Famous writers and composers who have created works about her include: William Shakespeare ( Henry VI, Part 1 ), Voltaire ( The Maid of Orleans ), Friedrich Schiller ( The Maid of Orleans ), Giuseppe Verdi ( Giovanna d ' Arco ), Pyotr Ilyich Tchaikovsky ( The Maid of Orleans ), Mark Twain ( Personal Recollections of Joan of Arc ), Arthur Honegger ( Jeanne d ' Arc au bûcher ), Jean Anouilh ( L ' Alouette ), Bertolt Brecht ( Saint Joan of the Stockyards ), George Bernard Shaw ( Saint Joan ), Maxwell Anderson ( Joan of Lorraine ), and Leonard Cohen ( Joan of Arc ).

* The Lady of the Camellias was a novel about a courtesan by French author Alexandre Dumas, fils that was turned into the opera La Traviata by Italian composer Giuseppe Verdi.

As the Italian public became aware that the retired Verdi was composing another opera, rumors about it abounded.

Verdi, who habitually complained that conductors never seemed interested in directing his scores the way he had written them, was impressed by reports from Arrigo Boito about Toscanini's ability to interpret his scores.

In addition to the operas of Giuseppe Verdi, its natural home is to be found in operatic music composed after about 1830 by the likes of Donizetti, Ponchielli, Massenet, Puccini and the verismo composers.

Potter pays tribute to Tamagno's vocal attributes in his book about the history of tenor singing, averring that his " recorded legacy " is " a priceless connection with Verdi " while Steane, writing in The Grand Tradition ( pp. 19 – 23 ), praises Tamagno's discs as " artistic and devoted performances by a singer of exceptional gifts " with a " great voice ".

In 2004, Abels composed and arranged a music score based on operatic themes of Giuseppe Verdi, for Yo, Sam, a hip-hop song about the Watts Towers.

* Giuseppe Verdi ( 1813 – 1901 ), composer, was buried there for about one month before being moved to the Casa di Riposo per Musicisti

Poulenc acknowledged his debt to Mussorgsky, Monteverdi, Verdi, and Debussy in the dedication of this opera but still felt apologetic about the opera's conservative harmonic language saying " You must forgive my Carmelites.

The play was an instant success, and Giuseppe Verdi immediately set about putting the story to music.

Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter, on 25 March 1847 just about two weeks after the premiere: " I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me.

While it was not Verdi's first grand opera for Paris ( the first being his adaptation of I Lombardi in 1847 under the new title of Jerusalem ), the libretto which Verdi was using had been written about 20 years before at the height of the French grand opera tradition, which " meant that Verdi was writing his first ( original ) opéra at a point at which the genre was in a state of flux ".

Mitchell has written nine produced plays, including Another Country, which won the SWET ( now Olivier ) Award for best play of the year ( 1981 ), and After Aida ( 1985 ), a play-with-music about composer Giuseppe Verdi.

But his international career did not take off explosively until 1888, with the role of Otello — which Verdi had penned with Tamagno's voice in mind — serving as his global calling card.

The small group of composers featured on Tamagno's combined recorded output of 1903 and 1904 comprises Giacomo Meyerbeer, Camille Saint-Saëns, Jules Massenet, de Lara, Giordano, Rossini and, naturally enough, Verdi.

Often low notes in higher voices will project less, lack timbre, and tend to " count less " in roles ( although some Verdi, Strauss and Wagner roles call for stronger singing below the staff ).

They included Giorgio Ronconi, who created the title role in Verdi's Nabucco ; Felice Varesi, who created the title roles in Macbeth and Rigoletto as well as Germont in La traviata ; Antonio Superchi, the originator of Don Carlo in Ernani ; Francesco Graziani, who was the original Don Carlo di Vargas in La forza del destino ; Leone Giraldoni, the creator of Renato in Un ballo in maschera and the first Simon Boccanegra ; Enrico Delle Sedie, who was London's first Renato ; Adriano Pantaleoni, renowned for his performances as Amonasro in Aida as well as other Verdi roles at La Scala, Milan ; Francesco Pandolfini, whose singing at La Scala during the 1870s was praised by Verdi ; Antonio Cotogni, a much lauded singer in Milan, London and Saint Petersburg, the first Italian Posa in Don Carlos and later a great vocal pedagogue, too ; and Giuseppe Del Puente, who sang Verdi to acclaim in the United States.

Also to be found singing Verdi roles at the Met, Covent Garden and the Vienna Opera during the late 1930s and the 1940s was the big-voiced Hungarian baritone, Sandor ( Alexander ) Sved.

Associated with the rise of the baritone in the 19th century, Martin was well known for his fondness for falsetto singing, and the designation ' Baryton Martin ' has been used ( Faure, 1886 ) to separate his voice from the ' Verdi Baritone ', which carried the chest register further into the upper range.

* Description: A more specialized voice category and a subset of the Dramatic Baritone, a Verdi baritone refers to a voice capable of singing consistently and with ease in the highest part of the baritone range, sometimes extending up to the C above middle C, or " High C ." The Verdi baritone will generally have a lot of squillo, or " ping "

He was particularly associated with the operas of Gaetano Donizetti and Giuseppe Verdi ; notably singing lead roles is several world premieres by both composers.

Verrett enjoyed great fame from the late 1960s through the 1990s, particularly well known for singing the works of Verdi and Donizetti.

* Caruso and Alda singing Verdi

She also claims to have studied singing under Verdi.

She remained very busy in the world's major opera houses through 1979 singing mostly Verdi, Puccini, and Strauss heroines and other roles from the lirico-spinto repertoire.

He focused on Italian repertory, particularly the operas of Verdi, singing 17 major roles.

It was overtaken by a heavier, more ardent, less embroidered approach to singing that was necessary in order to perform the innovative works of Giuseppe Verdi ( 1813 – 1901 ) with maximum dramatic impact.

Initially at least, the singing techniques of 19th-century contraltos and basses were less affected by the musical innovations of Verdi, which were built upon by his successors Amilcare Ponchielli ( 1834 – 1886 ) and Arrigo Boito ( 1842 – 1918 ).

In the late-19th century and early-20th century, the term " bel canto " was resurrected by Italy's singing teachers, among whom the retired Verdi baritone Antonio Cotogni ( 1831 – 1918 ) was perhaps the pre-eminent figure.

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.

Verdi used musical theater to contrast noble ideals with the corrosive effects of power, love of country with the inevitable call for sacrifice and death, and the lure of passion with the need for social order.

" Correspondence between a prudent Piave and an already committed Verdi followed, and the two remained at risk and underestimated the power and the intentions of Austrians.

At the height of his career, he was greatly admired for his range and versatility, having possessed a sufficiently accomplished bel canto technique to enable him to sing the music of Handel, Mozart, Rossini, yet power enough to handle the more overtly dramatic roles written by Verdi and Puccini.

He enjoyed the added advantage of working closely with Verdi, and his vocalism acquired a discipline and polish that hitherto it had lacked.

Don Carlos is a five-act grand opera composed by Giuseppe Verdi to a French language libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien ( Don Carlos, Infante of Spain ) by Friedrich Schiller.

While Mercadante may not have retained the international celebrity of Gaetano Donizetti or Gioachino Rossini beyond his own lifetime, he composed as impressive a number of works as either ; and his development of operatic structures, melodic styles and orchestration contributed significantly to the foundations upon which Giuseppe Verdi built his dramatic technique.

Because of the importance of the dramatic aspects of opera to the composer, Verdi was especially selective in his choice of subjects.

It was generally known that Verdi admired the dramatic works of Shakespeare and had, throughout his career, desired to create operas based on Shakespearian plays.

Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.

Throughout the work, Verdi uses vigorous rhythms, sublime melodies, and dramatic contrasts — much as he did in his operas — to express the powerful emotions engendered by the text.

Del Monaco sang at the New York Metropolitan Opera from 1951 to 1959, enjoying particular success in dramatic Verdi parts such as Radamès.

Many years later, Verdi called La Cecchina the " first true Italian comic opera " – that is to say, it had everything: it was in standard Italian and not in dialect ; it was no longer simply an intermezzo, but rather an independent piece ; it had a real story that people liked ; it had dramatic variety ; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong " stand-alone " overture ( i. e., you could even enjoy the overture as an independent orchestral piece ).

As they possess both a lyric and a dramatic quality, spinto sopranos are suitable for a broad spectrum of roles, ranging from genuine lyric parts such as Micaela in Carmen and Mimì in La Bohème through to histrionically demanding Verdi heroines such as Leonora ( in Il trovatore and La forza del destino ) and Aida, not to mention Puccini's Madama Butterfly and Tosca.

Angela M. Brown ( born 1964 ) is an African-American dramatic soprano particularly admired for her portrayal of Verdi heroines.

Verdi was experimenting with musical and dramatic forms, attempting to discover things which only opera could do.

In his own idiom, like Mozart in Don Giovanni or Verdi in Un ballo in maschera, von Flotow could build convivial music into a tragic dramatic context.

She went on to achieve international fame in a repertoire which also embraced the great dramatic Verdi roles including Abigaile in Nabucco, Lady Macbeth, Leonora in Il trovatore, Amelia in Un ballo in maschera, and Elena in I vespri siciliani.

" ( Today's pervasive idea that singers should refrain from improvising and always adhere strictly to the letter of a composer's published score is a comparatively recent phenomenon, promulgated during the first decades of the 20th century by dictatorial conductors such as Arturo Toscanini, who championed the dramatic operas of Verdi and Wagner and believed in keeping performers on a tight interpretive leash.