This is our cache of the profile last indexed on Monday, August 11, 2008. Visit MySpace for updated profile. MySpaceProfiles.org is a search engine that indexes publicly available profile information from MySpace for convenient searching and display. If you are the author of this profile and do not wish to display it here please click here.
 Giuseppe Verdi's Profile |
|
| Location: | Milano |
| Country: |  Italy |
| Last Login: | Aug 6, 2008 (473 days back) |
About Me |
|
GIUSEPPE FORTUNINO FRANCESCO VERDI (either October 9 or 10, 1813 – January 27, 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of Italian opera in the 19th century and went well beyond the work of Bellini, Donizetti, and Rossini. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture - such as "La donna è mobile" from Rigoletto and "Libiamo ne' lieti calici" from La traviata. Although his work was sometimes criticized as catering to the tastes of the common folk, using a generally diatonic rather than a chromatic musical idiom, and having a tendency towards melodrama, Verdi’s masterworks dominate the standard repertoire a century and a half after their composition. STYLE Verdi's predecessors who influenced his music were Rossini, Bellini, Giacomo Meyerbeer and, most notably, Gaetano Donizetti and Saverio Mercadante. With the possible exception of Otello and Aida, he was free of Wagner's influence. Although respectful of Gounod, Verdi was careful not to learn anything from the Frenchman whom many of Verdi's contemporaries regarded as the greatest living composer. Some strains in Aida suggest at least a superficial familiarity with the works of the Russian composer Mikhail Glinka, whom Franz Liszt, after his tour of the Russian Empire as a pianist, popularized in Western Europe. Throughout his career, Verdi rarely utilised the high C in his tenor arias, citing the fact that the opportunity to sing that particular note in front of an audience distracts the performer before and after the note appears. However, he did provide high Cs to Duprez in Jérusalem and to Tamberlick in the original version of La forza del destino. The high C often heard in the aria Di quella pira does not apear in Verdi's score. Although his orchestration is often masterful, Verdi relied heavily on his melodic gift as the ultimate instrument of musical expression. In fact, in many of his passages, and especially in his arias, the harmony is ascetic, with the entire orchestra occasionally sounding as if it were one large accompanying instrument - a giant-sized guitar playing chords. Some critics maintain he paid insufficient attention to the technical aspect of composition, lacking as he did schooling and refinement. Verdi himself once said, "Of all composers, past and present, I am the least learned." He hastened to add, however, "I mean that in all seriousness, and by learning I do not mean knowledge of music." However, it would be incorrect to assume that Verdi underestimated the expressive power of the orchestra or failed to use it to its full capacity where necessary. Moreover, orchestral and contrapuntal innovation is characteristic of his style: for instance, the strings producing a rapid ascending scale in Monterone's scene in Rigoletto accentuate the drama, and, in the same opera, the chorus humming six closely grouped notes backstage portrays, very effectively, the brief ominous wails of the approaching tempest. Verdi's innovations are so distinctive that other composers do not use them; they remain, to this day, some of Verdi's signatures. Verdi was one of the first composers who insisted on patiently seeking out plots to suit his particular talents. Working closely with his librettists and well aware that dramatic expression was his forte, he made certain that the initial work upon which the libretto was based was stripped of all "unnecessary" detail and "superfluous" participants, and only characters brimming with passion and scenes rich in drama remained. Many of his operas, especially the later ones from 1851 onwards are a staple of the standard repertoire. No composer of Italian opera has managed to match Verdi's popularity, perhaps with the exception of Giacomo Puccini. |
|
My Interests |
|
Music:Member Since: 6/7/2007Band Members: Record Label: unsigned Type of Label: Major |
|
My Background and Lifestyle |
|
| Occupation: | Music Artist (Classical) |
My Friends |
|
|
Gioacchino Rossini, Vincenzo Bellini, Arturo Toscanini, J. S. BACH, Antonio Lucio Vivaldi, Jean-Philippe Rameau, Christoph Willibald GLUCK, Carl Maria von Weber, Ludwig van Beethoven, Franz Schubert, Frederic Chopin, Robert Schumann, Franz Liszt, Anton Rubinstein, Gustav Mahler, Ralph Vaughan Williams, Stefania Passamonte, Franco Petrocca, Sigrid, Nenad Kukic, Tatyana Sherman, Ernesto, iMUSIQ - Pavarotti, Ilya Dobrovitsky, Francois Boucher, giuseppe scarlata, +Doomenicus +The DOOM man+, André, Takis Barbas, Sir Matthew the Knight of Lyngstad, ITALIA Libera Civile e Laica, Ladis Lao Robles, Nicola Petrilli, Onofrio Cellamare, Pax, Ater, violetta, Kathy C. Benliyan, DANIELE, Isabelle et Frédéric, VENUS MOURNING DRESS, NIGHIO - BRAND NEW TUNE, Sylvia Sass, ste, Massimo Montagna, decimamusa, My Personal Conductor, passacaglia, IAN CUSSICK, Der Getreue Musik-Meister, Ash, Stanislav SASHA Simicic, SupeRocK_Max_666, Artemis, Collegium Musicum Almae Matris, Dorotea Paoli, philippou31, Selvi The Saint, NATASA, MARIMMA, MOZART, RENZO ZULIAN, Woundedbear, Selphita, enricoleottero, bluelove
Giuseppe Verdi has 2,442 friends (66 shown). Click here to add Giuseppe Verdi as a friend. |
|
Tags |
|
|
Giuseppe Verdi's profile has been tagged with the following keywords. Click a tag to search for profiles with the same tags. libiamo ne lieti calici, giacomo meyerbeer, russian composer mikhail, giuseppe fortunino francesco verdi, tenor arias, mikhail glinka, di quella pira, gaetano donizetti, giuseppe verdi, milano italy, donna mobile, italian opera, la traviata, opera houses, musical idiom, russian empire, romantic composer, mercadante, music artist, gounod |
|
