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The Opera Chorus As Choral Con
The Opera Chorus As Choral Con
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THE OPERA CHORUS AS
An Examination of Choruses
by Giuseppe Verdi
by
Sheridan J. Ball
(Choral Music)
August 1995
UMI
300 North Zeeb Road
Ann Arbor, MI 48103
FINAL TREATISE APPROVAL
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
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
iii
C h a p te r O n e
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
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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:
Page - 2
Foreward
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.
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
What's to be Gained?
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
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:
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.
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.
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:
possible. Professionals are hired only for extremely difficult works or "show pieces." I
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
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
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
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
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
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 //
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
3- The earlier operas tend to focus more upon the chorus than the later works, and
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
choral treatment.
Later works such as Otello and Falstaff focus more exclusively upon
Verdi's empathy for the common man and the plight o f the oppressed,
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
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.
The blank form on page sixteen was employed as the basic tool for codifying
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
Though most choruses are not published separately, many can be acquired
arrangements can also be made to photocopy choral portions of operatic material which
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,
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
Librettist:
Composed:
CHORUS TITLE:
Title-2:
Act/Scene/Page No.:
Voicing:
Level of Difficulty:
Performance
Notes:
Story Context:
Additional
Comments:
Reference Edition:
*Footnote:
Page - 17
Choral Repertoire: Verdi Opera Choruses
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.
Page - 18
Choral Repertoire: Verdi Opera Choruses
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.
Page - 19
Choral Repertoire: Verdi Opera Choruses
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.
Page - 20
Choral Repertoire: Verdi Opera Choruses
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'..."*
Page - 21
Choral Repertoire: Verdi Opera Choruses
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.
Page - 22
Choral Repertoire: Verdi Opera Choruses
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.
Page - 22
Choral Repertoire: Verdi Opera Choruses
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.
Page - 24
Choral Repertoire: Verdi Opera Choruses
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.
Page - 25
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 26
Choral Repertoire: Verdi Opera Choruses
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.
Page - 27
Choral Repertoire: Verdi Opera Choruses
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).*
Page - 2 8
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 29
Choral Repertoire: Verdi Opera Choruses
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:
Page - 30
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 31
Choral Repertoire: Verdi Opera Choruses
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".*
Page - 32
Choral Repertoire: Verdi Opera Choruses
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.
Page - 33
Choral Repertoire: Verdi Opera Choruses
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.
Page - 34
Choral Repertoire: Verdi Opera Choruses
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."*
P ag e - 35
d io r a l Repertoire: Vertli Opera Choruses
Additional
Comments:
Page - 3 6
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 37
Choral Repertoire: Verdi Opera Choruses
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.*
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..."*
Page - 39
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 40
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 41
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 42
Choral Repertoire: Verdi Opera Choruses
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:
Page - 43
Choral Repertoire: Verdi Opera Choruses
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:
Page - 44
Choral Repertoire: Verdi Opera Choruses
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.
Page - 45
Choral Repertoire: Verdi Opera Choruses
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.
Page - 4 6
Choral Repertoire: Verdi Opera Choruses
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".*
Page - 47
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 48
Choral Repertoire: Verdi Opera Choruses
Recommended fo r Use: NR
OPERA: I Lom bardi
Librettist: Timistocie Solera
Composed: 1843
Additional
Comments:
Page - 49
Choral Repertoire: Verdi Opera Cfsoruses
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:
Page - 50
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 51
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 52
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 53
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 54
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 55
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
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:
Page - 57
Choral Repertoire: Verdi Opera Choruses
Story Context:
Additional
Comments:
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:
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."*
Page - 60
Choral Repertoire: Verdi Opera Choruses
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:
Page - 61
Choral Repertoire: Verdi Opera Choruses
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..."*
Page - 62
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 63
Choral Repertoire: Verdi Opera Choruses
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.
Page - 64
Choral Repertoire: Verdi Opera Choruses
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.
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..."*
Page - 66
Choral Repertoire: Verdi Opera Choruses
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.
Page - 67
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 68
Choral Repertoire: Verdi Opera Choruses
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.
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.*
Page - 70
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 71
Choral Repertoire: Verdi Opera Choruses
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:
Page - 72
Choral Repertoire: Verdi Opera Choruses
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".
Page - 73
Choral Repertoire: Verdi Opera Choruses
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:
Page - 7 4
Choral Repertoire: Verdi Opera Choruses
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:
Page - 7 5
Choral Repertoire: Verdi Opera Choruses
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?)
Page - 76
Choral Repertoire: Verdi Opera Choruses
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:
Page - 77
Choral Repertoire: Verdi Opera Choruses
Additional
Comments: This is a very functional choral excerpt, and is especially useful
as contrasting material to the witches' choruses.
Page - 78
Choral Repertoire: Verdi Opera Choruses
Additional
Comments: An excellent vehicle for staging, particularly if seeking a
uniquely, visual performance.
Page - 79
Choral Repertoire: Verdi Opera Choruses
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:
Page - 80
Choral Repertoire: Verdi Opera Choruses
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.
Page - 81
Choral Repertoire: Verdi Opera Choruses
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'.
Page - 82
Choral Repertoire: Verdi Opera Choruses
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.
Page - 83
Choral Repertoire: Verdi Opera Choruses
Story Context: The victory chorus which follows the defeat and demise of
Macbeth.
Additional
Comments: This chorus was added in the 1865 Paris revision.
Page - 84
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 85
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 86
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 87
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 88
Choral Repertoire: Verdi Opera Choruses
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'.*
Page - 89
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 90
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 91
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 92
Choral Repertoire: Verdi Opera Choruses
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:
Page - 93
Choral Repertoire: Verdi Opera Choruses
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:
Page - 94
Choral Repertoire: Verdi Opera Choruses
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.
Page - 95
Choral Repertoire: Verdi Opera Choruses
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:
Page - 96
Choral Repertoire: Verdi Opera Choruses
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.
Page - 97
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 98
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 99
Choral Repertoire: Verdi Opera Choruses
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.
Page - 100
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 101
Choral Repertoire: Verdi Opera Choruses
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:
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.*
Page - 103
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 104
Choral Repertoire: Verdi Opera Choruses
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
Page - 105
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 106
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 107
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 108
Choral Repertoire: Verdi Opera Choruses
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."*
Page - 109
Choral Repertoire: Verdi Opera Choruses
Additional
Comments:
Page - 110
Choral Repertoire: Verdi Opera Choruses
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.*
Page - 111
Summary
Page -1 1 2
Bibliography
A. Books
Ardoin, John. Callas at Julliard: The Master Classes. New York: Knopf, 1987.
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.
Donington, Robert. The Opera. New York: Harcourt Brace Jovanovich, 1978.
Donington, Robert. The Rise of Opera. London: Faber and Faber, 1981.
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.
P ag e-113
Harris, Stanley. An Opera Gala. Gainesville, Florida: Grand Staff Press, 1994.
Hume, Paul. Verdi: The Man and His Music. New York: E.P. Dutton, 1977.
Moreen, Robert Anthony. Integration of text forrns and Musical Forms in Verdi's
Early Operas. 1975.
Pauly, Reinhard. Music and the Theater. Englewood Cliffs, New Jersey:
Prentice-Hall, 1970.
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.
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. 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. 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.
Page -116
C. Audio Recordings: Collections
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. 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.
Verdi Choruses. Cond. Sir George Solti. Chicago Symphony Chorus and
Orchestra. London, CD 430 226-2,1990.
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. 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. 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. 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.
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
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
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
P a g e - 120
Nabucodonosor NR E' L'Assiria una regina SATB divtsi
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
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
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
Page -124
Appendix C
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 )
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
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:
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
* Individual Choruses:
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
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.
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.
(We acquired our copies of the Anvil Chorus and Brindisi: Libiamo from Luck's
Music for $1.25 each.)
(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
Top Four:
(recognized by all sentient life forms in the Milky Way)
M ultiple R ecordings: