|Opera by Giuseppe Verdi|
First edition libretto for the 1881 revision
|Based on||Antonio García Gutiérrez's Simón Bocanegra (1843)|
Simon Boccanegra (Italian: [siˈmom ˌbokkaˈneːɡra] ) 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 .
Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor.
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.
A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet.
Simon Boccanegra was first performed at Teatro La Fenice in Venice on 12 March 1857. Given the complications of the original plot and the generally poor popular response – although the critical one was more encouraging – the opera dropped out of favour after 1866. Finally, 23 years later, Verdi's publisher persuaded the composer to revise the opera, with text changes to be prepared by Arrigo Boito, the librettist who aspired to work with the aging composer on a project which eventually became a new opera, Otello , but to which Verdi had not totally committed at that time.
Teatro La Fenice is an opera house in Venice, Italy. It is one of "the most famous and renowned landmarks in the history of Italian theatre", and in the history of opera as a whole. Especially in the 19th century, La Fenice became the site of many famous operatic premieres at which the works of several of the four major bel canto era composers – Rossini, Bellini, Donizetti, Verdi – were performed.
Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated on a group of 118 small islands that are separated by canals and linked by over 400 bridges. The islands are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave rivers. In 2018, 260,897 people resided in the Comune di Venezia, of whom around 55,000 live in the historical city of Venice. Together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE), which is considered a statistical metropolitan area, with a total population of 2.6 million.
Arrigo Boito was an Italian poet, journalist, novelist, librettist and composer, best known today for his libretti, especially those for Giuseppe Verdi's last two monumental 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.
The revised version of Simon Boccanegra, with the now-famous Council Chamber scene, was first performed at La Scala in Milan on 24 March 1881. It is this version which is the one most frequently performed today.
La Scala is an opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the Nuovo Regio Ducale Teatro alla Scala. The premiere performance was Antonio Salieri's Europa riconosciuta.
Musicologist and author Julian Budden points to three projects which the composer had in mind when, at the beginning of 1855, he turned down an invitation from La Fenice to write a new opera for them for the following year. He responded: "the chief obstacle is my unshakable determination not to bind myself anymore to a definite period for either the composition or the production".While that approach did not turn out to be practicable at that time, it was an ultimate goal and, in aiming to achieve it, his partner of the previous four years, Giuseppina Strepponi greatly encouraged it when she wrote to him at the time of his frustrations two years earlier when working in Paris on Les vêpres siciliennes.
Julian Medforth Budden was a British opera scholar, radio producer and broadcaster. He is particularly known for his three volumes on the operas of Giuseppe Verdi, a single-volume biography in 1982 and a single-volume work on Giacomo Puccini and his operas in 2002. He is also the author of numerous entries in the Grove Dictionary of Music and Musicians.
Clelia Maria Josepha (Giuseppina) Strepponi was a nineteenth-century Italian operatic soprano of great renown and the second wife of composer Giuseppe Verdi.
Les vêpres siciliennes is a grand opera in five acts by the Italian romantic composer Giuseppe Verdi set to a French libretto by Eugène Scribe and Charles Duveyrier from their work Le duc d'Albe, which was written in 1838. Les vêpres followed immediately after Verdi's three great mid-career masterpieces, Rigoletto, Il trovatore and La traviata of 1850 to 1853 and was first performed at the Paris Opéra on 13 June 1855.
The only project for which there was forward motion was towards accomplishing his long-planned Re Lear , an opera to be based on King Lear , for which his new librettist (following Salvadore Cammarano's death) was Antonio Somma. But a year later, when overseeing a revival of La traviata at La Fenice, he agreed to a new opera for that house for the 1856/7 season,and he proposed the Gutiérrez play, which Budden presumes he had read in translation. Budden also presumes that the translation had been done by Strepponi, because she had been the translator of Gutiérrez' other play which had become Il trovatore.
Re Lear is an Italian operatic libretto in four acts written by Antonio Somma for the Italian opera composer Giuseppe Verdi. It was based on King Lear, "the Shakespeare play with which Verdi struggled for so many years, but without success".
King Lear is a tragedy written by William Shakespeare. It tells the tale of a king who bequeaths his power and land to two of his three daughters, after they declare their love for him in an extremely fawning and obsequious manner. His third daughter gets nothing, because she will not flatter him as her sisters had done. When he feels disrespected by the two daughters who now have his wealth and power, he becomes furious to the point of madness. He eventually becomes tenderly reconciled to his third daughter, just before tragedy strikes her and then the king.
Salvadore Cammarano was a prolific Italian librettist and playwright perhaps best known for writing the text of Lucia di Lammermoor (1835) for Gaetano Donizetti.
The somewhat convoluted plot of Simon Boccanegra can be hard to follow. Budden notes: "All the characters define themselves against an ingeniously shifting pattern of intrigue such as can be highly effective in a play but well-nigh impossible to follow in an opera".Verdi had gone so far as to actually write out the scenario in prose, which he then submitted to Piave in August; all that he expected from his librettist was that it would be turned into poetry, so Verdi balked somewhat when the censors demanded a complete poetic version: "what does it matter for the moment it's in prose or verse?" He pushed harder, stating that "I plan to compose music for a prose libretto! What do you think of that?" In the end, there was a poetic version and all was well: it was accepted by the opera house and the censors.
Beginning in July and throughout most of the period of the preparation of the libretto, the composer and Strepponi had been in Paris taking care of securing various performance and publication rights, including working on a translated version of Il trovatore, the opera which became Le trouvère. Piave was informed that Verdi's stay would need to be lengthened and everything would be handled between them and the Venetian authorities by mail.
However, Verdi's dissatisfaction with some of the librettist's work led him to find a local collaborator to help revise some of the sections. Accordingly, he called upon an Italian exile in Paris, the politician, former professor of law, poet and writer Giuseppe Montanelli,to do this. Piave learned nothing of the revisions until he received a note from Verdi: "Here is the libretto, shortened and altered more or less as it must be. You can put your name to or it, just as you please". However, he also learned nothing of the anonymous collaborator either. After the premiere of Le trouvère on 12 January 1857, Verdi and Strepponi left Paris to return to Italy, then both went to Venice for the March premiere.
However, the relationship was soon restored and Piave came to Sant'Agata in April to work on some revisions, but it was the libretto which came in for the heaviest criticism: "It was generally condemned as one of the most unintelligible to have reached the stage" notes Kimbell and its general dark and gloomy feel was to affect its fortunes for many years.
In 1868, Giulio Ricordi suggested the idea of revisions to Boccanegra; the idea was again broached ten years later, early in 1879, but was shrugged off by Verdi with a note saying that the 1857 score, which had been sent to the composer for review, would remain untouched "just as you sent it to me".Persisting with further attempts to convince the composer, Ricordi had also broached the idea of a collaboration with Arrigo Boito for a new opera based on Shakespeare's Othello . Musicologist Roger Parker speculates that Verdi's final agreement to revise Boccanegra was based on a desire to "test the possibility" of working with Boito before possibly embarking on the larger project.
Once Verdi began to re-look at his earlier work, objections – and new ideas – began to emerge: "the score is not possible as it stands" and "I shall have to redo all the second act [1857: act 2, which became act 1 in the 1881 revision] and give it more contrast and variety, more life" are examples of his reasoning, which he laid out in a letter to Ricordi in November 1880.His principal concern was how to make changes to the 1857, act 2. "I have said in general it needs something to give life and variety to the drama's excessive gloom", he writes and he continues by recalling:
In spite of the complexity of many of Boito's proposed ideas, along with his alternative scenarios, which are expressed in a long letter to Verdi(most of which the composer regarded as excessive), the Council Chamber scene emerged as the focus of the new collaboration. Although he had confidence in the young librettist's abilities ("[The scene] written by you could not possibly be dull" ), Verdi did caution Boito that he appeared to be "aiming at a perfection impossible here. I [Verdi] aim lower and am more optimistic than you and I don't despair", in essence, expressing an unwillingness to re-write the opera as completely as Boito had proposed. It would have been far more work than the composer wished to be involved in at the time.
The pair spent the latter part of 1880 and into January 1881 with back-and-forth additions and revisions (the composer in Genoa, the librettist in Milan and meeting only once),all of which are heavily documented in the Verdi-Boito correspondence, the Carteggio Verdi-Boito, and significantly quoted in Budden. All this was the build-up to performances in Milan the following March, although the composer was constantly concerned about the suitability of the singers engaged there for that season, and he threatened to withdraw the opera on more than one occasion.
The result was the contrast, which Parker describes, between the original 1857 act 2 finale, "set in a large square in Genoa, [as] a conventional four-movement concertante finale, a grand ceremonial scene" whereas, in the 1881 revision, "[Verdi] injected into the heart of the work an episode of enormous vividness and power, enriching the character of Boccanegra in such a way that his subsequent death scene gains considerably in impressiveness". ... positively as in the appeal for peace ..."And, as Budden puts it, "Simone (sic) rises to spiritual greatness. For the first time, his moral authority puts forth all its strength,
Original 1857 version
While not a popular success, it did garner some critical acclaim, "with the music being praised for its fidelity to the text, the orchestration for its elegance, the melody for its inspiration" noted the Gazzetta Musicale,but Budden notes that "complaints of 'obscurity', 'severity', harmonic abstruseness' are heard from even the most respectful of critics". And Verdi himself was fairly blunt in his assessment: "I've had a fiasco in Venice almost as great as that of La traviata" he reported to Clara Maffei.
Following its 1857 premiere, Simon Boccanegra was performed in Reggio Emilia, "where it triumphed ... ... and again in Naples in 1858 ..." There was similar acclaim after the Rome presentation about the same time, but "on the other hand, Boccanegra had been laughed off the stage in Florence" and "had been a fiasco at La Scala in 1859".
It was given in Malta in 1860, Madrid and Lisbon in 1861, and Buenos Aires and Montevideo in 1862, but, after that, it almost completely disappeared with only a sporadic performance or two, including Corfu in 1870 and Alexandria in late 1880.
A concert performance of the original version, possibly its first hearing in 100 years (and its UK premiere), took place at the Golders Green Hippodrome in London on 2 August 1975 before an invited audience "masterminded"by Julian Budden with Sesto Bruscantini in the title role and Andre Turp as Gabriele. This production was broadcast on 1 January 1976 and issued on CD. It was also performed by the Royal Opera, London as a concert performances in June 1995 with Anthony Michaels-Moore and Jose Cura and staged at Covent Garden in June 1997 with Sergei Leiferkus and Plácido Domingo in the two aforementioned male roles. The Amelias in the 1995 and 1997 versions were Amanda Roocroft and Kallen Esperian respectively.
In August 1999 there was a set of performances at the Festival della Valle d'Itria in Martina Franca, which was recorded. That same year it was given by New York Grand Opera, this being its first New York performance.Sarasota Opera, in its "Verdi Cycle" series of all of the composer's works, gave it its American premiere in 1992.
Revised version of 1881
It is this later version, unveiled in 1881 in Milan, and given in Vienna and Paris in 1882 and 1883, respectively, that has become part of the standard operatic repertory.The British premiere did not occur until 1948, when it was given in English at Sadler's Wells, with Arnold Matters (Simone), James Johnston (Adorno), Joyce Gartside (Amelia) and Howell Glynne (Fiesco).
|Role||Voice type||Premiere cast|
12 March 1857
(Conductor: – )
24 March 1881
(Conductor: Franco Faccio)
| Simon Boccanegra, a corsair,|
later the first Doge of Genoa
|baritone||Leone Giraldoni||Victor Maurel|
|Jacopo Fiesco, a Genoese nobleman,|
known as Andrea Grimaldi
|bass||Giuseppe Echeverria||Édouard de Reszke|
|Maria Boccanegra, his adopted daughter and actual granddaughter,|
known as Amelia Grimaldi
|soprano||Luigia Bendazzi||Anna D'Angeri|
|Gabriele Adorno, a Genoese gentleman||tenor||Carlo Negrini||Francesco Tamagno|
|Paolo Albiani, a goldsmith and the|
Doge's favourite courtier
|baritone||Giacomo Vercellini||Federico Salvati|
|Pietro, a Genoese popular leader|
|bass||Andrea Bellini||Giovanni Bianco|
|Captain of the Crossbowmen||tenor||Angelo Fiorentini|
|Amelia's maid||mezzo-soprano||Fernanda Capelli|
|Soldiers, sailors, people, senators, the Doge's court, prisoners – Chorus|
A piazza in front of the Fieschi palace
Paolo Albiani, a plebeian, tells his ally Pietro that in the forthcoming election of the Doge, his choice for the plebeian candidate is Simon Boccanegra. Boccanegra arrives and is persuaded to stand when Paolo hints that if Boccanegra becomes Doge, the aristocratic Jacopo Fiesco will surely allow him to wed his daughter Maria. When Boccanegra has gone, Paolo gossips about Boccanegra's love affair with Maria Fiesco – Boccanegra and Maria have had a child, and the furious Fiesco has locked his daughter away in his palace. Pietro rallies a crowd of citizens to support Boccanegra. After the crowd has dispersed, Fiesco comes out of his palace, stricken with grief; Maria has just died (Il lacerato spirito – "The tortured soul of a sad father"). He swears vengeance on Boccanegra for destroying his family. When he meets Boccanegra he does not inform him of Maria's death. Boccanegra offers reconciliation and Fiesco promises clemency only if Boccanegra lets him have his granddaughter. Boccanegra explains he cannot because the child, put in the care of a nurse, has vanished. He enters the palace and finds the body of his beloved just before crowds pour in, hailing him as the new Doge.
Scene 1: A garden in the Grimaldi palace, before sunrise
Amelia is awaiting her lover, Gabriele Adorno (Aria:Come in quest'ora bruna – "How in the morning light / The sea and stars shine brightly"). She suspects him of plotting against the Doge and when he arrives she warns him of the dangers of political conspiracy. Word arrives that the Doge is coming. Amelia, fearing that the Doge will force her to marry Paolo, now his councilor, urges Adorno to ask her guardian Andrea (in reality, Fiesco) for permission for them to marry: Sì, sì dell'ara il giubilo / contrasti il fato avverso – "Yes, let the joy of marriage be set against unkind fate".
Fiesco reveals to Adorno that Amelia is not a Grimaldi, but a foundling adopted by the family. When Adorno says that he does not care, Fiesco blesses the marriage. Boccanegra enters and tells Amelia that he has pardoned her exiled brothers. She tells him that she is in love, but not with Paolo, whom she refuses to marry. Boccanegra has no desire to force Amelia into a marriage against her will. She tells him that she was adopted and that she has one souvenir of her mother, a picture in a locket. The two compare Amelia's picture with Boccanegra's, and Boccanegra realizes that she is his long-lost daughter. Finally reunited, they are overcome with joy. Amelia goes into the palace. Soon after, Paolo arrives to find out if Amelia has accepted him. Boccanegra tells him that the marriage will not take place. Furious, Paolo arranges for Amelia to be kidnapped.
Scene 2: The council chamber
The Doge encourages his councillors to make peace with Venice. He is interrupted by the sounds of a mob calling for blood. Paolo suspects that his kidnapping plot has failed. The Doge prevents anyone leaving the council chamber and orders the doors to be thrown open. A crowd bursts in, chasing Adorno. Adorno confesses to killing Lorenzino, a plebeian, who had kidnapped Amelia, claiming to have done so at the order of a high-ranking official. Adorno incorrectly guesses the official was Boccanegra and is about to attack him when Amelia rushes in and stops him (Aria: Nell'ora soave – "At that sweet hour which invites ecstasy / I was walking alone by the sea"). She describes her abduction and escape. Before she is able to identify her kidnapper, fighting breaks out once more. Boccanegra establishes order and has Adorno arrested for the night (Aria: Plebe! Patrizi! Popolo! – "Plebeians! Patricians! Inheritors / Of a fierce history"). He orders the crowd to make peace and they praise his mercy. Realizing that Paolo is responsible for the kidnapping, Boccanegra places him in charge of finding the culprit. He then makes everyone, including Paolo, utter a curse on the kidnapper.
The Doge's apartments
Paolo has imprisoned Fiesco. Determined to kill Boccanegra, Paolo pours a slow-acting poison into the Doge's water, and then tries to convince Fiesco to murder Boccanegra in return for his freedom. Fiesco refuses. Paolo next suggests to Adorno that Amelia is the Doge's mistress, hoping Adorno will murder Boccanegra in a jealous rage. Adorno is furious (Aria: Sento avvampar nell'anima – "I feel a furious jealousy / Setting my soul on fire"). Amelia enters the Doge's apartments, seeming to confirm Adorno's suspicions, and he angrily accuses her of infidelity. She claims only to love him, but cannot reveal her secret – that Boccanegra is her father – because Adorno's family were killed by the Doge. Adorno hides as Boccanegra is heard approaching. Amelia confesses to Boccanegra that she is in love with his enemy Adorno. Boccanegra is angry, but tells his daughter that if the young nobleman changes his ways, he may pardon him. He asks Amelia to leave, and then takes a drink of the poisoned water, which Paolo has placed on the table. He falls asleep. Adorno emerges and is about to kill Boccanegra, when Amelia returns in time to stop him. Boccanegra wakes and reveals to Adorno that Amelia is his daughter. Adorno begs for Amelia's forgiveness (Trio: Perdon, Amelia ... Indomito – "Forgive me, Amelia ... A wild, / Jealous love was mine"). Noises of fighting are heard – Paolo has stirred up a revolution against the Doge. Adorno promises to fight for Boccanegra, who vows that Adorno shall marry Amelia if he can crush the rebels.
Inside the Doge's palace
The uprising against the Doge has been put down. Paolo has been condemned to death for fighting with the rebels against the Doge. Fiesco is released from prison by the Doge's men. On his way to the scaffold, Paolo boasts to Fiesco that he has poisoned Boccanegra. Fiesco is deeply shocked. He confronts Boccanegra, who is now dying from Paolo's poison. Boccanegra recognizes his old enemy and tells Fiesco that Amelia is his granddaughter. Fiesco feels great remorse and tells Boccanegra about the poison. Adorno and Amelia, newly married, arrive to find the two men reconciled. Boccanegra tells Amelia that Fiesco is her grandfather and, before he dies, names Adorno his successor. The crowd mourns the death of the Doge.
Budden makes a useful observation on the musical qualities of the original version: "all the devices that we associate with the term bel canto are sparingly used"and he suggests that, at mid-century, "this amounted to a denial of Italy's national birthright" for an audience brought up on the conventions employed by Vincenzo Bellini or Gaetano Donizetti. In his "Introduction to the 1881 Score", James Hepokoski emphasizes that Budden's assertion appeared to be true, since the 1857 original "resounded with clear echoes of [Verdi's] earlier style" and that he employed the known techniques but, at the same time, moved away from them, so that:
Budden goes on to suggest the implications of this move away from the standard forms, albeit that "[it] was a daring, innovative work. Without altering the letter of the contemporary Italian forms, it certainly altered their spirit ... Quite unheard of was a protagonist without a single extended lyrical solo to himself. Additionally, Budden suggests that musically "the richness and subtlety of the musical language acquired over twenty-four years suffice to fill out Simon's personality further.
The 1881 revisions then, which, in most cases, did not require changes in the libretto, were made to the music by Verdi. As David Kimbell demonstrates with a few examples, areas such as which illustrate more refined use of the orchestra include the first scene of the Prologue: "the dialogue, instead of being punctuated by the customary figurations of accompanied recitative, is set against a gravely flowing orchestral theme."
(Boccanegra, Maria, Adorno, Fiesco)
Opera House and Orchestra
|1975|| Sesto Bruscantini,|
| John Matheson,|
BBC Concert Orchestra and the BBC Singers
(Recording of a concert performance in the Golders Green Hippodrome on 2 August; broadcast on 1 January 1976)
|CD: Opera Rara |
Cat: ORCV 302
Francesco Ellero d'Artegna
Orchestra Internationale d'Italia
(Recording made at performances at the Festival della Valle d'Itria, Martina Franca, 4, 6, 8 August)
Opera House and Orchestra
|1939|| Lawrence Tibbett,|
| Ettore Panizza,|
Metropolitan Opera Orchestra & Chorus
|CD: Myto Historical|
|1951|| Paolo Silveri,|
| Francesco Molinari-Pradelli,|
Coro e Orchestra di Roma della RAI
|CD: Warner Fonit|
Cat: 5050467 7906-2
|1957|| Tito Gobbi,|
Victoria de los Ángeles,
| Gabriele Santini,|
Teatro dell'Opera di Roma orchestra and chorus
|CD: EMI |
Cat: CDMB 63513
(Digitally remastered, 1990)
|1958|| Tito Gobbi,|
Teatro di San Carlo Orchestra and Chorus, Naples
(Video recording of a performance at Naples and audio recording of its soundtrack, 26 December)
|VHS Video, PAL only: Hardy Classics|
Cat: HCA 60002-2
CD: Hardy Classics
|1973|| Piero Cappuccilli,|
| Gianandrea Gavazzeni,|
RCA Italiana Opera Chorus and Orchestra
|CD: RCA Records |
Cat: RD 70729
|1976|| Piero Cappuccilli,|
| Oliviero De Fabritiis,|
NHK Symphony Orchestra and Union of Japan Professional Choruses, Tokyo
(Recording of a performance in Tokyo, October)
|DVD: Premiere Opera Ltd|
Video Artists International
Cat: VAI 4484
|1977|| Piero Cappuccilli,|
| Claudio Abbado,|
Coro e Orchestra del Teatro alla Scala
Cat: 449 752–2
|1984|| Sherrill Milnes,|
| James Levine,|
Metropolitan Opera Orchestra and Chorus
(Video recording of a performance at the Met, 29 December)
|DVD: Pioneer Classics|
Cat: PIBC 2010;
Cat: 073 4403
|1988|| Leo Nucci,|
Kiri Te Kanawa,
| Georg Solti,|
Coro e Orchestra del Teatro alla Scala
|CD: Decca |
Cat: 475 7011
|1995|| Vladimir Chernov,|
Kiri Te Kanawa,
| James Levine,|
Metropolitan Opera orchestra and chorus
|DVD: Deutsche Grammophon |
Cat: 00440 073 0319
|2010|| Plácido Domingo,|
| James Levine,|
Metropolitan Opera Orchestra and Chorus, New York
(Recording of live performance at the Metropolitan Opera, January/February)
|DVD: Sony |
|2015|| Dmitri Hvorostovsky,|
| Constantine Orbelian |
Kaunas City Symphony Orchestra and Kaunas State Choir
La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play adapted from the novel by Alexandre Dumas fils. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice.
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The Adorno family was a patrician family in Genoa, Italy, of the Ghibelline party, with the branches of Botta Adorno of Milan and Adorno Pastorino of Turin, several of whom were Doges of the republic. They were generally rivals of the Fregoso family. Both families rose to power in the late 14th century.
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Rita Orlandi-Malaspina was an Italian operatic soprano who had a major international career from the 1960s through the 1980s. She drew particular acclaim for her portrayals of Verdi heroines. She also had a successful career as a concert soprano, particularly in performance of Verdi's Requiem and Ludwig van Beethoven's Symphony No. 9.
Gabriele Adorno (1320–1383) was the fourth Doge of Genoa. A member of the noble Adorno family, he was elected on 14 March 1363 to succeed Simone Boccanegra, who had died in office. He remained in the position until 13 August 1370, when he was deposed by the people of Genoa, because he had introduced too high taxes. He was succeeded by Domenico di Campofregoso.
Carlo Negrini was an Italian spinto tenor and creator of Gabriele Adorno in Verdi’s opera Simon Boccanegra.
Inno delle nazioni, 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.
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