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Life and Operas of Verdi

Life and Operas of Verdi

Professor Robert Greenberg, Ph.D.
San Francisco Performances

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Life and Operas of Verdi

Course No. 790
Professor Robert Greenberg, Ph.D.
San Francisco Performances
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4.5 out of 5
57 Reviews
71% of reviewers would recommend this series
Course No. 790
  • Audio or Video?
  • You should buy audio if you would enjoy the convenience of experiencing this course while driving, exercising, etc. While the video does contain visual elements, the professor presents the material in an engaging and clear manner, so the visuals are not necessary to understand the concepts. Additionally, the audio audience may refer to the accompanying course guidebook for names, works, and examples that are cited throughout the course.
  • You should buy video if you prefer learning visually and wish to take advantage of the visual elements featured in this course. The video version is well illustrated with more than 300 visuals, including images representing Verdi's musical development and operas such as La Traviata, Aida, and Rigoletto. On-screen text and graphics that highlight key terminology, concepts, and dates are also featured.
Audio Streaming Included Free

Course Overview

The Italians have a word for the sense of dazzling beauty produced by effortless mastery: "sprezzatura." Perhaps no cultural form associated with Italy is as steeped in the love of sprezzatura as opera, a genre the Italians invented. And no artist working in opera has embodied the ideal of sprezzatura as magnificently as that gruff, self-described "farmer" from the Po Valley and composer of 28 operas, Giuseppe Verdi (1813–1901).

Opera's Best-Loved Composer

Verdi is still the most popular composer in the 400-year-old history of opera. His operas are produced more than any other composer's, and one (admittedly unverifiable) source claims that his La traviata (1853) has been staged live somewhere around the world every evening for the past 100 years.

What are the treasures of creativity that account for this popularity? With Professor Robert Greenberg, you unpack them in depth and detail in this 32-lecture series.

You explore both famous and not-so-famous Verdi operas, as well as his Requiem Mass of 1874, his one great concert work; his early songs; and his very last composition, the Stabat Mater.

You trace his development from a more or less conventional composer of operas in the traditional Italian bel canto ("beautifully sung") style to a creator of truly innovative musical dramas in which the power of music to intensify and explore human emotion is exploited to the fullest degree.

"Verdi was a great dramatist and a great melodist at the same time, whose artistic evolution never ceased across the 50-year span of his career," says Professor Greenberg.

Enjoy a Mix of Biography and Musical Excerpts

The course structure is chronological, allowing you to follow easily the developing patterns in Verdi's work. Combining biography with a variety of musical excerpts, Professor Greenberg presents a memorable mixture of "sights to see and things to think about along the way."

To give a few examples:

  • Entertaining anecdotes, including how Verdi first realized Nabucco was a hit, or his response to a dissatisfied operagoer who asked him for a ticket refund—he saw Aida twice and did not like it either time
  • Enlightening musical analyses, such as Professor Greenberg's line-by-line examination of the breathtaking "quartet" sequence in Act III of Rigoletto—a musical achievement on a par with Mozart at the top of his operatic game, and an exploration of the massive, 38-minute "Dies irae" movement of the Requiem
  • The story behind how Verdi became a larger-than-life, iconic hero of Italian nationalism
  • An explanation of how Verdi worked out his complex creations in dealings with everyone from amazingly gifted librettists (such as Arrigo Boito) to maddening censors
  • Descriptions of key personal associations with lovers and spouses to business partners and politicians.
A Brief Biography

You trace Verdi's long life beginning at his birth in 1813 in the small village of Le Roncole in French-dominated northern Italy (then the Duchy of Parma), where his parents kept a tavern frequented by itinerant musicians.

Verdi's parents sent him to the nearby town of Busseto to study music with Ferdinando Provesi, a cofounder of the Busseto Philharmonic Society. Verdi learned the art of composition by writing hundreds of pieces, which were then performed by the Busseto Orchestra.

The other cofounder, Antonio Barezzi, took the young Verdi under his wing and later financed his compositional studies under Vincenzo Lavigna in Milan, after the Milan Conservatory had rejected his application on the grounds that he was too old and showed little musical promise.

In 1836, Verdi became master of music of the city of Busseto. His first opera, Oberto, was performed at the famous La Scala Opera House in Milan in 1839.

His next opera, Un giorno di regno (King for a Day), was a total flop, and Verdi never forgot the humiliation. From then on, he never had any regard for public opinion, good or bad.

Verdi's first masterpiece was Macbeth, premiered in 1847. This opera marked a watershed in Verdi's compositional development. In it, we begin to see Verdi depart from the traditional Italian bel canto opera, which focused on melodic and vocal beauty, often at the expense of dramatic integrity.

In the 1860s, Verdi began to slow down his prodigious output of operas. Between 1839 and 1859, he had composed 23 operas; between 1862 and 1893, he composed five operas and the Requiem.

When Verdi died in January 1901, 200,000 mourners came to see off to eternity the man who had, by the time of his death, become united Italy's most famous citizen.

The Primacy of Opera

A premise of the course—laid out by Professor Greenberg in his first lecture—is that opera cannot be understood as just one more musical genre among others in Western history.

On the contrary, states Dr. Greenberg, opera, Verdi's medium par excellence, is primary and central; the most important musical invention of the last half-millennium.

Opera was born out of the Italian Renaissance desire to recover and reproduce the dramatic art of the "ancients" by setting entire stage plays to music. What the Renaissance called "works in music" or opera in musica, we have shortened to simply "opera." As a genre, opera made the voice and feelings of the individual central to art as never before.

The implication of opera's primal and central character, argues Professor Greenberg, could not be clearer: If you want to understand classical (or more properly concert) music, you must understand opera.

Each lecture contains one or more musical excerpts, personally chosen by Professor Greenberg to provide you with vivid, concise illustrations of Verdi's artistry. The musical interludes average about 12 minutes per 45-minute lecture. The dates below indicate the year of the premiere.

Works you'll hear in the lectures are excerpted from:

Sei romanze (Six Romances), nos. 1 and 3, 1838
Oberto, 1839
Un giorno di regno, 1840
Nabucco, 1842
I Lombardi, 1843
Ernani, 1844
I due foscari, 1844
Macbeth, 1847
I masnadieri, 1847
Luisa Miller, 1849
Rigoletto, 1851
Il trovatore, 1853
La traviata, 1853
Les Vêpres siciliennes, 1855
Un ballo in maschera, 1859
La forza del destino, 1862
Don Carlo, 1867
Aida, 1871
Requiem Mass, 1874
Otello, 1887
Falstaff, 1893

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32 lectures
 |  45 minutes each
  • 1
    La bell'Italia
    Verdi, like opera itself 200 years before him, was Italian-born. He came into a candlelit world, and died during the era of electricity. Despite all the changes he saw and made, his works never abandoned opera's roots as a popular entertainment or its devotion to sprezzatura, "the art of effortless mastery." x
  • 2
    Verdi was a gifted student; wealthy citizens in his home region near Parma sent him to the Milan Conservatory. But the 18-year-old Verdi was deemed too old for admission, and so had to find another way to start his musical career. x
  • 3
    Embroiled in a bitter factional feud in his adopted hometown and stricken by the tragic loss of his two young children, Verdi nonetheless successfully transplanted himself to Milan and scored a modest success in November 1839 with the premiere of his first opera at La Scala. x
  • 4
    His first wife's death and his second opera's disastrous premiere almost killed Verdi's young career. Yet a year later, in 1842, he bounced back both commercially and artistically with Nabucco, a biblical tale of liberation and unity that stirred Italians deeply. x
  • 5
    Nabucco, Conclusion and Risorgimento
    Verdi cannot be understood apart from the Italian Risorgimento; nor can it be understood apart from him, for his music was its soul and voice. The third-act duet between King Nabucco and his daughter Abigaille is a window on this remarkable cross-influence between an artist and a nation being born. x
  • 6
    I Lombardi
    The premiere of Nabucco would prove a turning point in Verdi's personal as well as professional life, for it was then that he met the singer and actress Giuseppina Strepponi, his future wife. La Scala gave him a contract whose first fruit was I Lombardi alla prima crociata (The Lombards at the First Crusade). x
  • 7
    I Lombardi, Conclusion and Ernani
    With the 1842 premiere of I Lombardi, Verdi began a decade of fiercely hard work, showing himself a master of the business side of the opera game. I Lombardi, Ernani, and other operas of this period such as I due foscari would drive Italian audiences wild and the Austrian censors up the wall. x
  • 8
    In 1846, Verdi expanded his range still further with Macbeth, reaching for extreme Romantic effects that were a departure from the norms of Italian opera. Music and voices, he had decided, must above all express the truth of the characters and their inner worlds. x
  • 9
    I masnadieri
    In 1847, Verdi spent time in London, supervising a production of I masnadieri (The Robbers). In 1848, after revolutions broke out against regimes across Europe, an elated Verdi returned to Milan, newly liberated from the Austrians, only to see his hopes for an "Austria-free" Italy dashed. x
  • 10
    Luisa Miller and Rigoletto
    Luisa Miller is a tale of ordinary people crushed by absolutist government, and another step on Verdi's journey away from the bel canto tradition. Rigoletto, with its libretto by Francesco Piave, comes from a play by Victor Hugo. x
  • 11
    Rigoletto, Act I continued
    The first act in this lurid tale of wickedness, innocence, and a terrible curse blends music and drama in a way wholly new to Italian opera. In Rigoletto, the hunchbacked jester of the Duke of Mantua, Verdi and Piave have given us one of the great characters of the opera stage. x
  • 12
    Rigoletto, Acts I, II and III
    The Duke's aria "La donna e mobile" ("Woman is fickle") is one of the most famous in all opera. It speaks volumes about the shallow, Don-Juanish Duke, and is so tuneful that Verdi, while writing it, took elaborate steps to keep it secret lest its impact at the premiere be lessened. x
  • 13
    Rigoletto, Act III continued
    Rigoletto includes some of the most stunning ensemble and orchestral writing since Mozart. The atmospherics (literally!) are extraordinary too, as Verdi uses the orchestra and a wordless chorus to suggest a coming storm as a metaphor for doom. x
  • 14
    Rigoletto, Conclusion and Il trovatore
    How could Verdi top Rigoletto, one of the most memorable characters in all opera? In 1852, less than two years after Rigoletto's premiere, Verdi wrote not one but two more immortal operas, each musically brilliant, dramatically innovative, and beloved to this day. x
  • 15
    Il trovatore, Conclusion and La traviata
    While the public swooned with joy over Il trovatore's January 1853 premiere, some of Verdi's critics complained that its "vulgarity" had put an end to bel canto opera. Oddly enough, they were quite close to the mark. x
  • 16
    Un ballo in maschera
    Verdi created this opera with remarkable speed, but then had to fight a titanic public battle with the censors in Naples and settle a number of lawsuits before it could be staged to his liking—in Rome. x
  • 17
    Un ballo in maschera, Conclusion
    In Act III, Verdi shamelessly pulls out every melodramatic stop but somehow makes it all work: a sure sign of his genius. By now middle-aged, he also tried to retire from both politics and opera, but happily would succeed only in quitting the former. x
  • 18
    La forza del destino
    Written for the court of the Russian czar and premiered at St. Petersburg in 1862, this tale of star-crossed young lovers featured a "destiny" theme that stands as a musical landmark in Verdi's score. x
  • 19
    Don Carlo
    Verdi spent nearly a year composing Don Carlo, based on a drama by Friedrich von Schiller, for the Paris Opéra. The work caused some critics to make wrong, maddening, and yet not entirely unreasonable comparisons between Verdi and Wagner. x
  • 20
    Don Carlo, Conclusion
    Verdi hated autocracy, yet Act IV of Don Carlo pulls back the curtain of power to show the arch-autocrat Philip II of Spain in his humanity as a lonely man afraid of aging and betrayal. Princess Eboli's aria "O don fatal" in this act contains one of the greatest passages ever written for mezzo-soprano. x
  • 21
    Set in ancient Egypt and commissioned by the Ottoman governor of that country to mark the completion of the Suez Canal, Aida is famous for spectacle, though its core is a tale of private love and loss. The opera's "first premiere," which Verdi himself did not conduct, was in Cairo.   x
  • 22
    Aida, Conclusion
    Taking Aida's 1872 Milan premiere to be his most important ever, Verdi forced changes on La Scala that are now the rule for opera houses everywhere. It was all to good effect, for Aida is the benchmark operatic spectacle and remains Verdi's most popular work. x
  • 23
    The Requiem
    The 1873 death of the great author Alessandro Manzoni—the virtual inventor of modern standard Italian—spurred Verdi to score a Requiem Mass in Manzoni's honor. The result is a work that is unique in this often-tried genre. x
  • 24
    The Requiem, Conclusion
    Verdi's seven-movement Requiem expresses an awesome range of emotions. We focus on its huge, 38-minute Dies irae (Day of Wrath) section and its closing Libera me. Along with Beethoven's Missa solemnis (1822) and Brahms's German Requiem (1869), Verdi's Requiem is the greatest work of religious music written between 1800 and 1900. x
  • 25
    This was the product of a conspiracy to get Verdi—by now the most famous living Italian—to compose again. The key was librettist Arrigo Boito, whose partnership with Verdi would become one of the finest in musical history. x
  • 26
    Otello, Conclusion; Falstaff
    Otello was an event of national importance when it premiered in 1887, and many thought it was Verdi's swan song. Desdemona's "Willow Song" scene makes a window onto this masterwork on the tragic side of the Shakespearean range. x
  • 27
    Falstaff, Act I, Sc. 1
    Verdi had total control over Falstaff and crafted the whole production with great care and gusto. This was not only the summation of his life's work (and only his second comic opera), but broke new ground both dramatically and musically. x
  • 28
    Falstaff, Act I, Sc. 1, Conclusion; Sc. 2
    Verdi knew how crucial timing is to comedy, so he avoided arias in favor of a profusion of fluid melodic lines that overlap, spin off, and turn into something else entirely. The overall effect is remarkable. x
  • 29
    Falstaff, Act I, Sc. 2, Conclusion; Act II, Sc. 1
    The second scene of Act I features an amazing group-sing that combines men's and women's ensembles, each singing in a different meter. Act II begins with an explosive orchestral passage from which Verdi develops most of the scene's melodic material. x
  • 30
    Falstaff, Act II, Sc. 1, Conclusion; Sc. 2
    Verdi's "inner eye" for action on stage is almost as extraordinary as his inner ear for music. There is comic genius in the way he and Boito bring to life the antics of Falstaff, Ford, and the quick-witted "Merry Wives of Windsor." x
  • 31
    Falstaff, Act II, Sc. 2 continued
    Verdi's score matches the characters and their actions brilliantly: Falstaff's ostensibly seductive "love song" sounds comically dated, while later, fast-moving, overlapping vocal lines accompany complex slapstick action. x
  • 32
    Falstaff, Act II, Conclusion; Act III
    In 1900, a friend asked the 87-year-old Verdi which of his creations was his favorite. Verdi's response was extraordinary, and it tells us much about the man and where his priorities lay near the end of his life. x

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Your professor

Robert Greenberg

About Your Professor

Robert Greenberg, Ph.D.
San Francisco Performances
Dr. Robert Greenberg is Music Historian-in-Residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in Music Composition from the University of California, Berkeley. He has seen his compositions—which include more than 45 works for a wide variety of instrumental and vocal ensembles—performed all over the world, including New York, San Francisco, Chicago, Los Angeles,...
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Life and Operas of Verdi is rated 4.5 out of 5 by 57.
Rated 5 out of 5 by from All Verdi extravaganza! I love opera, but I want to know more. I listened to this before going to Italy last summer, and it more than met my expectations. I saw a performance of Don Carlo in Florence, and Professor Greenberg's discussion really helped me understand what was going on in the music. I loved the final discussion of Falstaff, and I wish all the operas could have been discussed in such detail, but I know it isn't possible. One thing I especially loved were the quotes from Verdi's and his friend's and enemies' letters. I felt as if I had an understanding of the man and the great artist at the end of the course. I can't wait to return to Italy and vist Busetto.
Date published: 2017-07-23
Rated 1 out of 5 by from Verbosity personified. Like all of Professor Greenberg's courses, he loves to hear himself talk. The opera ones are particularly bad in this regard. They basically consists of him reading our longs stretches of the libretto followed by taped music. Gets a little tedious.
Date published: 2017-07-18
Rated 5 out of 5 by from A Superb Teacher of Music I'm posting the same review for the many courses offered by Robert Greenberg I have taken. He is superb at explaining music, how it works and why it feels the way it does when you hear it. His courses greatly enhance my appreciation of the music, not just soon after taking his course but over the years thereafter.
Date published: 2017-05-28
Rated 5 out of 5 by from Love Bob Greenberg's courses This is another winner! Robert Greenberg is the Mark Twain of Musicology and Music History. Witty, informative, original.
Date published: 2017-04-24
Rated 5 out of 5 by from Clear and appropriate I am a professional musician, and I have enjoyed many of Dr. Greenberg's courses. Although I know a great deal about many of the subjects he lectures on, he always brings new insights, balances important overall concepts with perceptive details, and renews one's enthusiasm for the music and for the miracles of the great composers. I am very pleased that so many people have used these courses as a way to dig deeply into one of life's greatest gifts.
Date published: 2017-04-17
Rated 5 out of 5 by from Wonderful Course My wife and I have watched may 8 music courses from Greenberg and liked them all. This Verdi is my favorite so far. Greenberg combines enough European history to give Verdi's life and time real background. The course is a perfect combination of both the life and the operas (and the requieum). Greenberg is an excellent lecturer who interjects spontaneous humor- or if this is not spontaneous his comedic timing is excellent. I have a strong musical background but knew little about either opera or Verdi. To improve the course I would suggest including more still shots, or better yet, movie clips to enhance the excerpts that are played. I realize this may involve a bit of copyright hassle, but having the scene to see as well as hear would be a significant plus.
Date published: 2017-04-12
Rated 5 out of 5 by from Professor Greenberg: A masterful teacher! To be short and sweet, while my mom loved opera and had to listen to it when I was a kid, I am not an opera buff, in fact I never listen to it now. However, Professor Greenberg brought Verdi and his operas to life and his lectures were a joy to watch. He did make me want to try to listen to opera, especially Verdi's, to see if I can appreciate them now. This is a great course especially for those who want to know and understand Verdi and even those that had no idea that they might.
Date published: 2017-04-08
Rated 1 out of 5 by from Misleading-lots of books on available on Verdi Too much life, not enough opera! Was expecting more opera and analysis, less about Verdi.
Date published: 2017-03-23
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