It is not going too far to say that Giuseppe Fortunio Francesco Verdi (1813-1901) is the 19C master musician who placed Italian operas on the top rank in the Western history of music. He is the great composer who was born with special talent, upheld and developed tradition, seasoned it with his own ...
It is not going too far to say that Giuseppe Fortunio Francesco Verdi (1813-1901) is the 19C master musician who placed Italian operas on the top rank in the Western history of music. He is the great composer who was born with special talent, upheld and developed tradition, seasoned it with his own individuality to match a drama with music and thus open the golden age of operas, and transferred it to Giacomo Puccini (1858-1924). He opened the transition period of Italian operas and established strong points of romantic operas, and infused his unsophisticated idea and passion for Italian unification into his works as being country-bred. Rigoletto is one of the works typical of Verdi's operas. Inspired by Notre-Dame de Paris written by the 19C French distinguished writer, Victor Hugo(1802-1885), Verdi left masterpieces that criticized social decay and delved into human nature in the times of convulsion. Verdi decided to make this work into opera; however, since the censorship authorities of Austria, which was then governing Italia, didn't accept the revolutionary idea that a clown tried to kill a king, the scriptwriter and he, after much thinking, changed the king in the original script into a duke and set the historical background in the 16th century instead of those days and consequently managed to let the work pass censorship. It is no exaggeration to say that the encounter between Hugo, who criticized corrupted society and delved into human nature, and Verdi, who assumed a different viewpoint from other contemporary composers, was the perfect one rather than an accidental meeting. Verdi's opera Rigoletto can be distinguished from other contemporary operas even in that it placed a low-voiced singer at the leading part, contrary to tenor-centered development of a drama. Excluding a tenor that took the leading role in all contemporary operas, Verdi highlighted a low-voiced baritone who could present a wider range of emotional expression than a tenor and show masculine power to the utmost to express the properties of the character of father effectively. In other words, he adhered to the traditional type of Italian operas rather than use a new technique of musical creation and expressed a new form through conversion of roles. A baritone aria in Verdi's opera Rigoletto has a different aspect from that in other contemporary operas. Rather than a bystander of baritone arias in the existing operas, the work permits the audience to grasp development of the whole drama, reversal, and even conclusions only through arias sung by Rigoletto, and enables the audience to attain a mentally perfect state by sharing diverse psychological states through dramatic sorrows, distress, anger, and alternation between joy and sorrow: Rigoletto's frantically revengeful thought and Gilda's feelings. As seen above, Verdi showed his own musical and mental values through the hero Rigoletto's baritone arias and intended to sublimate them in this opera for this reason, this study examined musical, literal, and character-specific properties in this opera. It is hoped. that this study will be helpful to singers who study Verdi's operas, musical enthusiasts, and all vocalists who dream of becoming the best Rigoletto in the future.
It is not going too far to say that Giuseppe Fortunio Francesco Verdi (1813-1901) is the 19C master musician who placed Italian operas on the top rank in the Western history of music. He is the great composer who was born with special talent, upheld and developed tradition, seasoned it with his own individuality to match a drama with music and thus open the golden age of operas, and transferred it to Giacomo Puccini (1858-1924). He opened the transition period of Italian operas and established strong points of romantic operas, and infused his unsophisticated idea and passion for Italian unification into his works as being country-bred. Rigoletto is one of the works typical of Verdi's operas. Inspired by Notre-Dame de Paris written by the 19C French distinguished writer, Victor Hugo(1802-1885), Verdi left masterpieces that criticized social decay and delved into human nature in the times of convulsion. Verdi decided to make this work into opera; however, since the censorship authorities of Austria, which was then governing Italia, didn't accept the revolutionary idea that a clown tried to kill a king, the scriptwriter and he, after much thinking, changed the king in the original script into a duke and set the historical background in the 16th century instead of those days and consequently managed to let the work pass censorship. It is no exaggeration to say that the encounter between Hugo, who criticized corrupted society and delved into human nature, and Verdi, who assumed a different viewpoint from other contemporary composers, was the perfect one rather than an accidental meeting. Verdi's opera Rigoletto can be distinguished from other contemporary operas even in that it placed a low-voiced singer at the leading part, contrary to tenor-centered development of a drama. Excluding a tenor that took the leading role in all contemporary operas, Verdi highlighted a low-voiced baritone who could present a wider range of emotional expression than a tenor and show masculine power to the utmost to express the properties of the character of father effectively. In other words, he adhered to the traditional type of Italian operas rather than use a new technique of musical creation and expressed a new form through conversion of roles. A baritone aria in Verdi's opera Rigoletto has a different aspect from that in other contemporary operas. Rather than a bystander of baritone arias in the existing operas, the work permits the audience to grasp development of the whole drama, reversal, and even conclusions only through arias sung by Rigoletto, and enables the audience to attain a mentally perfect state by sharing diverse psychological states through dramatic sorrows, distress, anger, and alternation between joy and sorrow: Rigoletto's frantically revengeful thought and Gilda's feelings. As seen above, Verdi showed his own musical and mental values through the hero Rigoletto's baritone arias and intended to sublimate them in this opera for this reason, this study examined musical, literal, and character-specific properties in this opera. It is hoped. that this study will be helpful to singers who study Verdi's operas, musical enthusiasts, and all vocalists who dream of becoming the best Rigoletto in the future.
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#Giuseppe Verdi Opera Rigoletto Bariton Aria
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