ballo in Maschera ICS Ferveono amorie Jan ze SATTBB/sololsta
Macbeth E
CS Inno di Victoria - Finale SSATB/TB/2 soloist
La traviata ICS Libiamo ne' lieti cniici SATB/solo TS
La traviata E
LS Dell invito trascors* e gia 1'ora SATB/soloists
Aida RS Sit dai INas mi TTBB/TB/SSTTBB/soloista
Rigoletto RS Scorrendo uniti rem ola via TTBB/solo TTBB
I Lombardi RS E dunque vero? TTBB/»olo B
Ernaru RS Sis rapita TTBB
Ernam RS Salvi n e vedi, e liberi TTB/»olo TB
Not Recommend as a Choral Excerpt

Ernani NR Quante d'Iberia giovani SSA/solo sop.
Macbeth MR Gran seen * delle /tpparizioni SSS/soloiats
Macbeth NR Finale A ct I SSSTTB/B soloists
Otello NR Plata SSSTTBB/6-soloista
Aida NR Finale A ct I SSSTTBB/solotsts
La traviata NR Largo s tl quadrupede sir della festa SSTTB
Macbeth NR La patrfa tradita SSTTB/solo TB
La traviata NR Alfredol Voi SSTTB/soloists
Macbeth NR Ella e m ortal SSTTB/soloists
Ernam NR Mio Signor SSTTBB/6 soloists
Ernam NR O u n m w l O Carlo SSTTBB/6 soloists
Ernam NR Oh c ie lo l e desso ii re! SSTTBB/6 soloists
Don Carlo* NR Perir d ovrs SSTTBB/sololsts
Falstaff NR Ruzsoln, ruzzola! TTB/SSSAA dbl,cboir/solo* SMAB
I Lombardi NR Prelndlo ed Introsfuxione TTB/S dbl. choir, SATB dMsi
D trovatore NR All' ert*! sdl' erta! TB/solo bss*
La for® del dcattno NR Compagni« sostiancso TTBB
La forza del destino NR Madre, pietosa Vergine TTBB/solo Sop.
Un Bajjo in Maschera NR Con genero*o affetto entro TTBB/*olo ST
Un Ballo in Maschera NR Posa in pace TTBB^i soli Bsrltonr
Don Carlo* NR Carlo U aommo lu p ersm re TTBB/*olo B
La for® del destino NR La vergine degli amgell TTBB/solo BBS
Un Ballo in Maschera NR Aventiaino TTBB/A-solotsts
Rigoletto NR Oh tu c h e la festa TTBBA-sololsts
Rigoletto NR Tutto e festa, tutus e gioia TTBBA-sololsts
Ernam NR Ad Augusta! TTBB/sololsts
H trovatore NR Ardir! andiara TTBB/sololst*
Un Ballo in Maschera NR Su, profetessa TTBB/soloista
11 trovatore NR Tna p ro le, o turpc zingara TTBB/aoloista
D trovatore NR Or co' daddi, ma fra poeo UTTBB/solo Bsrl
RI - Recommended Independent Chorus RS - Recommended/Soloist Required NR - Not Recommended
P a g e - 120
Nabucodonosor NR E' L'Assiria una regina SATB divtsi
Aida NR Alta cagion v'aduna Chorus 4 Soloists

I Lombardi t NR Act ( Finale Chorus 4 Soloists
I Lombardi NR Coro di Claustrali/Sgherri Chorus 4 Soloists
I Lombardi NR Coro di Schlave Chorus 4 Soloists
I Lombardi NR (nno di Guerra e Battaglia Chorus 4 Soloists
I Lombardi NR Stolto Allha! Chorus 4 Soloists
I Lombardi NR Te lodiamo Chorus 4 Soloists
H trovatore NR E deggio e poaao crederio? Chorus 4 Soloists
11 trovatore NR Mesta e la tua canton! Chorus 4 Soloists
H trovatore NR Sull'orio del tetti Chorus 4 Soloists
Nabucodonosor NR Corot Lo vedeate?... Fulminando Chorus 4 Soloists
Nabucodonosor NR Finale primo Chorus 4 Soloists
Nabucodonosor NR Finale Quarto Chorus 4 Soloists
Nabucodonosor NR 11 maledetto non ha fratelll Chorus 4 Soloists
Nabucodonosor NR Scena e finale aecondo Chorus 4 Soloists
RI - Recommended independent Chorus RS - Recommended/Soloist Required NR • Not Recommended
Page - 121
Appendix B
V e rd i O p e r a C h o r u s e s E x a m in e d • CHRONOLOGICAL INDEX
i84a Nabucodonosor RI Gli arredi festlvi •Act L No.2

1842 Nabucodonosor NR Conoi Lo vedeste?... Fulminando Act I, pg.49
1842 Nabucodonosor NR Finale primo •Act I. pg.66
1848 Nabucodonosor NR [1 maledetto n on ha fratelli Act H. pg. 127
1848 Nabucodonosor NR S cen a e finale? aecondo Act II. pg.135
1842 Nabucodonosor NR E' L'Assiria una regina Act m, pg. 162
1842 Nabucodonosor RI V s, Penaiero, aaaU'ali dorate Act HL pg. 192
1842 Nabucodonosor NR Finale Quarto •Act IV, pg.227
1843 I Lombardi NR preludio ed Introduzione Act L Scene 1
1843 I Lombardi NR C oro di Clauatrali/Sgherri Act I. pg.68-82
1843 I Lombardi NR A ct I Finale Act L pg.98
1843 I Lombardi RS E daanque vero? Act II, Scene 1-pg. 138
1843 I Lombardi NR Stolto Allha! Act IL pg.182
1843 I Lombardi NR C oro di Schiave Act n, pg.191
1843 I Lombardi RI Geraaalem! Act IE, Scene 1-pg.219
1843 I Lombardi RI O Signore, dal tetto natio Act IV, Scene 2-pg.297
1843 I Lombardi NR In n o di Guerra e Battaglia Act IV, pg.30S
1843 I Lombardi NR T e lodiamo Act IV, pg.331
1844 Ernani RI E w iva! beviaxn! Act L pg.3
1844 Ernani NR Q uante d'Iberia giovani Act I, pg.27
1844 Ernani NR O h cieiol e deaso il re! Act L pg.87
1844 Ernani NR M io Signor Act I, pg.73
1844 Ernani RS Sia rapita Act II, pg.18
1844 Ernani RS Salvi ne vedi, e liberi Act n, Ftnale-pg. 152
1844 Ernani RI Csultiauno! Act IL pg.97
1844 Ernani NR Ad Augusta! Act HL pg.167
1844 Ernani RI S i rideati il Leon di Caatiglia Act HL pg.174
1844 Ernani NR O aommo Carlo •Act Itt, pg . 186
1844 Ernani RI O h come tellei Act IV, pg.200
1847 Macbeth RI C he faceate? d ite au! Act L Scene 1-pg.6
1847 Macbeth RI S'allontanarono! Act L Scene l-pg.27
1847 Macbeth NR F inale Act I Act L pg-81
1847 Macbeth RI C hi v'lmpoae nnirvi a noi? Act II, Scene 2-pg. 121
1847 Macbeth RS A ct II Finale <part I) A ctn .p g .1 3 4
1847 Macbeth RS A ct II Finale (part 2) Act n , pg.167
1847 Macbeth RI T re volte ml^gola Act m , pg.194
1847 Macbeth NR G ran acena d eile Apparizioni Act HL pg-224
1847 Macbeth RI C oro e Ballahile - Act m , pg.243
RI - Recommended Independent Chorus R S - Recommended/Soloist Required NR - Not Recommended
Page - 122
1847 Macbeth RI Patria oppressa! Act IV. Scene l-pg2R!)
1847 Macbeth NR I^a patria tradita Act IV, pg.268
1847 Macbeth NR Ella e mortal Act TV, pg.297
1847 Macbeth RS Inno di vittoria - Finale Act IV, pg.307
1861 Rlgoletto RI Zitti, zitti moviamo a vendetta Act I, No.lO-pg. 103
1861 Rigoletto NR Tutto e festa* tutto e gioia Act I, No.4.-pg.l3
1861 Rigoletto NR Oh tu che la Testa Act I, No.6-pg.34
1861 Rigoletto RS Soorrendo unit! remota via Act H, No. 11-pg. 120
1863 11 trovatore NR All' erta! all' erta! Act I, No. 1
1863 H trovatore NR Sull'orlo del tetti -Act I, No.3
1863 11 trovatore NR Ardir! andiam -ActH, No. 12
1863 11 trovatore RI Ah! ae Terror t'ingombra Act n. No. 13
1863 11 trovatore NR E deggio e poaso crederio? (L e o n o ra ) Act n. No. 16
1863 H trovatore RI Vedi! le foache notturne apoglie Act n. No.7
1863 11 trovatore NR Mesta e la tua canton! Act n, No.9
1863 11 trovatore NR O r co' daddi* ma fra poco Act HL No. 16a
1863 11 trovatore RI Squilll, echeggi Act HL No. 16b
1863 11 trovatore NR Tua prole, o turpe zingara Act HL No. 17
1863 II trovatore RS Miserere Act VI, Scene 1
1863 La traviata RS D ell invito traacorw e gia 1'ora Act L No.9
1863 La traviata RS LJblamo ne' lieU calici Act I, No.8
1863 La traviata RI Si ridesta in e le l 1'aurora Act L No.6
1868 La traviata RS N oi alamo zlngarelle Act II, No. 12
1863 La traviata RI Di Madride n o i aiaun matador! Act n. No. 13
1868 La traviata NR AlTredol Voi Act H, No.l4A6
1868 l a traviata NR Largo al quadrupede air della festa Act HL No. 17
1869 Un Ballo in Maacbera NR P osa in pace Act I, Scene 1, No.2
1869 Un Ballo In Maschera NR Con generaso afletto entro Act I, Scene 1-pg. 11
1869 U n Ballo In Maschera RI Og'ni enra ai doni al diletto Act I, Scene 1-pg.29
1869 U n Ballo in Maacbera RI O flglio d'Inghilterra Act I, Scene 2-pg. 101
1869 Un Ballo in Maacbera NR S n , profeteaaa Act I, Scene 2-pg. 73
1869 U n Ballo In Maacbera NR Aventiamo Act IL pg 183
1869 U n Balloin Maacbera RS Ferveono antorie danze Act HI, Scene 3-pg.223
1869 Laforzadel destino NR Compagni, aoatiamo Act HL Scene 6
1869 Laforzadel destino NR Madrc, pietoaa Vergine Act L Scene O-Pg.68
1869 Laforts del destino NR La vergine d egli angeli Act L Scene 2-pg. 101
1869 Laforzadel destino RS Lorche pifferl e tamhuri Act II, Scene 3-pg.174
1869 La fbrta del destino RI Nella guerra e la follla Act IL Scene 3-pg.l99
1869 La forza del destino RI Rataplan Act IL Finale-pg.214
1867 Don Carlos NR Carlo U som ino Imperature Act L Scene l-pg.2
1867 Don Carlos RI Sotto ai folti Act I, Scene 2-pg.SO
1867 Don Carlos RS Su dl lor atenda il Re Act L Scene 2-pg. 169
1867 Don Carlos NR P erir dovra Act HL Scene 2
RI - Recommended Independent Chorus R S - Recommended/Soloist Required NR - Not Recommended
Page - 123
1867 Don Carloe RI Spuntato ecco il <Hd 'e a u lta n z a Act m , Scene 2-pg. 129
1871 Alda NR Alta eagion v'aduna Act I, pg.29
1871 Alda NR Act I Finale Act I, pg.70
1871 Alda RI Cloria all'Egitto Act II, Scene 2
1871 .Alda RS Sit dai INumi Act II, Finale
1871 .Alda RS Grand Scene o f the Consecration Act n . pg.60
1871 .Alda RS Chi mai, fragl'innie i plausi Act 11, Scene 1-pg. 79
1887 Otello RI Una vela! Act I, No. 1
1887 Otello RI Fuoco di gioia! Act I, Scene 1-pg.36
1887 Otello RS Inaffia 1'ugola! Act I, pg.69
1887 Otello RS Dove guard! aplendono raggi Act H, Scene 3-pg. 136
1887 Otello NR Plata Act HI, pg.27*
1898 Fal staff NR Ruzzola, ruzzola! Act H, Scene 2
1893 Falstaff RS Tutto nel mondo 4 burla .Act II, Scene 2
RI - Recommended Independent Chows RS - Recommended/Soloist Required NR - Not Recommended
Page -124
Appendix C
Composition Chronology - Verdi Operas

26 complete operas - plus 4 revisions
1839 Oberto
1840 Un giomo di regno
1842 Nabucodonosor (Nabucco)
1843 I Lombardi alia prima crociata
1844 Ernani
1844 I due Foscari
1845 Giovanna d'Arco
1845 Alzira
1846 Attila
1847 Macbeth
1847 I masnadieri
1847 Jerusalem (I Lombardi, revised)
1848 11 corsaro
1849 La battaglia di Legnano
1849 Luisa Miller
1850 Stiffelio
1851 Rigoletto
1853 11Trovatore
1853 La Traviata
1855 Les Vepres siciliennes
1857 Simon Boccanegra
1857 Aroldo (Steffelio, revised)
1859 Un ballo in maschera
1862 La forza del destino
1865 Macbeth (revised)
1867 Don Carlos
1871 Aida
1881 Simon Boccanegre (revised)
1887 Otello
1893 Falstaff
Page - 125
Appendix D
Biographical Chronology
Guiseppe Fortunino Francesco Verdi
(1 8 1 3 -1 9 0 1 )
1813 Born October 10, at Le Roncole, near Busseto, Italy.

Son of Carlo Verdi, a poor innkeeper and grocer.
1814 Italy invaded by Russian and Austrian troops. Verdi's mother saves his
life by hiding him in the church belfry.
1820 A chorister in local church. Receives first lesson from church organist.
1823 Appointed to organist position.
Father sends him to Busseto for general education.
Lodges with a cobbler friend of his fathers.
Walks to Le Roncole to carry out his organist duties.
1826 Antonia Barezzi, a Busseto merchant and friend of his fathers, takes
Verdi into his business.
Barezzi is president of the Philharmonic Society.
1827 Receives lessons from Provesi, conductor of the Philharmonic Society.
Practices on the Barezzi's piano.
1828 Verdi's compositions performed by Philharmonic Society.
1829 Verdi engaged to assist with Philharmonic conducting duties.
Also fills in for Provesi at the cathedral organ.
1831 Barezzi send Verdi to Milan with scholarship and personally subsidizes
his expenses.
1832 Verdi's application to the Conservatorio is rejected as over age.
Studies with maestro al cembalo at the Teatro alia Scala on
recommendation of the conductor, Rolla.
1833 Substitutes for Rolla at a performance of Haydn's Creation in Milan.
Is engaged to compose an opera for the Milan Philharmonic Society.
1834 Following Provesi's death, Verdi is NOT appointed to the position of
cathedral organist.
Returns to Busseto and again lives at the Barezzi house.
1836 Marriage to Margherita Barezzi (18).
Oberto completed.
1837 Birth of his son, Icilio.
1838 Moves to Milan.
The Scala accepts Oberto.
His infant daughter, Virginia, dies at Busseto.
1839 Oberto produced at the Scala with moderate success.
Ricordi (54) makes Verdi an offer for the score.
Page -126
Bartolomeo Merelli, director of the Scala, agrees to produce three
Verdi operas.
Death of his son, Icilio, in Milan.
1840 Death of his wife, Margherita.
His comic opera, Un giom o di regno, a complete failure.
Decides to give up composition.
Asks to be released from Merelli contract.
1841 Merelli shows Verdi the Nabucco libretto.
1842 Nabucco produced at the Scala with immense success.
1843 I Lombardi produced.
The chorus "O mia patria" provokes a patriotic demonstration against
Austria.
1844 Ernani produced in Venice with enormous success.
1849 Travels to Paris with Giuseppina Strepponi (34).
1851 Rigoletto produced in Venice with enormous success.
1853 II Trovatore produced in Rome with unparalleled success.
La Traviata is an utter failure in Venice production. Later that year it
fairs better in a second production.
1855 Verdi abandons attempts to compose an opera on King Lear.
1859 Marriage to Giuseppina Strepponi (44).
1860 Accepts political appointment to the Chamber of Deputies.
1864 Elected member of the French Academie des Beaux-Arts in place of
Meyerbeer.
1865 Retires from the Chamber of Deputies.
1867 Death of his father.
1868 Suggest the composition of a Requiem in honor of Rossini. Various
Italian composers are asked to contribute.
1871 Aida produced in Cairo.
1872 First production o f Aida in Italy - Teatro alia Scala in Milan.
1874 Manzoni Requiem premiered at the church of San Marco in Milan.
1875 Given a senatorial appointment but, still adverse to politics, does not
avail himself of his seat.
1880 Visits Paris for Derformance o f Aida in French.
He is promoted to the rank of Grand Officer in the Legion of Honour.
1882 Begins to lead a very retired life. (62)
1885 Begins work on Otello.
1887 Otello produced at the Teatro alia Scala in Milan.
1890 Begins work on Falstaff.
1893 Falstaff produced at the Teatro alia Scala.
1897 Death of Verdi's second wife, Giuseppina Strepponi. (82)
1901 Verdi dies in Milan following a stroke.
Page -127
Appendix E
The materials on the following pages were presented in conjunction with a

lecture/demonstration for the American Choral Directors Association, Western
Division Convention on February 26,1994 in Sacramento, California.
Page -128
American Choral Directors Association
Western Division Convention
Sacramento, California
O p e r a C h o ru ses: S p ic in g U p Y o u r C o n c e r t P rogram s
Dem onstration Choir: Cypress Camerata
Presenter: Prof. Sheridan Ball
_______________ Saturday - February 26,1994_______________
RESOURCES:
The Chorus in O pera

A Guide to the Repertory
by David DeVenney & Craig Johnson
The Scarecrow Press, Inc.
Metuchen, N.J., & London, 1993.
ISBN 0-8108-2620-8
Excellent resource! Lists level of difficulty, and duration. Includes indices of

voicings, titles & first lines. Some plot descriptions.
Collections:
An O pera Gala
Choruses From Italian Grand Opera
Compiled & Edited by Stanley Harris
Grand Staff Press Music Publisher
P.O.Box 1501
Gainesville, FL 32602-1501
ISBN 0-9638465-0-7 (Case-bound edition)
ISBN 0-9638465-1-5 (Paperback edition) $22.00
19 Choruses (An Excellent Edition)
Available through:
University Music Service (717) 533-8900
731 Cherry Dr.
Box 354
Hersey, PA 17033
ACDA - O pera Choruses Information Page -129

Famous Operatic Choruses
10 Choruses
Kurt Adler, Editor
G. Schirmer, Inc.
Hal Leonard, distributor - Ed.2185
Winona, MN 55987
* Individual Choruses:
Plymouth Music Co.

170 N.E. 33rd St.
Ft. Lauderdale, FL 33334
(305) 563-1844
Ask for Mr. Fischer.

He will send a complete listing of opera chorus publications and free examination
copies at your request.
Carefully edited. My preferred printing o f "Va, Pensiero" (Chorus of the Hebrew
Slaves)
G.Schirmer, Inc.
Ms. Zoraya Mendez
Copyright Permissions Dept.
257 Park Avenue South - 20th Floor
New York, NY 10010
(212)254-2100 FAX (212) 254-2013
Permission to photocopy portions of piano/vocal scores can be obtained at a

reasonable cost.
Request must be made in writing (FAX for faster service)
Request must include the following information:
Title: Composer:
Number of Pages: (if known) Number of Copies:
Purpose: (for what concerns)
Example: I was quoted S15 for permission to make 100 photocopies of 8 pages
from Macbeth (the drinking song). That translates to $0.15 a copy - a very
good price by today's standards.
Schirmer also advertises complete opera chorus books for $5.00. A good buy only
if you are performing several pieces from one opera.

O rchestra Catalogues:
These sources often have C horus Parts for entire operas available for purchase at
very low rates.
Educational M usic service (see below) lists L a Traviata Chorus parts for $2.50
each.
Inquire about rental charges to reduce costs even further.
Luck's Music Library

P O. Box 71397
Madison Heights, MI 48071
(313) 583-1820 FAX (313) 583-1114
(We acquired our copies of the Anvil Chorus and Brindisi: Libiamo from Luck's
Music for $1.25 each.)
Educational Music Service

13 Elkay Drive
Chester, N Y 10918
(914)469-5790 FAX (914) 469-5817
(complete opera chorus parts from $0.75 to $5.00) - usually in separate S/A & T/B
books
Kalmus Editions
Some chorus books available at low prices.
Separate S/A and T/A books
Compact Disks:
Verdi Choruses
Chicago Symphony Chorus - Margaret Hillis, Director
Chicago Symphony Orchestra - Sir Georg Solti
London
1990 Decca Record Co.
430 226-2
Va, Pensiero: Famous Opera Choruses

Various Artists
Deutsche Grammophon
Musikfest
427 012-2
ACDA - Opera Choruses Information Page -131

Wagner Choruses
Bayreuth Festival Chorus and Orchestra - Wilhelm Pitz, Director
Deutsche Grammophon
Musikfest
429 169-2
Italian Opera Choruses

Rome Opera House Chorus - Various Directors
EMI Records Ltd.
CDZ 7-62862-2
Verdi: Opera Choruses

Slovak Philharmonic Choir - Bratislava
Slovak Radio Symphony Orchestra - Oliver Dohnanyi, Director
Naxos - 1990
8.550241
Great Opera Choruses

Various Artists
Philips
422 266-2
Masters of Classical Music, VoLlO - Giuseppe Verdi

Various Artists
Laserlight Digital
15 810
World's Greatest Choruses

Bavarian Festival Orchestra and Chorus
Atlanta Symphony Orchestra and Chorus
Quintessence Digital
CDQ 2092
ACD A - O pera Choruses Information Page -132

^ S l<
s^s Jj 2>ssL C C sstF ri TX££b i*
Top Four:
(recognized by all sentient life forms in the Milky Way)
1- Vedl le fosche (Anvil Choru9) - II Trovatore

2- G loria all'E gitto (Trium phal M arch) - A ida
3- Libiam o (D rinking Song) - La Traviata
4- Va, Pen9iero - (C horus o f th e Hebrew Slaves) - Nabucco
Fam ilier T o Many Music Buffs:
Squilli, echeggl (Soldiers Chorus) - II Trovatore

Fuoco d i gioia (Storm Scene) - O tello
M ultiple R ecordings:
Gli arred l festivi • Nabucco

G erusalem - 1 Lom bardi
O Signore - I Lom bardi
P atria oppressa! - M acbeth
Z itti, z ita - Rigoletto
Noi slam o zingarelle (Gypsy Chorus) - La T raviata
Di M adrlde noi slam m atadori (M atadors C horus) - La T raviata
S puntato ecco ll d i d'esultanza - D on Carlos

AC(D%. Western 'Division Convention
Opera Choruses: Interest Session
Prof. Sheridan Ball, Presenter
Cypress Came rata, Demonstration Choir
Demonstration selections will be chosen from the following repertoire:
The Anvil C horus----------------------------------------------------- II trovatore, Verdi

Chorus of the Spanish M atadors----------------------------------- La Traviata, Verdi
Chorus of Gypsies ----------------------------------------------------- La Traviata, Verdi
Drinking Song (Brindisi: Libiamo) --------------------------------- La Traviata, Verdi
H ab an era --------------------------------------------------------------- -Carmen, Bizet
Triumphal M arch----------------------------------------------------- -Aida, Verdi
Spuntato ecco...-------------------------------------------------------- Don Carlos, Verdi
Lady Macbeth's Drinking Song ------------------------------------- Macbeth, Verdi
Chorus of Cutthroats ------------------------------------------------- Macbeth. Verdi
Witches Chorus # 3 (Tre volte...)---------------------------------- Macbeth, Verdi
Chorus of Hebrew Slaves-------------------------------------------- Nabucco, Verdi
Life is Happiness -------------------------------------------------------Candide, Berstein
Make Our Garden G ro w -------------------------------------------- Candide, Berstein
Toreador Song --------------------------------------------------------- -Carmen, Bizet
In Windsor Forest (Epilogue)------------------ Sir John In Love, Vaughan Williams
a a a a a a AdditionalRecommendedChorase* a a i * s * * a
Gli arredi festivi Nabucco, Verdi

Gerusalera I Lombardi, Verdi
Zitti zitti------------------ -Rigoletto, Verdi
Squilli, echeggi---------- — II trovatore, Verdi
F u o c o d ig io ia ---------- — Otello, Verdi
Patria oppressal---------- — Macbeth, Verdi
Rataplan------------------ La forza del destino, Verdi
The Veil Song----------- Don Carlos, Verdi
The Promise of Living- ■The Tender Land, Copland
Stomp Your Foot------- •The Tender Land, Copland
The Bell Chorus-------- -Pagliacci, Leoncavallo
Neighbors Chorus------ -La Vie parisienne, Offenbach
Chorus of Office Clerks -Jacques Offenbach
The Humming Chorus -■ -Madame Butterfly, Puccini
Steuermann...------------ ■The Flying Dutchman, Wagner
The Wedding March - - -Lohengrin, Wagner
A C D A - Opera Choruses Inform ation Page -1 3 4

The Opera Chorus As Choral Con

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The Opera Chorus As Choral Con

Uploaded by

Copyright:

Available Formats

INFORMATION TO USERS

The quality of this reproduction is dependent upon the quality of the

Oversize materials (e.g., maps, drawings, charts) are reproduced by

Photographs included in the original manuscript have been reproduced

CHORAL CONCERT REPERTOIRE

A Treatise Presented to the

FACULTY OF THE SCHOOL OF MUSIC

In Partial Fulfillment of the

Requirements for the Degree

Doctor of Musical Arts

Copyright 1995 Sheridan J. Ball

UMI Microform 9630738

This tre a tise , written by

under the supervision of. Guidance Committee, and approved by all

DOCTOR OF MUSICAL ARTS

with major in. Choral Music

The Opera Chorus As Choral Concert Repertoire

This treatise examines choruses from thirteen o f Verdi’s twenty-six complete

General information regarding composition dates, voicing, solo requirements,

RI - Recommended independent choral excerpt

Appendix A. Choruses Indexed by Voicing.....................................119

Treatise Objectives and Research Parameters

RI Recommended excerpt: Independent choral composition

This study examines thirteen o f Verdi's twenty-five complete operas, as a

Before proceeding directly to the reference materials, I would like to comment

Why Opera Choruses?

My interest in incorporating opera choruses as more frequent components o f

to even higher levels of musical artistry.

An Alternative to Musical Theater

maintaining the desirable entertainment values o f variety programming.

With appropriate encouragement from a capable director, operatic repertoire

English vs. Original Language: The Debate Continues

In my current position at Cypress College I present opera selections primarily in

1 .1 am introducing opera to a large, general chorus:

2. 1 am also introducing opera to an audience unfamiliar and somewhat ill at

When Can Opera Choruses Be Effectively Programmed?

Any concert in which the director wishes to interject variety is a potential

Some of the more grandiose or bombastic opera choruses work particularly

well in outdoor venues, especially with orchestral accompaniment .3 If an orchestra is

available, the addition o f an opera overture is highly recommended.4 These pieces

I make it standard policy to use members of the ensemble as soloists whenever

feel conductors, as teachers, have a responsibility to provide opportunities for aspiring

from within the chorus.

from the experience in the following ways:

First and foremost, hearing a professional vocalist provides an excellent sound

Chorus Categories Defined:

1. Independent, choral excerpts.

2. Choruses which require one or more soloists.

interesting diversity for both audience and performers alike.

choristers to higher levels o f vocal execution and technical awareness.

trovatore or the witches chorus, "Tre volte miagola", from Macbeth.

situation by designating the lower female vocal line(s) as "alto."

frequently address broader social issues and the concerns of humanity as a

Exiles, "Patria oppressa!", from Macbeth is another example o f this type of

specific individuals and the interplay between lead characters.

however, is a rather consistent thread throughout much of his work, and is

Annotated Reference Catalogue

Research Form Explained

information on each of the opera choruses examined.

RI Indicates the chorus is a recommended as an

RS Indicates the chorus is recommended for use but

NR Indicates the chorus is primarily supportive material,

Dover Opera Guide series.10