Giuseppe Verdi is to opera what Shakespeare is to drama. It’s hard to imagine the art form of opera without this work of this fantastic composer. In this playlist, we’ll give you a quick overview of Verdi’s career, which began in 1842 when he took Italy by storm with Nabucco, and concluded, fifty years later, with his phenomenal Falstaff. During those years, Verdi was the undisputed king of Italian opera, and it was his relentless theatrical genius which transformed the genre from the singer-focused bel canto shows of the early nineteenth century into the almost cinematic kind of opera popular at the turn of the century. Learn more about Verdi's career at http://www.seattleoperablog.com/2015/08/verdis-career-musical-tour.html. 

All tracks from live Seattle Opera performances. Caricature of Verdi by Melchiorre Delfico.

Verdi’s Career

A whole sub-genre of western opera uses images derived from eastern cultures, created at a time when European powers were racing each other to establish colonies all over the world. Curious about the non-white world, but lacking access to real information, western writers tended to use their imaginations; so to appreciate these works today we must approach them as fantasies. 

READ our complete article at http://www.seattleoperablog.com/2015/10/western-fantasies-of-east-orientalism.html


Western Fantasies of the East

In the famous “Rigoletto” quartet the voices of Liparit Avetisyan (the Duke), Emily Fons (Maddalena), Madison Leonard (Gilda), and Lester Lynch (Rigoletto) come together in one of opera’s greatest ensembles. The Duke woos Maddalena, who laughs at him; unseen by them, his ex-lover, Gilda, wails and her father, Rigoletto, mutters words of vengeance. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Sunny Martini.
Elise Bakketun, photo

RIGOLETTO Quartet

Andrea Gruber sings Lady Macbeth’s Sleepwalking Scene at Seattle Opera in 2006. With Emily Clubb as the Lady-in-Waiting and Archie Drake as the Doctor. The orchestra of Seattle Opera was conducted by Nicola Luisotti. Photo by Rozarii Lynch. 



Lady Macbeth’s Sleepwalking Scene sung by Andrea Gruber

Nuccia Focile as Violetta and Charles Taylor as Germont sing part of the Act Two duet from “La traviata” at Seattle Opera in 2009. The orchestra of Seattle Opera was conducted by Brian Garman. Photo by Rozarii Lynch.


Violetta-Germont Duet, with Nuccia Focile and Charles Taylor

Florence Quivar sang Azucena’s narrative, “Condotta ell’era in ceppi,” at Seattle Opera in 1997. The hideous backstory of Verdi's darkest aria is explained in this painful tale of how Azucena's attempt to avenge her mother--burned at the stake as a witch--backfired when, blinded by a traumatic flashback, she murdered her own child, instead of the kidnapped baby of her mother's killer. Gegam Grigorian as Manrico listens to her story in uncomprehending horror. The orchestra of Seattle Opera was conducted by Antonello Allemandi. Photo by Gary Smith.

IL TROVATORE: Azucena’s Narrative

One of Verdi’s most unforgettable tunes, played by the central “Triumphal March” sequence in Act Two of AIDA. John Fiore conducts the orchestra of Seattle Opera. Philip Newton, photo.

Triumphal March and Ballet from AIDA

For his 1871 opera celebrating the world of ancient Egypt, Giuseppe Verdi invented a strange musical world full of pungent harmonies and curling arabesques to give an otherworldly character to the prayers to the god Ptah. Marcy Stonikas sings the Priestess in Seattle Opera’s “Aida." John Fiore conducts the chorus and orchestra of Seattle Opera. Photo by Philip Newton.

To learn more about operatic orientalism, go to http://www.seattleoperablog.com/2015/10/western-fantasies-of-east-orientalism.html

Verdi's "Ancient Egyptian" Music

For his popular early work inspired by Oscar Wilde’s fractured take on the Bible, master orchestrator Richard Strauss wrote music that would inspire generations of film composers, when operatic orientalism came to Hollywood. 
Gerard Schwarz conducts the orchestra of Seattle Opera. Photo by Gary Smith. 
To learn more about operatic orientalism, go to http://www.seattleoperablog.com/2015/10/western-fantasies-of-east-orientalism.html

Dance of the Seven Veils from “Salome”

No sooner has Julius Caesar arrived in Egypt than he is greeted with the severed head of Pompey the Great, his former friend and rival—a misguided welcome present from Cleopatra’s little brother Ptolemey. In Handel’s popular opera “Giulio Cesare,” the Roman conqueror explodes at Tolomeo in a vigorous rage aria, “Empio, dirò, tu sei”: “I will say you are wicked. Get out of my sight! You are cruelty itself. A king is never harsh, and always knows mercy.” At Seattle Opera in 2007, Polish contralto Ewa Podles sang Caesar. Gary Thor Wedow conducted the orchestra of Seattle Opera. Photo by Bill Mohn.

To learn more about operatic orientalism, go to http://www.seattleoperablog.com/2015/10/western-fantasies-of-east-orientalism.html

Ewa Podles as Giulio Cesare

Puccini’s answer to Verdi’s Triumphal March from “Aida” is this glorious music played as we enter the throne room of the Forbidden City for the Riddle Game in Act Two of “Turandot”. The traditional solo melody played by brass that concludes this excerpt was also used in the 1916 musical “Chu Chin Chow,” written by Oscar Asche with music by Frederick Norton. Asher Fisch conducts the chorus and orchestra of Seattle Opera. Photo by Elise Bakketun

To learn more about operatic orientalism, go to http://www.seattleoperablog.com/2015/10/western-fantasies-of-east-orientalism.html

Act Two Interlude from “Turandot”

Filipino tenor Rodell Rosel makes his Seattle Opera debut as Monostatos, the treacherous guard at Sarastro’s citadel who lusts after Pamina. Here he sings a little aria in Mozart’s classic “Turkish” style, “Alles fühlt der Liebe Freude,” complete with high-energy figurations scattering lots of decorative notes every which way. (For another example of this style, listen to Mozart’s well-known “Rondo alla Turca.”) Originally conceived as a North African with dark skin, Monostatos in contemporary performances typically sings about skin colors other than those referenced in the original libretto. Julia Jones conducts the orchestra of Seattle Opera. Photo by Philip Newton.

RODELL ROSEL as Monostatos

One of Verdi’s most beloved melodies, the famous chorus “Va, pensiero” from “Nabucco” serves as a sort of unofficial national anthem in Italy. In the opera the Hebrews, languishing in captivity in Babylon, remember their beloved homeland in Zion with longing and seek the strength to endure their suffering and exile. Carlo Montanaro conducted the chorus and orchestra of Seattle Opera on opening night of the Seattle premiere of "Nabucco," August 8, 2015. Photo by Philip Newton.


“Va, pensiero” - from NABUCCO

Founded in 1963, Seattle Opera is a leading American opera company. The company presents the classics of the European repertoire as well as new works of American opera. Frequent productions of Wagner's RING, beginning in 1975, established the company's worldwide reputation. Seattle Opera usually presents five opera productions each year.