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** Carlo, Ernani
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** and Ernani
Carlo and Ernani
On the other hand, during rehearsals, workmen in the theater stopped what they were doing during Va, pensiero and applauded at the conclusion of this haunting melody while the growth of the " identification of Verdi's music with Italian nationalist politics " is judged to have begun in the summer 1846 in relation to a chorus from Ernani in which the name of one of its characters, " Carlo ", was changed to " Pio ", a reference to Pope Pius IX's grant of an amnesty to political prisoners.
Furthermore, she was able to cope with such dramatic roles as " Azucena " and " Ulrica " in Verdi's Il trovatore and Un ballo in maschera, and even with the baritone role of " Don Carlo " in Ernani ( London, 1847 ).
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.
This category originated in the Paris Opera, but it greatly influenced Verdi ( Don Carlo in Ernani and La forza del destino ; Count Luna in Il trovatore ; Simon Boccanegra ) and Wagner as well ( Wotan ; Amfortas ).
By 1960 his active repertory included some 30 roles including the title role in Giordano's Andrea Chénier, Turiddu in Mascagni's Cavalleria rusticana, Rodolfo in Puccini's La bohème, and the title roles in Verdi's Don Carlo and Ernani.
From the early 1970s into the 1980s Freni sang heavier Verdi roles, particularly Elisabetta in John Dexter's production of Don Carlo, Desdemona in Otello ( opposite Jon Vickers ), Amelia in Simon Boccanegra, Elvira in the Luca Ronconi staging of Ernani, Leonora in La forza del destino, and the title role of Aida.
In her prime, she also possessed good agility and bel canto technique ( see for example her renditions of the ' Veil Song ' from Verdi's Don Carlo in the 1970s and 1980s, as well as her Ernani from the Chicago Lyric Opera in 1984 ).
Ruffo's repertoire included most of the major baritone roles in French and Italian opera, including among others Rigoletto, Di Luna, Amonasro, Germont, Tonio, Rossini's Figaro, Valentin, Iago, Carlo ( in both Ernani and La forza del destino ), Nabucco, Vasco, Don Giovanni, Barnaba, Scarpia, Marcello, and Renato in Un ballo in maschera.
During this tour he also performed Carlo Quinto in Ernani for the first time and sang at the Theatre Royal at Liverpool, the fulfilment of a childhood ambition.
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