LAMORE NON FA PER ME PDF

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Lamore Non Fa Per Me Pdf

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So the tragic death of Violetta in La Traviata corresponded uncannily with his own personal tragedies. A further coincidence, her name was Marguerita. She was the prima donna soprano in the premiere of his third opera, Nabucco, and was not only instrumental in helping the twenty-nine year-old composer have Nabucco produced in , but afterwards became an important influence in his career.

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Both became victimized by ferocious assaults of moral outrage from the genteel elements of Parisian society, their relationship considered illicit and scandalous by an adoring public who seemed to have demanded an unrealizable sainthood from their beloved opera icon.

Verdi and Strepponi eventually married years later.

Subsequently, Strepponi became ill and depressed. Afterwards, in desperation, it is reputed that she had lovers who fathered at least four more illegitimate children.

Nevertheless, Verdi became her loving savior and protector against a vicious and hypocritical society: it was ultimately through their profound love that Strepponi was redeemed, and her spirits restored. The eighteenth century Enlightenment awakened humanity to democracy and individual liberty, inspiring one of the greatest transformations in human history: the French Revolution.

Napoleon arose from the ashes of the Revolution and the Reign of Terror, but failed to destroy the monarchies. In the aftermath of his defeat, the monarchies felt threatened by ethnic nationalism as well as new ideological and social forces evolving from the transformations caused by the Industrial Revolution, colonialism, materialism, and socialism. As a result, ideals about human progress and reform were continually in tension and conflict, and revolutions, bred by discontent, erupted in and in all the major cities throughout Europe.

The ability of the continental powers to control artistic truth was directly proportional to the stability and continuity of their authority. Censorship was the engine to control and regulate ideas expressed in the arts: nothing could be shown upon the stage that might in the least fan the flames of rebellion and discontent.

Kings, ministers, and governments, all reflected an apparent paranoia, an irrational fear, and an almost pathological suspicion of new ideas.

But it was a stroke of operatic Providence that redeemed both Verdi and Piave: the Austrian censor himself, a man named Martello, was not only an avid opera lover, but a man who venerated the great Verdi as well. From the point of view of both Verdi and Piave, Rigoletto had returned from the censors safely, and without severe fractures or amputations.

But in the end Verdi was the victor. The opera was to premiere at La Fenice in Venice, and the Venetian censor was again none other than his passionate admirer, Martello, the savior of Rigoletto. La Traviata returned from the censors — like Rigoletto — without severe amputation, and with inconsequential changes that were far less than those he had experienced with Rigoletto. It was considered too avant garde, an unusual work that may have been too contemporary and too modern, and contrary to their expectations, a work with no intrigues, no duels, and none of the ornamentation of high operatic romance.

In the mid-nineteenth century, conservatives considered the realism that was being portrayed in contemporary French literature to represent corrupting influences: those contemporary literary realists such as Stendhal and George Sand were thought to be twisting Enlightenment ideals, not merely excusing illicit love, but attacking the very institution of marriage itself; their works were considered the ultimate immorality, and La Traviata, a reflection of modern society, in many ways represented that immorality.

Hypocritical criticism? A veil to hide those blatant truths and realities of their society? The women in the audience plainly knew that many of their husbands maintained girlfriends, but that was not a subject to be discussed around the dinner table, and certainly far from something they wanted to face so realistically in a stage portrayal.

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In addition, parents who brought along their young daughters were duly appalled to have their protected youngsters witness the glorification of the heroinecourtesan Violetta in Act I successfully selling sex and ultimately wearing the most luxurious finery in the house. The tenor had a cold and was reported to have been croaking throughout the performance. And a Mme. Fanny Salvini-Donatelli, an extremely stout and healthy looking soprano, looked anything but the beautiful and consumptive courtesan, Violetta.

It became obviously difficult — if not ludicrous — for the audience to envision this monumentally hefty woman in the role of a beautiful courtesan whose consumption wastes her away to nothing. Today, the opera is without question one of the most widely loved operas, and perhaps the unequivocal sentimental favorite in the Verdi canon. L a Traviata is an overwhelmingly poignant portrait of a heroic woman who becomes tormented in her struggle to overcome the tragic realities of her life.

Those sentiments and human feelings expressed in La Traviata place it at the summit of the nineteenth century Romantic movement. For earlier Enlightenment thinkers, reason was the path to universal truth.

But the Enlightenment bred the French Revolution and its ultimate horror, the Reign of Terror, and Romanticism became the counter-force — if not the backlash — to the failure of the Enlightenment. Goethe expressed those Romantic sentiments in his Sorrows of the Young Werther , a story in which the tragedy portrays suicide as the ultimate solution to unrequited love.

Victor Hugo, in the Hunchback of Notre Dame, , poignantly portrayed human tragedy in his portrayal of the pathetic and sad plight of the deformed Quasimodo. In music, the Romantic spirit emphasized its liberation from Classical restrictions by eliminating rigid structural constraints, such as strict adherence to rhythms, balances, and preestablished forms.

Wagner was the quintessential cultural pessimist who proposed that the path to human salvation could only be achieved through the sacrificing love of a woman. And in the dramatic truth portrayed in La Traviata, its deep sentiment and poignant portrait of the entire range of human feelings and emotions, Verdi represented the essence of the Romantic spirit and soul.

A s an artist with high moral ideals, Verdi unveiled the human soul in La Traviata. Verdi was a man possessing Romantic ideals: he was an extremely compassionate and sensitive man, most assuredly a humanistic man.

Verdi believed that a single act of sin, an injustice, or an indiscretion, should not blacken a life: forgiveness, atonement, and penitence were essential redemptive forces that led to the path of personal salvation. But Verdi was a true Romantic: love was the ultimate fulfillment that would achieve redemption. Love and its redeeming power could transform and rescue an amoral life. Verdi practiced what he preached: his unbounded love for Giuseppina Strepponi was indeed the redeeming force in her life, and it was his selfless love for her that liberated her from a dark and sinful past.

Personal salvation and redemption are the core spiritual themes of La Traviata. The heroine, Violetta Valery, is a courtesan, a sinful woman who by her profession blasphemously confronts the moral standards of society: she is immoral and amoral. Mozart, in his operas Don Giovanni , and The Marriage of Figaro , portrays despicable, promiscuous, and immoral men, but if viewed in the context of morality plays in which good triumphs over evil, men must repent or be punished: an essential necessity in order to preserve humanity and society.

But promiscuous women, especially courtesans, were considered beyond sympathy and certainly salvation, and they, not their consorts, became the condemned.

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In the spirit of the Romantic ideal, Violetta Valery can rise above her past and can be redeemed, but she must perform a noble deed, a heroic act, a selfless sacrifice in order to earn her redemption and forgiveness.

It is a heroic moment indeed when Violetta agrees to abandon her passionate love for Alfredo for the good of his family; her sacrifice is a selfless act of true love, and the moment in which she thinks of everyone but herself. In so many poignant moments of the La Traviata story, deep psychological complexities and intense emotions build to a fierce pathos.

And as the tragedy progresses, the mood develops into a deep sense of pity and sorrow. Violetta, selflessly and compassionately, has nobly and heroically sacrificed her love for Alfredo for a greater good, but in the end, her final sacrifice will be life itself.

Verdi even uses the vocal character of the heroine to arouse our consciousness of the true soul of the woman: vocally, Violetta becomes transformed from the ornamented and exuberant coloratura in Act 1, to her more lyric, dramatic, and more passionate expressiveness as she approaches her ultimate doom.

In the orchestral prelude, Verdi introduces the heroine Violetta with two heartfelt and moving musical themes that portray the entire emotional spectrum of the drama. Violetta is indeed human, and at this moment, her capacity to reason has become daunted. Verdi obviously intended their music to be complementary, a subtly romantic idea that implies a sense of mutual dependency, and an even more subtle suggestion that these two individuals are destined for each other.

She has been touched by the transforming power of desire and fulfillment and is ready to give up everything: her friends, her profession, her security, and all her defenses.

Although she is haunted by doubts and fears concerning her illness, she momentarily defies everything and submits herself to fate and destiny: to emotion rather than reason.. In fact, everything Violetta says during the finale of Act I means the opposite: Violetta is saying no when she means yes. In truth, Violetta is a prisoner of her life-style, and unconsciously yearns to escape from it.

The frivolous courtesan of Act I no longer exists, but rather, a happy and contented woman. However, from the beginning of Act II to the conclusion of the opera, Violetta becomes a woman in continuous conflict, cruelly tested both morally and emotionally.

Verdi, the narrator of this story, tells us through his music that there is a sure sense that something will go wrong, and certainly, everything does go wrong for Violetta.

Violetta struggles, becomes agitated, and communicates in breathless sentences.

At first, Violetta remains steadfast, unwilling to give up her new-found love: she pleads frantically with Germont, attempting to persuade him that she is ill, that the end of her life is near, that she has no family or friends, and that her love for Alfredo has become the essence of her life as well as her salvation.

Germont pontificates, assuring her that she will have future happiness, a reward inspired by God; she will find Heaven, her soul will be saved, she will be forgiven for her sins, and she will be redeemed. E very artist treads on autobiographical terrain, and Giuseppe Verdi certainly cannot be excluded. There is a certain psychological truth when those fathers and their offspring are seemingly alone in the world, as in Rigoletto, where a father obsessively overprotects his child, when his child seems to be threatened by an alternate man, and when the father-daughter relationship possesses an almost incestuous structure.

La Traviata (Opera Classics Library) (Opera Classics Library)

As a result, Verdi was virtually estranged from his father, but within his inner self, he longed for fatherly affection and understanding. But Verdi would express the paternal affection he never had, and the paternal affection he could never give to his own children, in his own unique musical language: his operatic creations became the aftershock of those paternal relationships he lacked and yearned for in his own life.

In many of his operas, Verdi presents us with a whole gallery of passionate, eloquent, and often self-contradictory father figures, fathers who are passionately devoted to, but often in conflict with their children.

And in Aida , a father, Amonasro, uses paternal tenderness and nostalgia — as well as threats — to bend his daughter Aida to his will and betray her lover, Rhadames.

In Verdi, those fathers are powerful and ambivalent personalities. She reasons that her only alternative is to make Alfredo hate her, and she will achieve this by telling Alfredo that she has decided to return to her former courtesan life of luxury and pleasure. It is a heartbreaking moment when Violetta writes her parting letter to Alfredo, underscored with short, lamenting phrases from the clarinet that serves to narrate her excruciating pain.

In the final act, Violetta senses death: she has consoled herself by giving what little money she has left to the poor.

T he role of Violetta is perhaps the most demanding in the operatic repertory, but a fine singing actress with perfect vocal and dramatic perception and perspective can make it a supreme career achievement. In Act I, Violetta is a coloratura soprano whose florid and ornamented music represent her abandonment to pleasure: in Act II, she is a lyric soprano, a transformed woman who is no longer the radiant courtesan of Parisian society, but rather, a gracious and modest woman struggling in her battle with the inevitability of her fate; and in Act II - Scene 2 and Act III, she is a lirico spinto, her voice containing vigorous lyricism reflecting her battle against tragic forces of destiny.

The real crowning achievement for a Violetta-soprano is to bestow upon the role its full meaning and power by conceiving the virtuoso music with brilliance and security, and at the same time, portray the character with aristocratic sensibility.

In the end, her portrayal must be an outcry from a stricken spirit, and therefore the role must be portrayed with a sense of tragic dignity. L a Traviata is a poignant story in which profound dramatic truth lies in the fullness and depth of the human suffering it portrays, and in the self-sacrificing love of a truly noble personality.

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His La Traviata story is not about the death of love, nor the death of lovers. Paris, and the countryside. Brief Story Synopsis Violetta Valery, a courtesan, has become afflicted with consumption tuberculosis.

A young nobleman, Alfredo Germont, falls in love with her, and persuades her to abandon her profession and live with him in the countryside outside Paris.

Violetta accedes to his demands and abandons Alfredo by telling him in a letter that she no longer loves him: she is returning to her former life as a courtesan. Shortly thereafter, at a party, the spurned Alfredo rages at Violetta and publicly denounces her. Ma tu ritorna in casa a preparare ai bimbi quanto occorre per tutti i. Allora, ritorna l'insegnamento del judo.

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