|Inno delle nazioni|
|by Giuseppe Verdi|
Cover of first edition of the vocal score of the hymn (design by Alessandro or Robert Focosi)
|Occasion||1862 International Exhibition|
|Text||by Arrigo Boito|
|Language||Italian, with portions in English and French|
|Performed||24 May 1862 : Her Majesty's Theatre , London|
|Scoring||solo tenor, chorus and orchestra|
Inno delle nazioni (Hymn of nations), a cantata in a single movement, is one of only two secular choral works composed by Giuseppe Verdi. This Hymn incorporates "God Save the King", "La Marseillaise", and "Il Canto degli Italiani". It was the first collaboration between the composer and Arrigo Boito, who, much later, would revise the libretto of Simon Boccanegra and write the original libretti of Otello and Falstaff .
A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir.
Giuseppe Fortunino Francesco Verdi was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.
"La Marseillaise" is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin".
Although written for the 1862 International Exhibition in London, it premiered at Her Majesty's Theatre on 24 May 1862. It became the centerpiece of a 1944 propaganda film, Hymn of the Nations , where it was performed by the NBC Symphony Orchestra conducted by Arturo Toscanini with Jan Peerce as tenor soloist.
The International of 1862, or Great London Exposition, was a world's fair. It was held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, England, on a site that now houses museums including the Natural History Museum and the Science Museum (London).
Her Majesty's Theatre is a West End theatre situated on Haymarket in the City of Westminster, London. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art at the theatre. In the early decades of the 20th century, Tree produced spectacular productions of Shakespeare and other classical works, and the theatre hosted premieres by major playwrights such as George Bernard Shaw, J. M. Synge, Noël Coward and J. B. Priestley. Since the First World War, the wide stage has made the theatre suitable for large-scale musical productions, and the theatre has accordingly specialised in hosting musicals. The theatre has been home to record-setting musical theatre runs, notably the First World War sensation Chu Chin Chow and the current production, Andrew Lloyd Webber's The Phantom of the Opera, which has played continuously at Her Majesty's since 1986.
Hymn of the Nations, originally titled Arturo Toscanini: Hymn of the Nations, is a 1944 film directed by Alexander Hammid, which features the Inno delle nazioni, a patriotic work for tenor soloist, chorus, and orchestra, composed by Italian opera composer Giuseppe Verdi in the early-1860s. For this musical work, Verdi utilized the national anthems of several European nations.
In December 1858, the Society of Arts in London announced their intention to hold what was to be called the 1862 International Exhibition, seen as a successor to The Great Exhibition of 1851.Wanting to include musical performances (which were excluded from the 1851 exhibition), at the suggestion of the leading music critic Henry Chorley, they solicited new works from Daniel Auber (representing France), William Sterndale Bennett (England), Giacomo Meyerbeer (Germany) and Gioachino Rossini (Italy). Rossini declined the invitation.
Henry Fothergill Chorley was an English literary, art and music critic, writer and editor. He was also an author of novels, drama, poetry and lyrics.
Daniel François Esprit Auber was a French composer.
Roberta Montemorra Marvin (who edited Inno delle nazioni for The Complete Works of Giuseppe Verdi series) considers that the committee did not initially ask Verdi to compose a piece because of Chorley's antipathy toward the composer's works. Nevertheless, after Rossini's refusal, in 1861 the committee invited Verdi, offering four suggestions as to form: anthem, chorale, triumphal march (for full orchestra), or march (for wind instruments).While honored by the request, Verdi tentatively declined, despite the intervention of fellow Italian and conductor Michael Costa, claiming his duties in preparing La forza del destino left no time available. He promised to consider the question in February 1862, once the preparation of the opera was out of the way.
Sir Michael Andrew Angus Costa was an Italian-born conductor and composer who achieved success in England.
La forza del destino is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 10 November 1862 O.S..
Although Verdi detested writing occasional works, Marvin surmises that since Verdi was informed of the acceptance of the commission by Auber and Meyerbeer, personal pride and the chance at representing Italy at an international exhibition were the key reasons he took up the commission.
When illness of the soprano forced a postponement of La forza del destino, Verdi departed St. Petersburg and arrived in Paris on 24 February 1862. Two encounters influenced his decision to commence work on a composition for the exhibition. The first was with the composer Daniel Auber who apparently conveyed to Verdi that he was composing a march for the occasion.In correspondence recalling this meeting, Verdi indicated that he was also composing a march. But in a subsequent letter to Costa he indicated he was writing an overture. Costa relayed this information to the commissioners who agreed with the form of composition.
Secondly, two up-and-coming Italian writers, Arrigo Boito and Franco Faccio, met with Verdi at the end of February 1862, bearing a letter of introduction from Countess Clara Maffei. Marvin suggests the purpose of the meeting might have been to indirectly prompt Verdi to work on the commission. As a result of this meeting, Boito was charged with writing the text of the proposed work.
On 19 March the commissioners received a letter from the composer "in which he expressed his wish to substitute for the overture a cantata with Italian words, the solo part of which would be executed by Signor Tamberlik."Though the commissioners rejected Verdi's proposal (believing the work would be too large for the exhibition space), Verdi refused their rejection and continued working on the cantata (he called the work Cantica), completing it towards the end of March.
He gave the completed manuscript to his wife Giuseppina, who traveled to London to deliver it in early April.Steadfast in their refusal to accept the work, they would not meet with Giuseppina and wrote to Verdi that they could not accept performance of the cantata, since the necessary preparations would be too large an undertaking. Verdi arrived in London on 20 April, expecting that his work would be performed. Through much wrangling the commissioners remained firm in their refusal, Costa declaring that because it was scored for voices, not just for orchestra, it was against the rules of the Commission, that it had not arrived in time, and that there would not be enough time to rehearse. Verdi wrote to the publisher Léon Escudier on 22 April telling him that his cantata would not be performed.
The press received word of the refusal and wrote that the problem was Verdi's inability to meet a deadline. – that I did not send my composition".In response, Verdi wrote to The Times, published on 24 April, denying the claim: "[The commissioners] let it be known that twenty-five days (enough to learn a new opera) were not enough to learn this short cantata; and they refused it." He continued by stating that he wanted to "correct the error
Critical opinion sided with Verdi, and the blame fell on the commissioners.The incident proved embarrassing for them and for music director Costa. According to the Musical World, "The whole feeling of the country in this instance is with the Italian Maestro, and against the Commissioners. The cry has gone forth from one end of the kingdom to the other that a grievous wrong has been done, and that restitution is imperatively demanded."
Verdi was in the audience for the inaugural concert of the International Exhibition on 1 May 1862. The concert received only a lukewarm reception, making Verdi happy that his Cantica had not been programmed. The first performance of the cantata took place at Her Majesty's Theatre (at the time under the leadership of James Henry Mapleson) on 24 May 1862, after a performance of The Barber of Seville . "Every member" of Mapleson's company participated in the performance supplemented by 200 choristers of Jules Benedict's Vocal Association – the entire ensemble conducted by Luigi Arditi. Verdi wrote to his publisher Giovanni Ricordi "The effect seemed good, and it was encored ... Performance good on the whole, very good on the part of the orchestra. Arditi is a good conductor." Franco Faccio (who had been with Boito at their first meeting with Verdi) wrote to Boito: "The effect of the piece is irresistible."
Marvin feels that the controversy surrounding the genesis of the work makes it difficult to gauge contemporaneous reception. A review in the Revue et gazette musicale (1 June 1862) underscores the difficulty: "[The] unprecedented, incomprehensible conduct [the commissioners showed] to a man of such celebrity as Verdi, refusing a composition which he took the pains to bring himself, excited such astonishment and so turned all sympathies to his side, that his composition became famous even before anyone had heard it."
Most reviews tended to be overly sympathetic to the composer. The report in The Daily Telegraph provides an example of the exaggerated reaction:
At the conclusion of the Cantata Signor Verdi was loudly called for, and, after some delay, was led on by the energetic and enthusiastic Mdlle. Tietjiens, not once nor twice only, but several times, to receive the heartiest tribute of approbation which an appreciative and sympathetic English audience could bestow. Not that the manifestations of good feelings were confined to applause alone, for bouquets and wreaths were showered on the favourite maestro, and favourite vocalists were even roused from their ordinary listlessness to do demonstrative honour to their illustrious countryman. The applause still continuing, the whole Cantata was then repeated. At the conclusion of the second performance Signor Verdi was then led forward by Signor Giuglini, and even after the curtain fell, he was compelled again to bow his acknowledgments.
Chorley's review continued his antagonism toward Verdi: "we must state frankly that the Cantata appears to be no favourable specimen of Signore Verdi's peculiar manner, and beside being of a form entirely different from that in which he was invited to compose, is, in every point of taste and of art, unsuited to the occasion for which it was designed."
Reviewers questioned Verdi's decision to include songs representing England ("God Save the Queen"), France ("La Marseillaise") and Italy ("Il Canto degli Italiani", also known as "Inno di Mameli"). At the time, neither "La Marseillaise" nor "Il Canto degli Italiani" were their respective country's national anthem. Some critics, such as the unnamed one writing in the Musical World, incorrectly thought the inclusion of such nationalistic songs or the potential political embarrassment from their inclusion was the reason for the cantata's rejection from the inaugural concert.
Chorley and other critics charged Boito with presenting a biased view of European harmony, one dominated by Italy.Marvin observes the cover art also shows Italy on a par with England and France and she hypothesizes that it was not financial gain that led Verdi to accept the commission but rather a desire to affirm Italy's musical, particularly its operatic, supremacy. This feeling is illustrated in the long letter which Verdi wrote to Arrivabene: Marvin considers that Verdi, well aware of his own importance in the musical world, saw this as a chance to serve as a voice supportive of Italian music in an international context, although the composer expressed to both his publisher and to his friend Count Arrivabene his lack of interest in writing pieces for a given occasion.
After the world premiere, Inno delle nazioni was presented six more times in London in 1862; the final occasion was on 16 June, along with all the music written for the 1862 International Exposition.The Paris premiere took place on 2 May 1863 at the Théatre Italien at a benefit concert for the composer Charles Billema. The solo was performed by a soprano, Rosina Penco.
The first Italian performance took place on 24 June 1864 at the Teatro alla Scala, although, in giving permission, Verdi was skeptical that it would be a success:"It will be a fiasco, as all my works are, when they are first performed in Milan".The first American performance took place on 28 April 1874 at the Academy of Music in New York, conducted by Emanuele Muzio (a long-time assistant of Verdi's), with Christina Nilsson as the soloist.
Some of the 20th-century performances of Inno delle nazioni were for propaganda purposes. Arturo Toscanini conducted it on 25 July 1915 in an outdoor arena in Milan, shortly after Italy entered World War I. During World War II Toscanini performed it on 31 January 1943 with the NBC Symphony Orchestra, Jan Peerce as soloist, and choristers from Westminster Choir College in a highly touted broadcast and the work was also the centerpiece of a 31-minute film for the United States Office of War Information called Hymn of the Nations , directed by Alexander Hammid. It was filmed at the NBC Studios and consists of Toscanini conducting the NBC Symphony in a performance of Verdi's Overture to La forza del destino and Inno delle nazioni, which contains the national anthems of England, France, and Italy (the World War I allied nations), to which Toscanini added the Soviet "Internationale" and "The Star Spangled Banner". The film, which featured a performance by Toscanini and the same forces as the 1943 broadcast, was narrated by Burgess Meredith.
Another rendition was commissioned for the ending of the documentary 16 Days of Glory about the 1984 Summer Olympics in Los Angeles. With Placido Domingo as tenor soloist, the new orchestration incorporated the national anthems of Finland, the Netherlands, Italy, Great Britain, France, Canada, Mexico, Japan, Germany, and the United States.
The cantata is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, cimbasso, timpani, bass drum, cymbals, percussion, 2 harps, and strings.
The "characters" in the critical edition are designated as the "Coro di Popolo" (Chorus of People of all nations) and the tenor soloist is "Un Bardo" (a poet) ("A Voice Among Them").
In modern times, Julian Budden has noted that "Verdi's own experiment in combining national anthems [..] sounds contrived because there has to be a certain amount of harmonic manipulation to make it possible"but he does regard "the bold, not to say reckless, combination of different melodies" as pointing the way forward and actually being accomplished "with greater skill in Aida".
Falstaff is a comic opera in three acts by the Italian composer Giuseppe Verdi. The libretto was adapted by Arrigo Boito from Shakespeare's The Merry Wives of Windsor and scenes from Henry IV, parts 1 and 2. The work premiered on 9 February 1893 at La Scala, Milan.
Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias.
Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
Arrigo Boito, was an Italian poet, journalist, novelist, librettist and composer, best known today for his libretti, especially those for Giuseppe Verdi's operas Otello and Falstaff, and his own opera Mefistofele. Along with Emilio Praga, and his own brother Camillo Boito he is regarded as one of the prominent representatives of the Scapigliatura artistic movement.
Arturo Toscanini was an Italian conductor. He was one of the most acclaimed musicians of the late 19th and of the 20th century, renowned for his intensity, his perfectionism, his ear for orchestral detail and sonority, and his eidetic memory. He was at various times the music director of La Scala in Milan, the Metropolitan Opera in New York, and the New York Philharmonic. Later in his career he was appointed the first music director of the NBC Symphony Orchestra (1937–54), and this led to his becoming a household name through his radio and television broadcasts and many recordings of the operatic and symphonic repertoire.
Simon Boccanegra is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Simón Bocanegra (1843) by Antonio García Gutiérrez, whose play El trovador had been the basis for Verdi's 1853 opera, Il trovatore.
Francesco Maria Piave was an Italian opera librettist who was born in Murano in the lagoon of Venice, during the brief Napoleonic Kingdom of Italy.
Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, it was Verdi's tenth opera and premiered on 14 March 1847. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865.
Clelia Maria Josepha (Giuseppina) Strepponi was a nineteenth-century Italian operatic soprano of great renown and the second wife of composer Giuseppe Verdi.
"Suona la tromba" or "Inno popolare" was a secular hymn composed by Giuseppe Verdi in 1848 to a text by the Italian poet and patriot Goffredo Mameli. The work's title comes from the opening line of Mameli's poem. It has sometimes been referred to as "Grido di guerra" and "Euterpe Patria".
Alzira is an opera in a prologue and two acts by Giuseppe Verdi to an Italian libretto by Salvatore Cammarano, based on the 1736 play Alzire, ou les Américains by Voltaire.
Francesco (Franco) Antonio Faccio was an Italian composer and conductor. Born in Verona, he studied music at the Milan Conservatory from 1855 where he was a pupil of Stefano Ronchetti-Monteviti and, as scholar William Ashbrook notes, "where he struck up a lifelong friendship with Arrigo Boito, two years his junior" and with whom he was to collaborate in many ways.
Amleto is an opera in four acts by Franco Faccio set to a libretto by Arrigo Boito, based on Shakespeare's play Hamlet. It premiered on 30 May 1865 at the Teatro Carlo Felice in Genoa and was revised for a La Scala production given on 12 February 1871.
Herva Nelli was an Italian-America operatic soprano.
The Quattro pezzi sacri are choral works by Giuseppe Verdi. Written separately during the last decades of the composer's life and with different origins and purposes, they were nevertheless published together in 1898 by Casa Ricordi. They are often performed as a cycle, not in chronological sequence of their composition, but in the sequence used in the Ricordi publication:
The Casa di Riposo per Musicisti is a home for retired opera singers and musicians in Milan, northern Italy, founded by the Italian composer Giuseppe Verdi in 1896. The building was designed in the neo-Gothic style by Italian architect, Camillo Boito. Both Verdi and his wife, Giuseppina Strepponi are buried there. A documentary film about life in the Casa di Riposo, Il Bacio di Tosca, was made in 1984 by the Swiss director Daniel Schmid.