Between 1855 and 1867, an outpouring of great Verdi operas followed, among them such repertory staples as Un ballo in maschera ( 1859 ), La forza del destino ( commissioned by the Imperial Theatre of Saint Petersburg for 1861 but not performed until 1862 ), and a revised version of Macbeth ( 1865 ).

* 1840: Un giorno di regno by Giuseppe Verdi

* Gustavo, Un ballo in maschera ( Verdi )

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.

* Ulrica, Un ballo in maschera ( Verdi )

In his will, he left his baton to his protégée Herva Nelli, who sang in the broadcasts of Otello, Aïda, Falstaff, the Verdi Requiem, and Un ballo in maschera.

* Verdi, Un ballo in maschera ( 1954 NBC broadcast )

Un ballo in maschera ( A Masked Ball ), is an opera in three acts by Giuseppe Verdi with text by Antonio Somma.

: For a full account of the evolution of the opera which eventually became Un ballo in maschera, see Gustavo III ( Verdi )

The libretto was to be used twice more, first by Saverio Mercadante for Il reggente, with the action transferred to Scotland, and, next by Giuseppe Verdi, as Un ballo in maschera.

* Giuseppe Verdi – Un giorno di regno

( In turn, this event inspired the opera Un Ballo in Maschera by Verdi.

After the assassination of King Gustav III in 1792 ( which is the basis of the Giuseppe Verdi opera, Un ballo in maschera ), the theatre was forgotten.

Moving into the heavier Verdi repertoire in the 1970s, she sang Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Luisa Miller, Lady Macbeth, Leonora in Il trovatore and the Requiem, all under the baton of the Met's music director James Levine.

While there he notably sang leading roles in the world premieres of the first two operas composed by Giuseppe Verdi, portraying Riccardo in Oberto on 17 November 1839 and Edoardo in Un giorno di regno on 5 September 1840.

* Verdi: Un ballo in maschera ( Callas, Ratti, Barbieri, di Stefano ; Votto, 1956 ) EMI

* Verdi, Un ballo in maschera ( in German ), with Fritz Busch

* Verdi: Un ballo in maschera ( with Tebaldi, Pavarotti — Bartoletti, cond.

:* Giulietta di Kelbar, Un giorno di regno ( Verdi )

He also wrote a libretto ( originally for composer Adalbert Gyrowetz ) that Verdi used for his early comedy Un giorno di regno.

** Giuseppe Verdi, Un giorno di regno ( 1840 )

** Oscar, Un ballo in maschera ( Giuseppe Verdi )

** Amelia, Un ballo in maschera ( Giuseppe Verdi )

** Ulrica, Un ballo in maschera ( Giuseppe Verdi )

** Renato, Un ballo in maschera ( Giuseppe Verdi )

* Verdi: Un ballo in maschera ( live broadcast, January 22, 1955 ).

The barcarole was a popular form in opera, where the apparently artless sentimental style of the folklike song could be put to good use: in addition to the Offenbach example, Paisiello, Weber, and Rossini wrote arias that were barcaroles, Gaetano Donizetti set the Venetian scene at the opening of Marino Faliero ( 1835 ) with a barcarole for a gondolier and chorus, and Verdi included a barcarole in Un ballo in maschera ( i. e., Richard's atmospheric " Di ’ tu se fidele il flutto m ’ aspetta " in Act I ).

Such a powerful, long and expressive voice as Rysanek's allowed her to sing many Verdi leads, notably Desdemona in Otello, Lady Macbeth in Macbeth, Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Leonora in La forza del destino, and Aida.

* Verdi: Un ballo in maschera 1961 / Gencer, Bergonzi

Verdi rival Errico Petrella's most successful opera, Jone ( 1858 ), was based upon Bulwer-Lytton's The Last Days of Pompeii, and was performed all over the world until the First World War.

Later in 1869 / 70, the organizers again approached Verdi ( this time with the idea of writing an opera ), but he again turned them down.

Gilda Roberts ), Verdi ’ s Theater: Creating Drama Through Music.

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 Italian translation was first performed on 4 June 1867, not in Italy but in London at the Royal Italian Opera House, Covent Garden ( now the Royal Opera House ), where it was produced and conducted by Michael Costa – not as Verdi desired, but in a cut and altered form.

Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer ( with whom he had a lasting collaboration ), Auber, Bellini, Donizetti, Rossini and Verdi.

At the time, Piave and Verdi had titled opera La maledizione ( The Curse ), and this unofficial title was used by Austrian censor De Gorzkowski in an emphatic letter written in December 1850 in which he definitively denied consent to its production calling it " a repugnant of immorality and obscene triviality.

His rapprochement with Verdi, whom he had offended in a toast shortly after they had collaborated on Verdi's Inno delle Nazioni (" Anthem of the Nations ", London, 1862 ), was effected by the music publisher Giulio Ricordi.

Giuseppe Verdi, in his Inno delle Nazioni ( Hymn of the Nations ), composed for the London International Exhibition of 1862, chose Il Canto degli Italiani and not the Marcia Reale to represent Italy, putting it beside God Save the Queen and La Marseillaise.

Consequently, beards were adopted by many leaders, such as Alexander III of Russia, Napoleon III of France, Frederick III of Germany ), as well as many leading statesmen and cultural figures, such as Benjamin Disraeli, Charles Dickens, Giuseppe Garibaldi, Karl Marx, and Giuseppe Verdi.

He was asked by director Robert Falls to help co-write the book for the musical Aida ( based upon the opera by Giuseppe Verdi ), which, in an earlier format, had failed in regional theatre tryouts.

** Georg Solti ( conductor ), Margaret Hillis ( choir director ) & the Chicago Symphony Orchestra & Chorus for Verdi: Requiem