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188:: "Turn Venice upside down to make the censors permit this subject" he demanded, following that up with the admonition not to allow the matter to drag on: "If I were the poet I would be very, very concerned, all the more because you would be greatly responsible if by chance (may the Devil not make it happen) they should not allow this drama "
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Working with Piave was Verdi's first opportunity to work with himself. The composer completely dominates and enslaves the librettist, who becomes scarcely more than an instrument in his hands... libretti are in fact those best suited to Verdi's music simply because, in detail as well as in general
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when Verdi accepted the commission for it in 1870, had he not suffered a stroke which left him paralyzed and unable to speak. Verdi helped to support his wife and daughter, proposing that "an album of pieces by famous composers be compiled and sold for Piave's benefit". The composer paid for his
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This statement suggests that, almost for the first time, the composer was going to be the one who determined "that drama essentially consisted of the arrangement of pieces and the clarity of the musical forms....he began to become aware of the structure and architecture of musical composition,
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Another Verdi scholar notes that "Verdi always harried him unmercifully, often having his work revised by others Piave rewarded him with doglike devotion, and the two remained on terms of sincere friendship." Piave became "someone Verdi loved".
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something which was not even clearly hinted at during the period with Solera. The composer began to control the overall dramatic arc of the drama and no longer would he "suffer under" such librettists as
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From the beginnings of their working relationship in 1844, scholars such as
Gabriele Baldini see Verdi's overall influence upon the structure of his work take a big leap forward when he notes:
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Werfel and Stefan 1973, p. 262, referring to a letter of 1 August 1869 from Verdi to publisher Léon
Escudier requesting him to furnish his own contribution to the album
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in Milan. His expertise as a stage manager and his tact as a negotiator served Verdi very well, but the composer bullied him mercilessly for his pains over many years.
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But Piave was not only a librettist: he was a journalist and translator in addition to being the resident poet and stage manager at
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An example of the pressure which Verdi exerted on Piave was in the struggle to have the
Venetian censors approve
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Together, they worked on ten operas between 1844 and 1862, and Piave would have also prepared the libretto for
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Piave's career spanned over twenty years working with many of the significant composers of his day, including
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in Venice where he first encountered Verdi. Later, Verdi was helpful in securing him the same position at
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troops retreated from the city, Verdi wrote to Piave in Venice addressing him as "Citizen Piave."
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funeral when he died nine years later in Milan aged 65 and arranged for his burial at the
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List of operas for which Piave wrote the libretto taken from opera.stanford.edu
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Like Verdi, Piave was an ardent
Italian patriot, and in 1848, during Milan's
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Caricature of Piave as "a theatrical jack-of-all-trades", after 1861
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32:(18 May 1810 – 5 March 1876) was an Italian opera
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1504:, Vol. Three, pp. 999. London: Macmillan Publishers, Inc.
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Verdi to Piave, 29 November 1850, in
Phillips-Matz 1993, p. 270
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Piave, Boito, Pirandello: From
Romantic Realism to Modernism
1478:
The Story of
Giuseppe Verdi: Oberto to Un Ballo in Maschera
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as Verdi's main mid-career librettist, Piave firstly wrote
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Verdi to Piave, 6 May 1850, in
Phillips-Matz 1993, p. 265
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Baldini, Gabriele (1970), (trans. Roger Parker, 1980),
1528:. New York: Schirmer Books (Master Musicians Series).
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1567:(Studies in Italian Literature). Edwin Mellon Press.
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16:Italian opera librettist (1812–1876)
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1553:, New York: Penguin Putnam, 2001.
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1501:The New Grove Dictionary of Opera
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1374:Giuseppe Verdi's Rigoletto Story
1484:: Cambridge University Press.
1603:Verdi: The Man and His Letters
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271:(the 1865 second version).
143:Piave's librettos for Verdi
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205:in 1844, and then
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104:"Cinque Giornate,"
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60:(four librettos),
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1089:Paolo Serrao
1078:
1066:Achille Peri
1057:
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975:Samuele Levi
964:
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929:Achille Peri
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1647:1876 deaths
1642:1810 births
1350:La Traviata
1322: [
1319:La traviata
1279: [
1260: [
1245: [
1235:Filmography
845:I Fidanzati
778:La traviata
601:Luigi Ricci
244:La traviata
85:La traviata
1636:Categories
1534:0028646169
1498:, (Ed.),
1382:References
1194:La tombola
546:Il corsaro
226:Il Corsaro
167:and up to
34:librettist
1338:Rigoletto
1257:Rigoletto
897:Stiffelio
688:Rigoletto
642:Stiffelio
288:Composer
238:Rigoletto
232:Stiffelio
186:Rigoletto
173:in 1846.
93:La Fenice
79:Rigoletto
1587:(1993),
1524:(1996),
711:Baschina
433:Griselda
259:(1857),
247:(1853),
241:(1851),
235:(1850),
229:(1848),
217:(1846),
211:(1844),
112:Austrian
108:Radetzky
97:La Scala
1625:at the
1549:(Ed.),
1471:Sources
1362:Macbeth
1126:Rebecca
1103:Macbeth
1036:Mormile
455:Macbeth
268:Macbeth
220:Macbeth
1609:
1595:
1578:
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1557:
1539:
1532:
1515:
1508:
1488:
1369:(1987)
1357:(1983)
1345:(1982)
1333:(1968)
1314:(1956)
1302:(1950)
1290:(1947)
1271:(1946)
1058:Rienzi
892:Aroldo
388:Attila
321:Ernani
256:Aroldo
214:Attila
202:Ernani
170:Attila
164:Oberto
52:Career
42:Venice
38:Murano
1526:Verdi
1482:et al
1387:Notes
1326:]
1283:]
1264:]
1249:]
1216:Olema
285:Title
106:when
1607:ISBN
1593:ISBN
1576:ISBN
1569:ISBN
1555:ISBN
1537:ISBN
1530:ISBN
1513:ISBN
1506:ISBN
1486:ISBN
1212:1872
1189:1868
1166:1867
1143:1867
1122:1865
1098:1865
1075:1865
1054:1862
1031:1862
1007:1862
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729:1853
706:1853
683:1851
660:1851
637:1850
614:1850
606:and
587:1850
564:1848
541:1848
518:1848
497:1848
474:1847
450:1847
429:1847
406:1846
383:1846
362:1845
339:1844
316:1844
293:1842
282:Year
131:Aida
82:and
110:'s
1638::
1395:^
1324:it
1281:it
1262:it
1247:it
139:.
88:.
48:.
899:)
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