Life and Operas of Verdi

Course No. 790
Professor Robert Greenberg, Ph.D.
San Francisco Performances
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Course No. 790
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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
 |  Average 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 68.
Rated 3 out of 5 by from Good Material but Greenberg Talks too Much! I have listened to several of Greenberg's courses and always come away with the same feeling - He presents a great deal of information that directly related to his topic (including pretty good musical analysis), some good anecdotes that add depth, and sadly a tremendous amount of blather that makes it hard to fully recommend his courses. He often sounds like a baseball announcer, using slang, drops in cartoon voices (his Duke in Rigoletto was just dreadful), etc -- Some may find this entertaining but ultimately I find that it detracts -- you just want to skip over a lot what he has to say on repeated listening.
Date published: 2012-09-01
Rated 5 out of 5 by from Entertaining and Enjoyable! The first lecture in this course is the best lecture I have heard in any subject, and I have been teaching and learning at the university level for over 30 years. I loved the summaries of the opera plots that Professor Greenberg offered. The professor made the stories come alive and relate to contemporary life. I enjoyed every minute of this fascinating course and highly recommend it.
Date published: 2012-05-09
Rated 5 out of 5 by from Another 5 stars for Greenberg Greenberg is the (rock star) of the the TGC stable of profs. It is probably redundant to say this is a 5 star course. All of his seem to be. MY only complaint is: that is more than I wanted (my problem, not his). For many, this intense study of Verdi will be perfect.
Date published: 2012-05-06
Rated 3 out of 5 by from Stop Greenberg from acting I love opera and I especially love Verdi. Greenberg presents the material well, but, God, his exaggerated acting out of the aria's lyrics drove me up the wall. His voice is grating and annoying, which makes his overdone portrayals of the Verdi character lyrics worse than the proverbial fingernails on the blackboard.
Date published: 2012-04-05
Rated 5 out of 5 by from great masters life and music I'm enjoying the 10 DVDs from the great masters life and music and I'm ready and eager to get more of your courses in the next weeks!!!!!!!! Dr. Greenberg's teaching courses are superb!! His way of describing all details of the musician's life is incredible interesting!!!!!! I'm more than glad that I found a company that truly delivers the passion about the lives of all musicians and the accurate and historical music information that I'm looking for.
Date published: 2011-07-04
Rated 5 out of 5 by from I wept I have just concluded listening to 32 cds by Professor Greenberg on the life and operas of Verdi. There should be a law against listenting to these in our vehicles, because I found that I was entranced, beguiled, and just generally emotionally wrought over the course of this presentation of truly one of the greatest humans to walk the stage of life. And today he died as I was pulling into my parents' driveway - my father and mother are 84 and 82 respectively - and the greatest composer who ever lived passed away in front of their home. I was sobbing - for the loss and the gift of him, understanding completely the quote from Boito regarding death, and for the eventual and not-to-distant ultimate loss of the beloved people living in that home in front of me. And actually for all of us. I am a self-proclaimed lover of Shakespeare. If Verdi had NEVER produced a Shakespeare-inspired piece of work, I would have been able to recognize the greatness of a man that similarly grasped completely the fiasco of existence - the dream/ the joke of it all. And this would be mixed with the greatness, the yearning, the breaking of symbolic ceilings to touch the divine. For me, Shakespeare and Verdi were one and the same. I feel so blessed to be able to learn from them, to be able to experience their same understanding of this crazy, insane experience in bodies. Today, I purchased THE MERRY WIVES OF WINDSOR by Shakespeare and ordered the opera FALSTAFF, Verdi's last and his (finally) light spirited, comic, affectionate, compassionate and loving perspective on this thing we call life. Professor Greenberg is perhaps the greatest lecturer to whom I have ever listened. His passion and his love for his subject cross all boundaries and land, finally, right in our hearts. He is a master teacher - perhaps a master human being - and the impact these lectures have had on my life is unparalleled. I may not be talented like Verdi, brilliant like Verdi. But I found myself saying, "Yes, Yes! I want to end up as he did!" Surprisingly, that does not seem such a remote idea, based on these lectures. Know and grow your passions, cultivate relationships that are deep and abiding, find causes that grow your heart in leaps and bounds, don't be afraid of your feelings, and love HARD and VASTLY. Viva Verdi! Viva l'Italia for giving us this amazing human being...and Viva Professor Greenberg - your performance was as great as your subject's!
Date published: 2010-05-30
Rated 5 out of 5 by from positively epic The best musical biography by Prof. Greenberg yet, partly because he is given ample time to cover not just the details on Verdi himself, but also historical background of Italy's Unification, the workings of 19th-century theater, and the stories of Verdi's inner circle. All of this adds up to a truly immersive experience. My fiancee and I listened to this course over about 6 months during long drives, and we looked forward to it each time. Considering the fact that she had very little previous exposure to opera and enjoyed every minute of these lectures, this is a testament to Greenberg's amazing prowess as an educator. The detailed analysis of Rigoletto and Falstaff makes one start seeking out their performances right away.
Date published: 2010-05-14
Rated 5 out of 5 by from GRAZIE PROFESSORE MONTEVERDI I own all of Prof. Greenberg's lectures and relisten to them very often. The series on Verdi is yet the best! Prof. Greenberg brought me to tears several times with all the melodramatic details of Verdi's life. The composer became a real human not some monolithic statue from distant past. This series of lectures should be transformed into a screenplay for a fantastic movie full of musical insertions. Thank you, prof. Greenberg, you have taught me so much and entertained me at the same time with your humor, wit and vast knowledge. The Teaching Co. Pantheon of erudite lecturers is a tough competition: you, prof. Greenberg shine like a bright star! Thank you
Date published: 2010-04-14
Rated 5 out of 5 by from Wonderful The course was fascinating, like a good book that couldn't be put down. I'll be listening to it more than once. I almost feel like I know Verdi the person well after spending these hours with him.
Date published: 2010-03-21
Rated 5 out of 5 by from With a subject like Verdi, you can't go wrong With a subject like Verdi, you can't go wrong. Greenberg is an excellent guide, taking us into a deep understanding of Verdi's life and operas. This is one course I listen to often, not going all the way through, but picking out particular operas and focusing on one at a time. Wonderful course.
Date published: 2009-11-22
Rated 5 out of 5 by from Viva Verdi! And Viva Greenberg! I have enjoyed several of Prof. Greenberg's music courses. This one is the best so far. He clearly loves Verdi's music and communicates his passion for it in his inimitable style. We are treated to a fascinating account of Verdi's long life and musical career - rich in anecdotes and well chosen quotations from letters, diaries and other contemporary documents (Verdi's observations about Wagner - in annotations he made to his personal copy of the score of 'Lohengrin' - made me laugh out loud) - together with a large number of extracts from "Joe Green's" greatest hits. Two operas are analysed in considerable detail, 'Rigoletto' (Verdi's first operatic masterpiece written when he was only 36, but his 17th opera) and 'Falstaff' (Verdi's last opera - an extraordinary acheivement for a man of 80) - 'Otello' (Verdi's penultimate opera and one of the great masterpieces of music drama) is, as Prof. Greenberg points out, covered in depth in his "How to Listen to and Understand Opera" course (which I have also reviewed and recommend). We also have the benefit of Prof. Greenberg's analysis of Verdi's great Requiem Mass - rejected by the Catholic Church as being too theatrical, but as the good professor points out, Pope Pius X waited until after Verdi's death before declaring the work to be unsuitable for performance in Church. Highly recommended.
Date published: 2009-04-03
Rated 5 out of 5 by from A Grand Slam I have listened to about 12 SETS of lectures by the Teaching Co. This one was the most impressive. I am now a Verdi junkie. I think Prof Greenberg's style is pefect- but, then, I am his age and from the same city. Awesome. I recommend the DVD version, though the CD version should suffice..
Date published: 2009-03-10
Rated 4 out of 5 by from Less Levity Please "Prof. Greenberg is a wealth of information and knows his topic thoroughly. The content was interesting and his mixture of private and public Verdi helped to understand the composer. On the flip side, the funny voices, bad jokes, and sometimes too much 'dumbing down' of the topic, geared to keep an adolescent's interest were annoying. I found myself continually yelling at the cd player-to no avail of course. He has done a number of programs, so he is a favorite among the lecturers, and I am apparently in the minority. I will give another of his courses a try and see if this presentation is the exception to the rule. I hope so. It would be a shame for me to miss out on his vast knowledge."
Date published: 2009-01-27
Rated 5 out of 5 by from ONE OF PROF. GREENBERG'S VERY BEST If you knew Verdi like he knows Verdi--you wouldn't need this course. But if you are an opera lover and adore Verdi's music but don't know much about him and his impact upon Italy--grab this course. Prof. Greenberg makes the operas come alive with his narrative, and all the key Verdi operas are included. Verdi was a very great man, a musical genius, and a humanitarian. This is a beautiful course from start to finish.
Date published: 2009-01-25
Rated 5 out of 5 by from One fo the Great Music Courses If you love opera, this is a great set. If you're not sure about Opera and want a more thorough general grounding, try out How to Listen to and Understand Opera, or perhaps better yet, The Operas of Mozart. First of all, Prof. Greenberg's opening lecture on Italy makes the entire course worthwhile. Prof. Greenberg loves Italy and all things Italian. As for Verdi, I was trying to get my wife into opera, especially since I had planned a trip to Vienna over Christmas and New Year's of 2007. (We saw Rossini's Barber of Seville and Mozart's The MAgic Flute.) We received free tickets to attend Verdi's Don Carlo presented by the San Francisco Opera and I had her listen to Prof. Greenberg's two lectures on Don Carlo. It helped her enjoy what was an average production (she also enjoyed dressing up.) Prof. Greenberg also helps you understand why so many of the famous opera arias you always hear are so often Verdi's.
Date published: 2009-01-19
Rated 5 out of 5 by from Professor Greenberg is always a pleasure Humorous, witty and compassionate telling of Verdi's fascinating life- I had no idea it was so full of drama! This is an ideal course to have playing in the car during your otherwise long and monotonous commute to work.
Date published: 2008-12-28
Rated 5 out of 5 by from yes, Professor Greenberg is on excellent teacher. His passion for the subject and his wonderful sense of humor made for a very enjoyable learning experience. I've enjoyed many of his courses.
Date published: 2008-10-17
Rated 4 out of 5 by from There was too much emphasis on Verdi's life and trivia- wanted more on the music.
Date published: 2008-10-17
Rated 5 out of 5 by from I have a lifetime love of music and prof. Greenber has expanded my knowledge beyond measure in an informative and fun way.
Date published: 2008-10-17
Rated 5 out of 5 by from One or two of the courses I've had included study questions - these are very helpful - and I would suggest that more questions be added
Date published: 2008-10-17
Rated 5 out of 5 by from Prof. Greenberg does his usual excellent job, bringing classical music alive to the listener. At 32 lectures long, this course was too short!
Date published: 2008-10-17
Rated 5 out of 5 by from Prof. Greenberg's courses always exceed my expectations. Consistently entertaining and informative, all at the same time! A sheer delight!
Date published: 2008-10-17
Rated 5 out of 5 by from I have all Prof. greenberg's courses & I think this was the best yet. As usual, he was extremely informative & enthusiastic.
Date published: 2008-10-17
Rated 5 out of 5 by from Dr. Greenberg YES! YES! The very best listening and learning experience.
Date published: 2008-10-17
Rated 5 out of 5 by from Dr. Greenberg has done it again! His passion, knowledge and wit have made me fall in love with Giesseppi Verdi and his operas!
Date published: 2008-10-17
Rated 5 out of 5 by from Professor Robert Greenberg's courses on Opera, Verdi, and Great Masters provided an exciting remedy for the music survey course that I never managed to schedule in college.
Date published: 2008-10-17
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