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Giuseppe Verdi, Otello
Giuseppe Verdi

Fabio Armiliato, Daniela Dessì, Giovanni Meoni, Paolo Arrivabeni, Luciano Montanaro, James Edwards, Sophie Fournier, Roger Joakim, Marc Tissons, Opéra Wallonie, Cristiano Cremonini & Choir Opéra Wallonie

Giuseppe Verdi, Otello

Price: € 31.95
Format: CD
Label: Solovoce
UPC: 4260085532315
Catnr: SV 8553231
Release date: 21 October 2011
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Label
Solovoce
UPC
4260085532315
Catalogue number
SV 8553231
Release date
21 October 2011
Album
Artist(s)
Composer(s)

About the album

Artist(s)

Composer(s)

Giuseppe Verdi

Giuseppe Verdi is viewed as one of the most important, and most popular, opera composers of Italy. Few composers knew how to balance artistic ideals and commericial interersts like him. He was a composer of 'hits', like his 'La donna è mobile' from his opera Rigoletto and his 'Chorus of the Hebrew Slaves' from his opera Nabucco, and he was careful not to have his audience feel bored at any moment. Especially his early works are characterised by strongly propelling, rhytmic power. A common example is his Il Trovatore.  Yet, Verdi was also a composer with ideals. If he would get intrigued by a character, it became his mission to portray to persona as best as he could in the music. This sometimes meant he was forced...
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Giuseppe Verdi is viewed as one of the most important, and most popular, opera composers of Italy. Few composers knew how to balance artistic ideals and commericial interersts like him. He was a composer of 'hits', like his "La donna è mobile" from his opera Rigoletto and his "Chorus of the Hebrew Slaves" from his opera Nabucco, and he was careful not to have his audience feel bored at any moment. Especially his early works are characterised by strongly propelling, rhytmic power. A common example is his Il Trovatore. Yet, Verdi was also a composer with ideals. If he would get intrigued by a character, it became his mission to portray to persona as best as he could in the music. This sometimes meant he was forced to alter or neglect traditional opera forms, like he did in Rigoletto. He was not afraid to touch on socially sensitive matters, which at times led to issues with the establishment. For instance, his opera La traviata turned out to be a controversial one, due to its courtesan heroine. Verdi never engaged in the intellectual discussions on music of his time. He pretended to be a simple man who felt most at home in the countryside. Nonetheless, with the masterful fugal ending of his last opera Falstaff he undoubtedly showed his intellectual level of composing.


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