The course will focus on the most popular and most frequently performed of all Italian composers: Giuseppe Verdi (1813-1901). This course will follow his creative path and the development of his style, and the class will have the opportunity to participate in the flow of specially dedicated performances, festivals, publishing initiatives created world wide in honor of Verdi’s bicentenary. We will explore his definition of the fundamental themes of the Romantic era and investigate his relationship with the European culture of his time, both musical and literary. Since Verdi is seen as a symbol of the national identity the course will trace the roots of his art in his personal life and values, and explore the influence that he had on the society and mentality of his times.
Prerequisites:
Basic musicianship, as well as basic knowledge of Modern European History is required.
Learning outcomes:
On completion of this course each student will be able to:
Understand the complexity of XIX century opera as the synergic concourse of independent forces and disciplines: literature, composition, both vocal and instrumental sound, gesture, acting, stage setting are all geared towards the creation of a grand show of Musical Drama; the choice of certain subjects; the evolution of Italian "Belcanto" into something new, the growth of the show business through his century; the influence of theater on society, culture, politics of his times.
Develop a clear, comparative grasp of the operatic elements that celebrated the values and/or contributed to the identity of Italy as a new nation: its culture, music, literature, lifestyle.
Analytical approach to Verdi's masterpieces, identification of his style through the critical reading of both his vocal and full scores; understanding the reasons of his success and influence on the society of his time: Milan, Italy, Europe; gaining perspective about the reasons of Verdi's enduring popularity worldwide.
Method of presentation:
Lectures, video watching, score analysis, CD listening, DVDs, Field Studies at Opera, concerts, events. The course will be taught in a sequence that will lead towards more advanced musical and cultural procedures. This course requires constant attention and a critical reaction to all the music we hear, the texts we read, the videos we watch and the performances we attend. Therefore, attendance is strictly required. The course-pack readings should be read through the semester so that the students gain historical perspective of all the topics covered. Short quizzes may be given periodically: these are primarily designed for my own benefit, to ensure that I am teaching you clearly and cogently, but they also give you an idea about what is required of your examinations.
Required work and form of assessment:
Research Paper (15%), Participation (20%), Midterm (25%) and Final (40%) exams
Students will have the opportunity to deepen one or more operatic topics of their choice by completing a research paper, of no less than 1000 words, typed. The teacher will inform students about the existing resources at local libraries, museums, archives. Students will choose topics with the help of the professor, and the paper will be due the week before the final exam. The exams will be in the form of short essay questions based on the listening as well as the reading assignments. Further information will be given in class, and students will have a preview of the format and requirements of the exams through the use of the short quizzes mentioned above.
Attendance Policy: Regular class attendance is mandatory. In an emergency necessitating an absence, the instructor must be notified, a medical certificate (from a doctor’s visit on the day you missed class) must be submitted to and cleared by the IES Abroad Milan Center Academic Advisor, and all assignments due must be submitted prior to missed classes. There are no makeup exams - an absence on the scheduled day of an exam results in a grade of 0% for that exam. Flight and traveling plans are not accepted as excused absences. Students are expected to attend lectures, to keep up with the readings on a weekly basis, and to complete all required work.
content:
Students will be assigned pages in Julian Budden’s book on Verdi to be read before each class. After each class, students will be asked to read the libretto of the opera presented in class and listen to it while examining the vocal score. The weeks of lessons will be broken down into the following topics:
Italian Opera at the time of Verdi's birth. Reading: Budden, Chapter 12: The Background. Kindle Loc. 2975-3042. Listening: Excerpts from Operas by Rossini, Bellini, Donizetti
Verdi. The man, the roots, the first steps in the musical world. Reading: Budden, Chapter 1: Early Life in Busseto. Kindle: Loc. 221-426. Budden, Chapter 2: Success and failure in Milan. Kindle: Loc. 444-509. Budden, Chapter 13: From Oberto to Ernani: Kindle: Loc. 3060-3114. Listening: Excerpts from Verdi's juvenilia
The first great success: Nabucco. Reading: Budden, Chapter 2: Success and failure in Milan. Kindle: Loc. 509-660.
Budden, Chapter 3: The Journeyman. Kindle: Loc. 678-867. Budden, Chapter 13: From Oberto to Ernani: Kindle: Loc. 3133-3305. Budden, Chapter 14: The Prison Years. Kindle: Loc. 3320-3473. Nabucco, libretto and vocal score. Listening: Nabucco
Verdi and Shakespeare: Macbeth and the evolution of a musical style. Reading: Budden, Chapter 4: Florence, London and Paris. Kindle: Loc. 878-1102.
Budden, Chapter 14: The Prison Years. Kindle: Loc. 3473-3833. Budden, Chapter 15: The High Noon. Kindle: Loc. 3838-3875. Macbeth, libretto and vocal score. Listening: Macbeth
The Romantic Trilogy: Rigoletto, Il Trovatore. Reading: Budden, Chapter 5: Return to Busseto. Kindle: Loc. 1119-1270.
Budden, Chapter 15: The High Noon. Kindle: Loc. 3875-4095. Rigoletto, libretto and vocal score. Listening: Rigoletto and Il Trovatore
The Romantic Trilogy: La Traviata. Reading: Budden, Chapter 5: Return to Busseto. Kindle: Loc. 1270-1341.
Budden, Chapter 15. The High Noon. Kindle: Loc. 4095-4191. La Traviata, libretto and vocal score. Listening: La Traviata
Verdi in Paris: European culture. From Les Vêpres Siciliennes to La Forza del Destino. Reading: Budden, Chapter 6: Viva V.E.R.D.I. Kindle: Loc. 1351-1615 Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4204-4395
Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4489-4647. Listening: Les Vêpres Siciliennes and La Forza del Destino
An example of perfect shaping balance: Un ballo in maschera. Reading: Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4395-4489. Un ballo in maschera, libretto and vocal score. Listening: Un ballo in maschera
Don Carlo. Requiem. Reading: Budden, Chapter 7: The new order. Kindle: Loc. 1634-2021.
Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4647-4859. Budden, Chapter 20: Choral and religious works. Kindle: Loc. -5523-5958. Don Carlo, libretto and vocal score. Listening: Don Carlo, Requiem
Aida: influence of Exoticism and Orientalism in the European civilization. Reading: Budden, Chapter 8: The dark decade. Kindle: Loc. 2039-2400.
Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4859-4961.
Aida, libretto and vocal score. Listening: Aida
The last conquests in Verdi's style from Aida to Otello. Reading: Budden, Chapter 9: Indian summer. Kindle: Loc. 2412-2528. Budden, Chapter 17: The Final Masterpieces. Kindle: Loc. 4975-5093. Otello, libretto and vocal score. Listening: Otello
Falstaff, farewell to the world. Reading: Budden, Chapter 9: Indian summer. Kindle: Loc. 2546-2649. Budden, Chapter 10: The Last Years. Kindle: Loc. 2657-2816. Budden, Chapter 11: Verdi as a Man and Artist. Kindle: Loc. 2827-2956. Budden, Chapter 17: The Final Masterpieces. Kindle: Loc. 5093-5193. Falstaff, libretto and vocal score. Listening: Falstaff
Class field studies: The course will include a visit to La Scala, the famous Milan Opera House, as well as other visits to the events of the 200-year anniversary of the birth of Verdi, to be decided based on the event schedule. Syllabus could be subject to changes based on the scheduling of the field studies.
Required readings:
Julian Budden, VERDI. Oxford University Press, 2008. Scott L. Balthazar (Ed.), THE CAMBRIDGE COMPANION TO VERDI. Cambridge University Press, 2004.
Librettos of the following Operas by Verdi: Nabucco, Macbeth, Rigoletto, La Traviata, Un ballo in maschera, Aida, Don Carlo, Otello, Falstaff.
A course pack will be prepared with the relevant readings and required pages. By the end of the course, students will have read the librettos in their entirety, a greater part of the volume by Budden, reading it in sections assigned in each class, as well as selections from Balthazar.
Recommended readings:
Charles Osborne (Ed.), LETTERS OF GIUSEPPE VERDI. Gollancz, 1971.
Donald J. Grout, A SHORT HISTORY OF OPERA (4th Edition). Columbia University Press, 2003.
Other Resources:
REQUIRED LISTENING: Operatic scores, DVDs, CDs and teacher’s tracks, either on reserve at the IES Office or available online.
Brief Biography of Instructor:
Francesco Maria Colombo has conducted hundreds of symphonic concerts and operatic productions in Italy, US, Canada, Mexico, Argentina, Germany, Spain, Hungary, Czech Republic, Bulgaria, Korea, Japan, and performed as concert pianist at the same time. He was a juror at the Busoni and La Fenice Piano Competitions. He celebrated the Italian bank holiday in 2010 by offering a symphonic concert to the President of Italian Republic. He conducted 20 discovery-concerts with the Orchestra Verdi in Milan, dedicated to the XX Century, tv-broadcasted in Italy for three years. He conducted the world’s first recording of De Sabata's "Mille e una notte" (Universal). As a musicologist he published numerous essays for all the main musical institutions in Italy (Scala, Rai, Accademia di Santa Cecilia, Maggio Musicale etc), and he served for 10 years as culture columnist and music critic for the main Italian newspaper, Corriere della Sera. He curated and prefaced books for Einaudi, Longanesi, Mondadori, among them the German-Italian edition of Thomas Mann's Tonio Kröger.
The course will focus on the most popular and most frequently performed of all Italian composers: Giuseppe Verdi (1813-1901). This course will follow his creative path and the development of his style, and the class will have the opportunity to participate in the flow of specially dedicated performances, festivals, publishing initiatives created world wide in honor of Verdi’s bicentenary. We will explore his definition of the fundamental themes of the Romantic era and investigate his relationship with the European culture of his time, both musical and literary. Since Verdi is seen as a symbol of the national identity the course will trace the roots of his art in his personal life and values, and explore the influence that he had on the society and mentality of his times.
Basic musicianship, as well as basic knowledge of Modern European History is required.
On completion of this course each student will be able to:
Understand the complexity of XIX century opera as the synergic concourse of independent forces and disciplines: literature, composition, both vocal and instrumental sound, gesture, acting, stage setting are all geared towards the creation of a grand show of Musical Drama; the choice of certain subjects; the evolution of Italian "Belcanto" into something new, the growth of the show business through his century; the influence of theater on society, culture, politics of his times.
Develop a clear, comparative grasp of the operatic elements that celebrated the values and/or contributed to the identity of Italy as a new nation: its culture, music, literature, lifestyle.
Analytical approach to Verdi's masterpieces, identification of his style through the critical reading of both his vocal and full scores; understanding the reasons of his success and influence on the society of his time: Milan, Italy, Europe; gaining perspective about the reasons of Verdi's enduring popularity worldwide.
Lectures, video watching, score analysis, CD listening, DVDs, Field Studies at Opera, concerts, events. The course will be taught in a sequence that will lead towards more advanced musical and cultural procedures. This course requires constant attention and a critical reaction to all the music we hear, the texts we read, the videos we watch and the performances we attend. Therefore, attendance is strictly required. The course-pack readings should be read through the semester so that the students gain historical perspective of all the topics covered. Short quizzes may be given periodically: these are primarily designed for my own benefit, to ensure that I am teaching you clearly and cogently, but they also give you an idea about what is required of your examinations.
Research Paper (15%), Participation (20%), Midterm (25%) and Final (40%) exams
Students will have the opportunity to deepen one or more operatic topics of their choice by completing a research paper, of no less than 1000 words, typed. The teacher will inform students about the existing resources at local libraries, museums, archives. Students will choose topics with the help of the professor, and the paper will be due the week before the final exam. The exams will be in the form of short essay questions based on the listening as well as the reading assignments. Further information will be given in class, and students will have a preview of the format and requirements of the exams through the use of the short quizzes mentioned above.
Attendance Policy: Regular class attendance is mandatory. In an emergency necessitating an absence, the instructor must be notified, a medical certificate (from a doctor’s visit on the day you missed class) must be submitted to and cleared by the IES Abroad Milan Center Academic Advisor, and all assignments due must be submitted prior to missed classes. There are no makeup exams - an absence on the scheduled day of an exam results in a grade of 0% for that exam. Flight and traveling plans are not accepted as excused absences. Students are expected to attend lectures, to keep up with the readings on a weekly basis, and to complete all required work.
Students will be assigned pages in Julian Budden’s book on Verdi to be read before each class. After each class, students will be asked to read the libretto of the opera presented in class and listen to it while examining the vocal score. The weeks of lessons will be broken down into the following topics:
Italian Opera at the time of Verdi's birth.
Reading: Budden, Chapter 12: The Background. Kindle Loc. 2975-3042.
Listening: Excerpts from Operas by Rossini, Bellini, Donizetti
Verdi. The man, the roots, the first steps in the musical world.
Reading: Budden, Chapter 1: Early Life in Busseto. Kindle: Loc. 221-426. Budden, Chapter 2: Success and failure in Milan. Kindle: Loc. 444-509. Budden, Chapter 13: From Oberto to Ernani: Kindle: Loc. 3060-3114.
Listening: Excerpts from Verdi's juvenilia
The first great success: Nabucco.
Reading: Budden, Chapter 2: Success and failure in Milan. Kindle: Loc. 509-660.
Budden, Chapter 3: The Journeyman. Kindle: Loc. 678-867. Budden, Chapter 13: From Oberto to Ernani: Kindle: Loc. 3133-3305. Budden, Chapter 14: The Prison Years. Kindle: Loc. 3320-3473. Nabucco, libretto and vocal score.
Listening: Nabucco
Verdi and Shakespeare: Macbeth and the evolution of a musical style.
Reading: Budden, Chapter 4: Florence, London and Paris. Kindle: Loc. 878-1102.
Budden, Chapter 14: The Prison Years. Kindle: Loc. 3473-3833. Budden, Chapter 15: The High Noon. Kindle: Loc. 3838-3875. Macbeth, libretto and vocal score.
Listening: Macbeth
The Romantic Trilogy: Rigoletto, Il Trovatore.
Reading: Budden, Chapter 5: Return to Busseto. Kindle: Loc. 1119-1270.
Budden, Chapter 15: The High Noon. Kindle: Loc. 3875-4095. Rigoletto, libretto and vocal score.
Listening: Rigoletto and Il Trovatore
The Romantic Trilogy: La Traviata.
Reading: Budden, Chapter 5: Return to Busseto. Kindle: Loc. 1270-1341.
Budden, Chapter 15. The High Noon. Kindle: Loc. 4095-4191. La Traviata, libretto and vocal score.
Listening: La Traviata
Verdi in Paris: European culture. From Les Vêpres Siciliennes to La Forza del Destino.
Reading: Budden, Chapter 6: Viva V.E.R.D.I. Kindle: Loc. 1351-1615 Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4204-4395
Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4489-4647.
Listening: Les Vêpres Siciliennes and La Forza del Destino
An example of perfect shaping balance: Un ballo in maschera.
Reading: Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4395-4489. Un ballo in maschera, libretto and vocal score.
Listening: Un ballo in maschera
Don Carlo. Requiem.
Reading: Budden, Chapter 7: The new order. Kindle: Loc. 1634-2021.
Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4647-4859. Budden, Chapter 20: Choral and religious works. Kindle: Loc. -5523-5958. Don Carlo, libretto and vocal score.
Listening: Don Carlo, Requiem
Aida: influence of Exoticism and Orientalism in the European civilization.
Reading: Budden, Chapter 8: The dark decade. Kindle: Loc. 2039-2400.
Budden, Chapter 16: Towards Grand Opera. Kindle: Loc. 4859-4961.
Aida, libretto and vocal score.
Listening: Aida
The last conquests in Verdi's style from Aida to Otello.
Reading: Budden, Chapter 9: Indian summer. Kindle: Loc. 2412-2528. Budden, Chapter 17: The Final Masterpieces. Kindle: Loc. 4975-5093. Otello, libretto and vocal score.
Listening: Otello
Falstaff, farewell to the world.
Reading: Budden, Chapter 9: Indian summer. Kindle: Loc. 2546-2649. Budden, Chapter 10: The Last Years. Kindle: Loc. 2657-2816. Budden, Chapter 11: Verdi as a Man and Artist. Kindle: Loc. 2827-2956. Budden, Chapter 17: The Final Masterpieces. Kindle: Loc. 5093-5193. Falstaff, libretto and vocal score.
Listening: Falstaff
Class field studies: The course will include a visit to La Scala, the famous Milan Opera House, as well as other visits to the events of the 200-year anniversary of the birth of Verdi, to be decided based on the event schedule. Syllabus could be subject to changes based on the scheduling of the field studies.
Julian Budden, VERDI. Oxford University Press, 2008. Scott L. Balthazar (Ed.), THE CAMBRIDGE COMPANION TO VERDI. Cambridge University Press, 2004.
Librettos of the following Operas by Verdi: Nabucco, Macbeth, Rigoletto, La Traviata, Un ballo in maschera, Aida, Don Carlo, Otello, Falstaff.
A course pack will be prepared with the relevant readings and required pages. By the end of the course, students will have read the librettos in their entirety, a greater part of the volume by Budden, reading it in sections assigned in each class, as well as selections from Balthazar.
Charles Osborne (Ed.), LETTERS OF GIUSEPPE VERDI. Gollancz, 1971.
Donald J. Grout, A SHORT HISTORY OF OPERA (4th Edition). Columbia University Press, 2003.
REQUIRED LISTENING: Operatic scores, DVDs, CDs and teacher’s tracks, either on reserve at the IES Office or available online.
Francesco Maria Colombo has conducted hundreds of symphonic concerts and operatic productions in Italy, US, Canada, Mexico, Argentina, Germany, Spain, Hungary, Czech Republic, Bulgaria, Korea, Japan, and performed as concert pianist at the same time. He was a juror at the Busoni and La Fenice Piano Competitions. He celebrated the Italian bank holiday in 2010 by offering a symphonic concert to the President of Italian Republic. He conducted 20 discovery-concerts with the Orchestra Verdi in Milan, dedicated to the XX Century, tv-broadcasted in Italy for three years. He conducted the world’s first recording of De Sabata's "Mille e una notte" (Universal). As a musicologist he published numerous essays for all the main musical institutions in Italy (Scala, Rai, Accademia di Santa Cecilia, Maggio Musicale etc), and he served for 10 years as culture columnist and music critic for the main Italian newspaper, Corriere della Sera. He curated and prefaced books for Einaudi, Longanesi, Mondadori, among them the German-Italian edition of Thomas Mann's Tonio Kröger.