Relevant bibliographies by topics / Intermedialność, libretto, opera, Verdi

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Academic literature on the topic 'Intermedialność, libretto, opera, Verdi'

Author: Grafiati
Published: 24 April 2022
Last updated: 30 July 2025

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Journal articles on the topic "Intermedialność, libretto, opera, Verdi"

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Stępień-Kutera, Kamila. "Śródziemnomorski Shakespeare. Libretto Arriga Boita do Falstaffa Giuseppe Verdiego." Copernicus. De Musica 1, no. 1 (2022): 7–14. http://dx.doi.org/10.15804/cdm.2022.1.01.

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The article presents the circumstances of the creation of Falstaff by Giuseppe Verdi, his last opera, one of the two to a libretto by Arrigo Boito. The author reveals behind the scene of working on that masterpiece referring to source materials that include, among other documents, fragments of letters by Verdi, Boito and Giulio Ricordi, translated by the author and published for the first time in Polish. The key features of Boito’s libretto – sources he used, his attitude to Shakespeare’s originals, versification and poetic means are also discussed (the article provides us with the fragments o
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Tsvetkova, Polina Yu. "THE HISTORY OF THE CREATION OF J. VERDI'S OPERA “FALSTAFF” THROUGH THE PRISM OF EPISTOLARY WRITING (on the 210th anniversary of the composer's birth)." Arts education and science 3, no. 36 (2023): 184–91. http://dx.doi.org/10.36871/hon.202303184.

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The year 2023 marks the 210th anniversary of the birth of the opera reformer, Italian composer Giuseppe Verdi. Through the prism of the composer's correspondence and the memoirs of his contemporaries, the article traces his work on the last opus, the opera “Falstaff ”. In this work, Verdi turns to the comic genre for the second time — his first comic opera “The King for a Day”, created during the most tragic period of the composer's life, was not a success. The libretto of “Falstaff ” was based on Shakespeare's comedy “The Merry Wives of Windsor” and fragments from his chronicle “Henry IV”. Th
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Giger, Andreas. "Behind the Police Chief's Closed Doors: The Unofficial Censors of Verdi in Rome." Nineteenth-Century Music Review 7, no. 2 (2010): 63–99. http://dx.doi.org/10.1017/s147940980000361x.

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A certain Filippo Nardoni, upon completing his review of the libretto of Giuseppe Verdi'sDon Alvaro(the Roman version ofLa forza del destino), wrote to the director of the police: ‘I have marked in pencil the proposed corrections, which I have thought advisable for the wretched subject of the opera. If you don't like them, they can be easily erased with sandarac’. It seems strange that an ostensible censor would correct a libretto and then not mind seeing his corrections erased; censors were, after all, gatekeepers of morality and political propriety, and no libretto was supposed to be permitt
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Tekavčić, Pavao. "»Quademi di filologia e lingue romanze«, Ricerche svolte nell'Università degli Studi di Macerata, Terza serie 15 (2000), Supplemento: Atti del Convegno »Rapporti culturali fra Italia e Spagna”, VII Incontro, Macerata, Università degli Studi, 16-17 novembr." Verba Hispanica 11, no. 1 (2003): 131–32. http://dx.doi.org/10.4312/vh.11.1.131-132.

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Según se deduce de los títulos de los (once) artículos, seis están en italiano y cinco en español. Puesto que entre ellos no figuran verdaderos escritos lingüísticos, presentaremos en muy breves rasgos el contenido de cada uno. Emilio Soler Pascual, Semblanza de un ilustrado español: Joaquín Lorenzo Villanueva y Astengo ( 1787-1837) (5-22; /entre paréntesis vienen las páginas/): vida y actividad (políticas, literarias, académicas) del ilustrado español, conflicto con el Papa; fin de su vida en el exilio en Inglaterra. - Giulia Mastrangelo Latini, Letteratura e libretto d'ópera: El Trovador e I
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Petillo, Mariacristina. "The use of subtitles in foreign language teaching." Audiovisual translation and media accessibility in language learning contexts 9, no. 2 (2023): 239–60. http://dx.doi.org/10.1075/ttmc.00110.pet.

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Abstract The aim of this contribution is to assert the role of didactic audiovisual translation as a helpful tool for enhancing metalinguistic skills in a foreign language classroom in Italy; more precisely, the paper will offer an analysis of how foreign language teachers can introduce their students to the idea of sociolinguistic variation, by observing how lexical and morphosyntactic changes can occur in the translation process from an Italian source text into an English target text and/or vice versa. The following sociolinguistic variables will be examined through the lens of audiovisual t
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Fulquet, Josep Maria. "Falstaff: la comèdia, l'òpera, el film." Tripodos, no. 12 (June 20, 2003): 9–24. https://doi.org/10.51698/tripodos.2002.12.9-24.

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The objective of this article is to analyse different treatments of Falstaff, the fictional character created by William Shakespeare, both in literature (be it historical drama -Henry IV, parts one and two; Henry V- or comedy -The Merry Wives of Windsal), and in the adaptation to opera written by Arrigo Boito -librettist and composer who had collaborated with Giuseppe Verdi on the libretto of another Shakespearean tragedy, Othello- and, finally, in the cinema version of the American actor and director Orson Welles. As we know, Falstaff constitutes the nucleus of the aforementioned works, the t
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Mustafa, Ergüven. "Romantik Dönemde Müzik ve Opera." International Social Mentality and Researcher Thinkers Journal 11, no. 2 (2025): 296–300. https://doi.org/10.5281/zenodo.15068096.

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Romantik dönem, klasik dönemin kalıplaşmış kurallarından sıyrılarak, tüm sanat alanlarında sanatçıların kendilerini özgürce ifade etmelerini sağladı. Romantik dönemle birlikte, klasik anlayışın katı formundaki erimeler de başlamış, sanatın odağı ve konusu birçok bakımdan “aklın” ve “kuralların” dışına belirgin bir biçimde çıkmıştır.   Besteciler, kendi iç dünyalarına yönelerek, duygularını, hayallerini ve deneyimlerini müziklerine yansıttılar. Aşk, doğa, karamsarlık, vatan sevgisi
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Golianek, Ryszard. "„I Lituani” Amilcare Ponchiellego – Mickiewiczowska opera włoskiego twórcy." Muzyka 61, no. 1 (2016): 35–48. https://doi.org/10.36744/m.3231.

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Opera I Lituani (Litwini) skomponowana w 1872 roku przez Amilcare Ponchiellego (1834-1886), ważnego włoskiego twórcę operowego drugiej połowy XIX wieku (autora m.in. Giocondy), jest jedną z nielicznych oper inspirowanych poezją Adama Mickiewicza, które zostały stworzone przez zagranicznych (niepolskich) kompozytorów. Libretto opery, wykorzystujące problematykę powieści poetyckiej Konrad Wallenrod Mickiewicza, wyszło spod pióra Antonia Ghislanzoniego, autora libretta do Aidy Verdiego, a premiera Litwinów miała miejsce 7 marca 1874 roku w mediolańskiej La Scali. Porównanie konstrukcji libretta o
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Panasiuk, Valerii. "«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko." Aspects of Historical Musicology 21, no. 21 (2020): 63–82. http://dx.doi.org/10.34064/khnum2-21.04.

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The historical evidence of the XX – the beginning of the ХХІ century musical theatre proves that the drastic interpretation as “a coherent artistic project” can include creating a new text for a libretto, which is aligned to fundamentally important provisions of the director’s concept. It was true for G. Verdі’s “LaTraviata” theatrical performance implemented on the stage of the State Musical Theatre named after People’s Artist of the Republic V. Nemirovich-Danchenko (1934). Due to their provocative approach and radicalism of breaking with wellestablished traditions the ideas of the stage prod
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Ding, Boyu. "Jin Xiang’s Opera “Sunrise”: Chinese “La Traviata”." Culture of Ukraine, no. 80 (June 30, 2023): 126–34. http://dx.doi.org/10.31516/2410-5325.080.16.

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The purpose of the article. In recent decades, modern Chinese opera has overcome national limitations and is increasingly attracting interested and appreciative listeners on different continents. Jin Xiang (1935–2015) is one of the modern Chinese composers who made this historical breakthrough with his work. He is the author of nine operas, among which the most famous was created in 1987. Wild Land (原野, there are also other translations of this title: “Plain”, “Desert”, “Big Field”) and “Sunrise” (日出) that was created in the last year of his life. And if a number of researchers have devoted th
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Dissertations / Theses on the topic "Intermedialność, libretto, opera, Verdi"

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Darra, Daniele. "A misura di canto. Aspetti della metrica nei libretti scritti per Verdi." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424658.

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The object of this research is the complex literary work called libretto and more specifically its metrics. The peculiarity of the libretto resides in the multiple factors which interact in it. It is first and foremost a poetic text which be however inevitably integrated into two non-literary contexts: the musical and the theatrical one. The libretto is assimilated by those contaxts and their mechanisms, from its creation up to the performance. The metrical analyis, of which I will give the first, punctual results, has been carried out on the libretti composed for Verdi in italian, conceived b
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Books on the topic "Intermedialność, libretto, opera, Verdi"

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Zaragoza, Georges. Le livret d'opéra: Dans le cadre de l'année Verdi, colloque de l'Université de Bourgogne, 22 et 23 mars 2001. Phénix, 2005.

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Pronti, Stefano. Verdi: Da Oberto a Falstaff : le prime delle opere attraverso i libretti, gli spartiti, i giornali, le immagini e con documenti inediti sugli ascendenti piacentini del maestro. Tip.L.eCo, 2007.

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Fisher, Burton D. Verdi LA TRAVIATA Opera Study Guide with Libretto. Opera Classics Library, 2018.

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Giuseppe, Verdi. Aida: Libretto. G. Schirmer, Inc., 1986.

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La Traviata (Opera Journeys Libretto Series). Opera Journeys, 2001.

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Giuseppe, Verdi. Aida: Libretto (Italian/German). Schott, 2001.

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Giuseppe, Verdi. La Traviata: Black Dog Opera Library. Black Dog & Leventhal Publishers, 2005.

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Verdi, Giuseppe. Macbeth: Melodramma in Four Acts. Libretto by Francesco Maria Piave (The Works of Giuseppe Verdi, Series I: Operas). University Of Chicago Press, 2006.

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Book chapters on the topic "Intermedialność, libretto, opera, Verdi"

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Weiss, Piero. "Verdi’s Otello." In Opera. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0037.

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Abstract After the triumph of Aida (1871 ), Verdi seemed to have retired from the operatic stage. The story of how he was gradually lured back by his publisher Giulio Ricordi (1840-1912) has often been told. The earliest attempts to get him interested in a new project date from June 1879, when Ricordi paid him a visit with Boito, who showed him the outline of a libretto he had derived from Shakespeare’s Othello. And although the composer and poet were soon exchanging ideas regarding details of the versification, Verdi did not finally commit himself to writing the opera until 1884, by which tim
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Budden, Julian. "Viva V.E.R.D.I." In Verdi. Oxford University PressNew York, NY, 2018. http://dx.doi.org/10.1093/oso/9780195323429.003.0007.

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Abstract by the third week in october 1853 verdi and giuseppina were installed in the Rue de Richter 4, Paris. The opera for which Verdi had been contracted in 1852 was not due for production for at least a year; but the schedule had fallen behind. Eugène Scribe—and Verdi would not settle for a less distinguished collaborator—had not supplied the libretto by the date stipulated (July 1853) for the good reason that the subject had not yet been agreed between them. From the start Verdi had demanded ‘something grandiose, original and full of passion; an imposing and overwhelming mise-en-scene’. S
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Parker, Roger. "Les Vêpres siciliennes." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0022.

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Abstract Opéra in five acts set to a libretto by Eugene Scribe and Charles Duveyrier after their libretto Le Due d’A!be; first performed in Paris, Opera, on 13 June 1855. After the performances of Jerusalem at the Opera in 1847 Verdi had in tended to produce an entirely new opera for Paris’s leading theatre, but the revolutions of 1848 caused the plan to be shelved. He renewed negotiations with the Opera, however, in 1852, and a contract was drawn up for a full-scale French grand opera in five acts, with a libretto by Eugene Scribe, the acknowledged poetic master of the genre. After various su
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Parker, Roger. "Iɭ corsaro." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0015.

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Abstract Opera in three acts set to a libretto by Francesco Maria Piave after Byron’s poem The Corsair; first performed in Trieste, Teatro Grande, on 25 October 1848. The cast at the premiere included Gaetano Fraschini (Corrado), Achille De Bassini (Seid), Carolina Rapazzini (Medora), and Marianna Barbieri Nini (Gulnara). Verdi had toyed with setting Byron’s poem as early as 1844 and kept the subject in mind during the years immediately following. In 1845 he considered using it to fulfil a commission from Her Majesty’s Theatre in London: Piave wrote the libretto, but the London trip was postpo
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Budden, Julian. "Jérusalem." In The Operas of Verdi. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162612.003.0014.

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Abstract Sooner or later an aspiring Italian composer of the nineteenth century was bound to want to make his debut at the Paris Opera; and not for financial reasons only. On the whole, Italians, little as they liked to admit the fact, produced their best work for Paris. The grandiose scale of French serious opera with its choruses and ballet oftered them more scope, while the more intelligent, more dramatic quality of the average French libretto forced them to take greater thought for the drama instead of relying for their effects mainly on the quality of the human voice.
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Parker, Roger. "Falstaff." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0030.

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Abstract Commedia lirica in three acts set to a libretto by Arrigo Boito after William Shakespeare’s plays The Merry Wives of Windsor and King Henry IV; first performed in Milan, Teatro alla Scala, on 9 February 1893. Verdi, who by the time he came to write his last operas was a national monument, talked intermittently of writing a comic opera during the latter part of his career, but never found a libretto to his taste until some two years after the success of Otelia in 1887. His librettist for that opera, Arrigo Boito, suggested a work largely based on Shakespeare’s The Merry We Yes of Wends
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Budden, Julian. "Il Trov a Tore." In The Operas of Verdi. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162629.003.0003.

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Abstract The triumph of Rigoletto in March 1851 left Verdi understandably jubilant. He had accomplished what had seemed like a revolution in Italian opera and he had carried his public with him. At thirty-eight his creative energy was at its peak; and the man who had found the strain of composing two operas a year well-nigh intolerable was now proposing to the impresario at Bologna to compose a new opera for the coming autumn, ‘the libretto to be my responsibility and, I hope, by Cammarano!’* While still in Venice he had already written to the Neapolitan poet proposing El Trovador by Garcia Gu
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Parker, Roger. "Macbeth." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0012.

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Abstract Opera in four acts set to a libretto by Francesco Maria Piave (with additional material by Andrea Maffei) after William Shakespeare’s play; first performed in Florence, Teatro della Pergola, on 14 March 1847. The re vised version, with a libretto translated by Charles-Louis-Etienne Nuitter and Alexandre Beaumont, was first performed in Paris, Theatre Lyrique, on 21 April 1865. The cast at the 1847 premiere included Felice Varesi (Macbeth) and Marianna Barbieri-Nini (Lady Macbeth). For the 1865 revised version the cast included Jean Vital Ismael (Macbeth) and Inez Rey-Balla (Lady Macbe
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Parker, Roger. "Un hallo in maschera." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0025.

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Abstract Melodramma in three acts set to a libretto by Antonio Somma after Eugene Scribe’s libretto Gustave III, au Le Bal masque; first performed in Rome, Teatro Apollo, 17 February 1859. By February 1857 Verdi had agreed to write a new opera for the Teatro San Carlo in Naples, to be performed in the carnival season 1857-58. His first idea was King Lear, a setting of which he had planned with the playwright Antonio Somma, but (not for the first time) the San Carlo singers were not to his liking and the project was postponed. By September 1857 the composer was becoming anxious about his approa
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Parker, Roger. "Simon Boccanegra." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0023.

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Abstract Opera in a prologue and three acts set to a libretto by Francesco Maria Piave (with additions by Giuseppe Montanelli) after Antonio Garcia Gutierrez’s play Simon Bocanegra; first performed in Venice, Teatro La Fenice, on 12 March 1857. The revised version, with additions and alterations by Arrigo Boito, was first performed in Milan, Teatro alla Scala, on 24 March 1881. The cast at the 1857 premiere included Leone Giraldoni (Boccanegra), Giuseppe Echeverria (Fiesco), Luigia Bendazzi (Amelia) and Carlo Negrini (Gabriele). For the 1881 revised version the cast included Victor Maurel (Boc
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