작곡가

:   Giuseppe Verdi (주세페 베르디)

장르

:  

Opera

스타일

:  

Opera

작곡년도

:   1859

평균연주

:   121:06

악장

1

Prelude

4:16

2

Act 1, Scene 1 : Posa in pace (chorus)

2:16

3

Act 1, Scene 1 : Amici miei ... soldati

5:18

4

Act 1, Scene 1 : La rivedrà nell'estasi

2:54

5

Act 1, Scene 1 : Conte ... Oh ciel!

2:30

6

Act 1, Scene 1 : Alla vita che t'arride

3:00

7

Act 1, Scene 1 : Il primo giudice

1:52

8

Act 1, Scene 1 : Volta la terrea

2:16

9

Act 1, Scene 1 : Sia condonnata

1:24

10

Act 1, Scene 2 : Zitti ... l'incanto non dèssi tubare (chorus)

4:05

11

Act 1, Scene 2 : Re dell'abisso

4:40

12

Act 1, Scene 2 : Arrivo il primo!

2:56

13

Act 1, Scene 2 : È lui, è lui!

2:38

14

Act 1, Scene 2 : Su, fatemi largo

2:28

15

Act 1, Scene 2 : Senitite, la mia Signora

null

16

Act 1, Scene 2 : Che v'agita cosi?

3:48

17

Act 1, Scene 2 : Della città all'occaso

3:10

18

Act 1, Scene 2 : Su, profetessa

1:16

19

Act 1, Scene 2 : Di' tu se fedele

3:20

20

Act 1, Scene 2 : Chi voi siate

2:32

21

Act 1, Scene 2 : È scherzo od è follia

3:50

22

Act 1, Scene 2 : Finisci il vaticinio

3:43

23

Act 1, Scene 2 : O figlio d'Inghiterra

2:26

24

Act 2 : Prelude

2:16

25

Act 2 : Ecco l'orrido campo

5:06

26

Act 2 : Ma dell'arido stelo divulsa

5:05

27

Act 2 : Teco io stò

6:26

28

Act 2 : M'ami, m'ami

4:20

29

Act 2 : Oh, qual soave brivido

5:11

30

Act 2 : Ahimè! S'appressa alcun

3:36

31

Act 2 : Amico, gelosa

0:46

32

Act 2 : Odi tu come fremono cupi

2:05

33

Act 2 : Seguitemi

3:01

34

Act 2 : Ve', se di notte

5:15

35

Act 3, Scene 1 : A tal colpa è nulla il pianto

2:27

36

Act 3, Scene 1 : Morrò, ma prima in grazia

4:32

37

Act 3, Scene 1 : Alzati! là tuo figlio

3:35

38

Act 3, Scene 1 : Eri tu che macchiavi quell'anima

4:40

39

Act 3, Scene 1 : Siam soli Udite

3:31

40

Act 3, Scene 1 : Dunque l'onta di tutti sol una!

2:49

41

Act 3, Scene 1 : Il messaggio entri

1:46

42

Act 3, Scene 1 : Di che fulgor

2:52

43

Act 3, Scene 2 : Forse la soglia attinse

4:27

44

Act 3, Scene 2 : Ma se m'è forza perderti

4:08

45

Act 3, Scene 3 : Fervono amori

2:02

46

Act 3, Scene 3 : Saper vorreste

2:34

47

Act 3, Scene 3 : Ah! perchè qui!

5:17

48

Act 3, Scene 3 : T'amo, si, t'amo

5:17

49

Act 3, Scene 3 : E tu ricevi il mio!

1:51

50

Act 3, Scene 3 : Ah! Morte, infamia

null

51

Act 3, Scene 3 : Ella è pura (Finale)

4:22

Un ballo in maschera (A Masked Ball) is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. However, Somma's libretto was itself based on the five act libretto which playwright Eugène Scribe had written for Daniel Auber's 1833 opera, Gustave III, ou Le bal masqué. Scribe wrote about the assassination in 1792 of King Gustav III of Sweden who was killed as the result of a political conspiracy against him. He was shot while attending a masked ballroom dance and died 13 days later of his wounds. It was to take over two years between the time of the commission from Naples and planned for a production there and its premiere performance at the Teatro Apollo in Rome on 17 February 1859. In order to become the Un ballo in maschera which we know today, Verdi's opera (and his libretto) was forced to undergo a significant series of transformations and title changes. Based on the Scribe libretto and begun as Gustavo III set in Sweden, it became Una vendetta in dominò set in Germany, and finally Un ballo, set not in Sweden but in Boston, Massachusetts during the colonial era. These changes were caused by a combination of censorship regulations in both Naples and Rome, as well as by the political situation in France in January 1858. It became one of the most frustrating experiences of Verdi's career. From the mid-20th century, it has become more common for the setting to revert to its original 18th-century Stockholm location. A re-creation of the original Gustavo III has been staged in Sweden.
A commission by the Teatro San Carlo in Naples in early 1857 led Verdi to begin to oversee the finalization of the libretto (also by Somma) for Re Lear with the aim of presenting the finished opera during the 1858 carnival season. When this proved to be impracticable, Verdi turned to the subject of King Gustav III's assassination as portrayed in Scribe and Auber's opera, albeit not an historically accurate narrative. That subject was well known and had been used by other composers, including Saverio Mercadante for his Il reggente in 1843.

... MORE    From WIKIPEDIA