At The Opera, Verdi: Un Ballo in Maschera - The Masked Ball, April 11, 2015 - capradio.org Saturday, April 11, 2015 Permalink At The Opera, Verdi: Un Ballo in Maschera - The Masked Ball, April 11, 2015 Update RequiredTo play audio, update browser or Flash plugin . 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 ball 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 February 17, 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. This 1954 recording at Carnegie Hall stars Jan Peerce and Robert Merrill.

Arturo Toscanini conducts the NBC Symphony and the Robert Shaw Chorale. Playlist Un ballo in maschera | opera by Verdi | Britannica.com Un ballo in maschera Alternative Title: “A Masked Ball” Related Topics musical composition Un ballo in maschera, ( Italian: “A Masked Ball”) opera in three acts by Italian composer Giuseppe Verdi (Italian libretto by Antonio Somma) that premiered at the Teatro Apollo in Rome on February 17, 1859. The Italian libretto was hastily adapted from French dramatist Eugène Scribe ’s libretto Gustave III; ou, le bal masqué, which was set to music both by French composer Daniel-François-Esprit Auber in 1833 and by Italian composer Saverio Mercadante (Il reggente) in 1843, among others. Un ballo in maschera was the 23rd of Verdi’s 28 operas.

Background and context Under contract to the Teatro San Carlo in Naples in 1857, Verdi had settled on the story of the assassination of King Gustav III of Sweden in 1792 as the basis for a proposed opera. It was immediately clear to the theatre and to the librettist that there would be problems with Neapolitan censors; at the least, a monarch’s assassination onstage would be forbidden. What began as Gustavo III di Svezia in 1857 became Una vendetta in domino after revisions later in the year. Verdi moved the action from Stockholm to Stettin (now Szczecin, Poland ) in the 17th century and changed the protagonist’s rank from king to duke. Matters were nearly settled when in January 1858, just before rehearsals were to begin, an Italian attempted in Paris to assassinate Emperor Napoleon III of France , killing bystanders in the bombing. That event led the Neapolitan censors to demand still further changes. Giuseppe Verdi. © Juulijs/Fotolia Verdi and the theatre were unable to reach agreement on the libretto, so he took the proposal to the Teatro Apollo in Rome.

Although Verdi was hopeful that Vatican censors (who reviewed all theatrical work there) would allow his work, since Scribe’s play had been staged in Rome, they expressed numerous objections. Finally, Verdi agreed to scrap Europe as the opera’s setting entirely, transporting the action to North America , and to change the title to Un ballo in maschera. (The role that had been first King Gustav III and next a duke became Riccardo, the governor of Boston—a position that has never existed.) Many opera directors found the North American setting of the final libretto to be problematic, and they returned the story to Europe—at the cost of having to modify or accept a few awkward passages that refer to the American setting. Similar Topics The Nutcracker, Op. 71 When the opera finally reached the stage, it was a huge success. Verdi had created a masterpiece of musical drama. The composer had finally loosened the set musical forms of mid-19th-century Italian opera to obtain a more flexible and balanced structure. For example, arias are relatively short and not rigidly patterned, ensembles blend contrasting moods, and scenes do not necessarily follow the conventional structural designs.

He continued to develop the mastery of orchestration that he had shown since Rigoletto (1851), underscoring and propelling the drama. More unusual was Verdi’s use of humour, both lighthearted and sardonic , in a tragic context . Because the libretto specifies that the character Ulrica be “negro” in the American setting, Un ballo in maschera incidentally played a role in the history of African American civil rights . American contralto Marian Anderson sang the role of Ulrica at the Metropolitan Opera in New York City on January 7, 1955, thereby becoming the first African American to appear with the company.

Riccardo, count of Warwick and governor of Boston ( tenor ) Renato, Riccardo’s secretary ( baritone ) Amelia, Renato’s wife ( soprano ) Oscar, Riccardo’s page (soprano) Ulrica, a fortune-teller (contralto) Samuel and Tom, enemies of Riccardo ( basses ) Silvano, a sailor (bass) A judge, a servant of Amelia, populace, guards, conspirators, ball guests Setting and story summary Un ballo in maschera was originally set in Sweden in 1792 and then changed to colonial Boston in the late 17th century to satisfy censors. Different settings and time periods are frequently chosen for contemporary performances of this opera. Act I Queen Elizabeth I’s Skirt Found The governor’s mansion in Boston. Riccardo, royal governor of Boston, is the unwitting target of a murder conspiracy led by the revolutionaries Samuel and Tom. His page, Oscar, gives Riccardo the guest list for a masked ball. He notices that Amelia —the wife of his secretary, Renato—is on the list, and he muses on his secret passion for her (“ La rivedrò nell’estasi ”).

Renato comes in and warns Riccardo of the conspiracy, but Riccardo does not believe him. A magistrate arrives with a decree banishing the fortune-teller Ulrica, who has been accused of witchcraft . When Riccardo asks Oscar’s opinion, the youth defends her, describing her skill at astrology and urging Riccardo to absolve her (“ Volta la terrea ”). Deciding to see for himself, and overruling the objections of Renato, Riccardo lightheartedly invites everyone to join him in an incognito visit to the witch. As Ulrica mutters incantations before a group of women (“ Re dell’abisso ”), Riccardo discreetly enters disguised as a fisherman. Ulrica begins her prophecies by telling the sailor Silvano that he will soon prosper. Riccardo surreptitiously slips money into the satchel of the seaman, who discovers it and marvels at the fortune-teller’s powers. When Ulrica sends her visitors away, Riccardo hides. He watches Ulrica grant an audience to Amelia, who confesses her love for Riccardo and asks for a means to quell her passion.

Ulrica tells her she must gather at night a magic herb that grows by the gallows. Amelia hurries away. Riccardo resolves to follow her, but Oscar and the others arrive. Riccardo, still in disguise, mockingly asks Ulrica to read his palm (“ Di’ tu se fedele ”). When she says he will die by the hand of a friend, Riccardo laughs (Quintet: “ È scherzo od è follia ”). Riccardo asks her to identify the assassin. She replies that the next hand he shakes is the one that will kill him. Frightened, no one will shake his hand. As Renato arrives, Riccardo hurries to clasp his hand and says that the prophesy is now disproved, because Renato is his most loyal friend. Riccardo is recognized and is hailed by the crowd above the discontented mutterings of the conspirators. Act II Facebook Twitter YouTube Instagram Pinterest The gallows outside of town. Amelia arrives at the gallows and desperately prays that the herb she seeks will release her from her passion for Riccardo (“ Ma dall’arido stelo divulsa ”).

As a distant bell tolls midnight, she is terrified by an apparition and prays to heaven for mercy. Riccardo arrives, and Amelia, unable to resist him, confesses her love (Duet: “ Non sai tu che se l’anima mia ”). She quickly veils her face when her husband, Renato, rushes in to warn Riccardo that assassins are approaching. Riccardo, fearing that Renato may discover Amelia’s identity, leaves only after Renato promises to escort her back to the city without lifting her veil. Samuel, Tom, and the other conspirators arrive and are dismayed to find Renato instead of their intended victim. Renato draws his sword when they make insolent remarks about his veiled companion. To save her husband’s life, Amelia raises her veil. While the conspirators laugh at this irony , Renato asks Samuel and Tom to come to his house the next morning. Amelia laments her disgrace. Act III Scene 1. Renato’s house. Renato tells Amelia that he intends to kill her, and she asks to see her young son before she dies (“ Morrò, ma prima in grazia ”).

Granting her wish, Renato turns to a portrait of Riccardo and exclaims that he should seek vengeance not on Amelia but on Riccardo (“ Eri tu ”). He is interrupted by Samuel and Tom. Now united in purpose, they cannot agree on who should have the privilege of assassinating Riccardo. Amelia returns just as the men prepare to draw lots. Forcing his wife to choose the fatal slip of paper from a vase, Renato rejoices when she draws his name. A moment later Oscar brings an invitation to the masked ball. While the men hail this chance to advance their plan, Amelia vows to warn Riccardo (Quintet: “ Di che fulgor Scene 2. The governor’s mansion. Riccardo resolves to renounce his love and to send Amelia and Renato to England (“ Ma se m’è forza perderti ”). Oscar delivers a letter from an unknown lady that warns Riccardo of the murder plot. Riccardo, not wanting his absence to be taken as a sign of cowardice, leaves for the masquerade. Britannica Lists & Quizzes Editor Picks: Exploring 10 Types of Basketball Movies Scene 3. The masked ball.

The conspirators wander through the crowded ballroom, trying to find the masked Riccardo. Renato takes Oscar aside and with some difficulty persuades the youth to reveal Riccardo’s identity (“ Saper vorreste ”). Riccardo, recognizing Amelia, declares his love again (Duet: “ T’amo, sì, t’amo ”). Despite her repeated warnings, he refuses to leave. Just as the lovers bid a final farewell, Renato, having overheard the last part of their conversation, stabs Riccardo. As Riccardo lies dying, he forgives Renato and the conspirators. Riccardo admits that he loved Amelia but assures Renato that she is innocent, and he shows Renato the order for the couple’s repatriation to England. The crowd bewails the loss of their generous-hearted governor as Renato is consumed by remorse.

Vienna State Opera - Un Ballo in Maschera Vienna State Opera STATE OPERA: UN BALLO IN MASCHERA | GIUSEPPE VERDI Conductor: Jesús López Cobos | Production: Gianfranco de Bosio Artists: Gustaf III., König von Schweden - Piotr Beczala | Graf René Ankarström - George Petean | Amelia, seine Gattin - Kristin Lewis Special price starts at 79.00 € STATE OPERA: UN BALLO IN MASCHERA | GIUSEPPE VERDI Conductor: Jesús López Cobos | Production: Gianfranco de Bosio Artists: Gustaf III., König von Schweden - Piotr Beczala | Graf René Ankarström - George Petean | Amelia, seine Gattin - Kristin Lewis Special price starts at 79.00 € STATE OPERA: UN BALLO IN MASCHERA | GIUSEPPE VERDI Conductor: Jesús López Cobos | Production: Gianfranco de Bosio Artists: Gustaf III., König von Schweden - Piotr Beczala | Graf René Ankarström - George Petean | Amelia, seine Gattin -

 Kristin Lewis Special price starts at 79.00 € STATE OPERA: UN BALLO IN MASCHERA | GIUSEPPE VERDI Conductor: Jesús López Cobos | Production: Gianfranco de Bosio Artists: Gustaf III., König von Schweden - Piotr Beczala | Graf René Ankarström - George Petean | Amelia, seine Gattin - Kristin Lewis Special price starts at 79.00 € Description Un Ballo in Maschera - Giuseppe Verdi 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. Classical Concerts We offer tickets for a series of a very well chosen classical Concerts in Vienna. Rely in our long experience in the Ticket Market. Among others in our shop one can find also great Dinner and Concert packages, which allows you to enjoy the traditional food and classical evening programs in Authentically Concert Halls where great names of Classical Music performed. Special Events Welcome to the Evangelists of special events in Vienna. We select and offer you the best Performances that transmit the viennese spirit in an astonishing way.

We offer Tickets for the most known Concert Worldwide the Vienna Philharmony New Year´s Concert at Musikverein in Vienna, Spanish Riding School Performances at the Hofburg Palace, Vienna Opera Ball at the Vienna State Opera, Silvestergala at Rathaus and Salzburg Festival Events. Opera Tickets We offer tickets for almost all Opera and Ballet Performances at Vienna State Opera. Among others our offer contains Events of Vienna Volksoper, a venue number one in Vienna for Musicals, Operettas and Ballet Performances with very acceptable prices. Do not hesitate to rely in our 15 years of experience in this Market. A Masked Ball - Un Ballo In Maschera You are purchasing a high quality PDF file suitable for printing. More details . Already purchased! You have already purchased this score. To download and print the PDF file of this score, click the 'Print' button below. The purchases page in your account also shows your items available to print. This score is free! This score is available free of charge. Just click the print button below.

A Masked Ball - Un Ballo In Maschera Composer Concert band / wind band Instrumental parts 1 clarinet , 2 clarinet , alto sax 1 , alto sax 2 , baritone horn BC , baritone sax , bass clarinet , bass drum , bassoon , cymbals , eb clarinet , euphonium TC , flute , horn 1 , horn 2 , oboe , piccolo , snare drum , tenor sax , trombone 1 , trombone 2 , trumpet 1 , trumpet 2 , trumpet 3 and tuba Related scores Share MP3 file Un ballo in maschera (A Masked Ball), is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. The libretto is loosely based on an 1833 play, Gustave III, by French playwright Eugène Scribe who wrote about the historical assassination of King Gustav III of Sweden.

The subject was well known and had been used by other composers, including Daniel Auber, for his 1833 opera, Gustave III, ou Le bal masqué and later by Saverio Mercadante for his Il reggente in 1843. In 1792, the King of Sweden, Gustav III, was killed, the result of a political conspiracy against him. He was shot while attending a masked ball and died 13 days later from his wounds. For the libretto, Scribe retained the names of some of the historical figures involved, the conspiracy, and the killing at the masked ball. The rest of the play - the characterizations, the romance, the fortune-telling, etc. - is Scribe�s invention and the opera is not historically accurate. However, in order to become the Un ballo in maschera which we know today, Verdi’s opera (and his libretto) was forced to undergo a series of transformations, caused by a combination of censorship regulations in both Naples and Rome, as well as the political situation in France in January 1858. seView Scorch plug-in Viewer help Which method of viewing music should I use?

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TRANSPOSEDMSG UN BALLO IN MASCHERA - Classical Arts Ireland UN BALLO IN MASCHERA Giuseppe Verdi Saturday December 8th 2012, 5.55 pm Libretto: Antonio Somma (Text), based on an 1833 play, Gustave III, by French playwright Eugène Scribe who wrote about the historical assassination of King Gustav III of Sweden. World premiere: New York, 11th February 1861 3 hrs 54 mins (Incl two Intervals) Sung in Italian with English subtitles Act 1 A public audience at Riccardo’s palace. Riccardo reviews the list of guests who will attend an upcoming masked ball. He is elated to see on the list the name of the woman he loves – Amelia, the wife of his friend and advisor, Renato. When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him, but he refuses to listen to his words. Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica, accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her.

Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica’s lodging later that day. Disguised as a fisherman, Riccardo arrives at Ulrica’s dwelling before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica’s powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves. Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo’s hand in greeting.

Riccardo’s true identity is now revealed and he is acclaimed by the people. Act 2 On the outskirts of the town, at the gallows-place. Midnight. Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her. She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other. Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia’s veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day. Act 3 Renato’s house. Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time.

Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die. Samuel and Tom arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato. Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place. The ball. Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England. At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell, but finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.

Composer Giuseppe Verdi (1813-1901) was born to a poor family in a tiny Italian village. He began studying music in a nearby town, Busseto, where he was taken into the home of a wealthy patron who later also supported his education in Milan. When he completed his studies, he became municipal music director in Busseto and three years later he returned to Milan with the score of his first opera, Oberto. Verdi was an ardent nationalist who yearned for a free and united Italy and saw the Jews as a symbol of the oppressed Italians. He quickly composed Nabucco (Nebuchadnezzar, king of Babylon, 1842), which was a huge success. From then on, Verdi and his operas came to symbolize Italian independence. In his late thirties, Verdi composed Rigoletto (1853), and La Traviata (1853). Although the public loved them, critics were often scandalized by their subject matter–they seemed to condone rape, suicide, and free love.

After these successes had made him wealthy, Verdi bought an estate in Busseto; and in 1861 he was elected in the first parliament that convened after Italy had become a nation. In his later years he wrote Aida (1871), Otello (1887), and–at the age of seventy-nine–his final opera, Falstaff (1893). Un ballo in maschera - OperaWorld External links Composition history For a full account of the evolution of the opera which eventually became Un ballo in maschera, see Gustavo III (Verdi) 1857: From Gustavo III to Una vendetta in dominò 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. Verdi and the Naples censor when preparing "Ballo", 1857–58, caricature by Delfico For the libretto, Scribe retained the names of some of the historical figures involved (including fortune teller Ulrica Arfvidsson , the conspiracy, and the killing at the masked ball, but, as noted by Budden, "it was a simple case of 'cherchez la femme'": for the rest of the play Scribe invented the romance between the King and the fictional Amélie [3] the wife of the king's secretary and best friend, and adds characters and situations such as Oscar, the page boy. [4] Somma's new libretto, known as Gustavo III, was presented to the censors in Naples by late 1857. By November, Verdi informed Somma that objections had been raised and revisions demanded by the censors, the most significant of which was the refusal to allow the depiction of a monarch on the stage - and especially the monarch's murder.

[5] As had happened with Rigoletto , changes in characters' names and titles were proposed (the King of Sweden became the Duke of Pomerania; Anckarström became Count Renato) and the location was moved from Stockholm to Stettin . Working together with Somma over Christmas, Verdi accommodated these changes. Somma was asked to change the names of the characters on the Gustave libretto while Verdi worked on completing sketches of the music. The name of the opera became Una vendetta in dominò. By 9 January 1858, prior to setting out for Naples, Verdi wrote from his home the San Carlo that "the opera is done and even here I am working on the full score". [5] The composer then travelled to Naples and rehearsals of Una vendetta were about to begin when, on 14 January 1858, three Italians attempted to assassinate Emperor Napoleon III in Paris, an event which was to affect the opera's production. 1858: The censor blocks Una vendetta The imposition of still further, more stringent requirements by the censor [6] incurred Verdi's wrath.

He broke his contract, returned to Sant'Agata in April, and was sued by the management of the San Carlo house. This provoked him to lodge a counter-claim against the theatre for damages and, eventually, the legal fight ended. It was during this period of turmoil that Verdi was to describe the previous sixteen years of his composing life: in a letter to Countess Clara Maffei, he states: "From Nabucco , you may say, I have never had one hour of peace. Sixteen years in the galleys!" [7] [8] 1859: Una Vendetta becomes Un ballo in maschera When the legal issues were resolved within a few months, Verdi was free to present the libretto and musical outline of Gustave III (which was basically Una vendetta with characters' names and locations changed) [9] to the Rome Opera . There, the censors demanded further changes. Removing the action from Europe, the location became Boston during the British colonial period and the leading character became Riccardo, the Count (or Earl) of Warwick. At this point, the opera became Un ballo in maschera set in North America.

Performance history Notable productions Un ballo in maschera received its premiere performance at the Teatro Apollo in Rome on 17 February 1859 and was immediately successful. The opera was first seen in New York its US premiere on 11 February 1861 and in the UK on 15 June of that year. In the 20th century, especially after a 1935 production in Copenhagen , many modern stagings have restored the original Swedish setting and characters' names. [10] On 7 January 1955, [11] Marian Anderson , singing the role of Ulrica, broke the "color barrier" at the Metropolitan Opera , becoming the first African-American vocal soloist to appear with that company. [12] A "hypothetical reconstruction" of Gustavo III , [13] based on the unorchestrated original and much of Una vendetta "grafted" [13] onto Un ballo's score, occurred in a production by the Gothenburg Opera in Gothenburg , Sweden in 2002. [14] The opera has become a staple of the repertoire and is now performed frequently.

[15] Roles Time: March 1792 in Sweden or the end of the 17th century in Boston [17] Act 1 Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his downfall Riccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see the name of the woman he loves on the list – Amelia, the wife of his friend and advisor, Renato (Count Anckarström). (Aria: La rivedrà nell'estasi / "It will review the ecstasy"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria: Alla vita che t'arride / "The life that arrives"), but Riccardo refuses to listen to his words. Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria: Volta la terrea / "Around her bungalow").

Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day. Scene 2: At Ulrica's dwelling Ulrica summons her magical powers: Re dell'abisso, affrettati / "King of the abyss, make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves. Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria: Di' tu se fedele / "Of thou faithful"). Ulrica reveals that he will be killed by the next man who shakes his hand.

He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people. Act 2 On the outskirts of the town, at the gallows-place. Midnight Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria: Ma dall'arido stelo divulsa / "But scratched out of the stalk divine"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other. Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair.

He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day. Act 3 Scene 1: Renato's house Death of Gustavo, act 3, sc. 2, by August Pollak Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. (Aria: Morrò, ma prima in grazia / "I die, but first in grace"). Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die (Aria: Eri tu che macchiavi quell'anima / "It was you who stained the soul"). Samuel (Count Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato. Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place.

Scene 2: The ball Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England (Aria: Ma se m'è forza perderti / "But if I am forced to miss"). At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell (Aria: Saper vorreste / "Knowing how you would like"), but he finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.

Instrumentation The opera is scored for flute, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, three trombones, cimbasso, timpani, cymbals, bass drum, harp and strings, together with offstage wind band, offstage bell and small onstage string orchestra (four to six first violins, two second violins, two violas, two cellos and two double basses). Cultural references A rehearsal of Act 3 Scene 2, including the stabbing of Riccardo, is featured in the closing scene of Bernardo Bertolucci's 1979 film La Luna . It also confused Leslie Titmuss in John Mortimer 's novel "Titmus Regained"; when a friend said that she was going to see "Un Ballo in Maschera" at Covent Garden, he replied "never been one for dancing". Recordings References Notes ^ Baldini, p. 248: Roger Parker, as editor and translator of The Story of Giuseppe Verdi challenges Baldini's statement that Gustave was a play, and he asserts that it was only an opera libretto written for Auber's opera.

^ Budden, p. 363. Verdi to Torelli: "I'm scaling down a French drama, Gustavo III di Svezia, libretto by Scribe, performed at the Opéra twenty years ago" ^ Patrick Dillon, "Unlucky Lady: Who is Amelia?", Opera News, December 2012, Vol. 77, #6, p. 20: Dillon notes that "it doesn't matter that there was, historically, no "real" Amelia" and further that, for Scribe, "convention demanded a leading lady" therefore "Amélie, comtesse d'Ankastrom" in Auber's opera. ^ Budden, p. 364 ^ List of singers taken from Budden, p. 360 ^ Melitz, adaptation of the synopsis from 1921 Cited sources Baldini, Gabriele (1970), (trans. Roger Parker, 1980), The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera. Cambridge, et al.: Cambridge University Press.

ISBN 0-521-29712-5 Budden, Julian (1984), The Operas of Verdi, Volume 2: From Il Trovatore to La Forza del Destino. London: Cassell. ISBN 978-0-19-520068-3 (hardcover) ISBN 978-0-19-520450-6 (paperback). Gossett, Philip (2006), Divas and Scholar: Performing Italian Opera, Chicago: University of Chicago Press. ISBN 0-226-30482-5 Kimbell, David (2001), in Holden, Amanda (Ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN 0-14-029312-4 Melitz, Leo (1921), The Opera Goer's Complete Guide. Osborne, Charles (1994), The Complete Operas of Verdi, New York, Da Capo Press, ISBN 0-306-80072-1 .

Werfel, Franz and Stefan, Paul (1973), Verdi: The Man and His Letters, New York, Vienna House. ISBN 0-8443-0088-8 Other sources Chusid, Martin, (Ed.) (1997), Verdi's Middle Period, 1849 to 1859, Chicago and London: University of Chicago Press. ISBN 0-226-10658-6 ISBN 0-226-10659-4 De Van, Gilles (trans. Gilda Roberts) (1998), Verdi's Theater: Creating Drama Through Music. Chicago & London: University of Chicago Press. ISBN 0-226-14369-4 (hardback), ISBN 0-226-14370-8 Martin, George, Verdi: His Music, Life and Times (1983), New York: Dodd, Mead and Company.

ISBN 0-396-08196-7 Pistone, Danièle (1995), Nineteenth-Century Italian Opera: From Rossini to Puccini, Portland, OR: Amadeus Press. ISBN 0-931340-82-9 Toye, Francis (1931), Giuseppe Verdi: His Life and Works, New York: Knopf Walker, Frank, The Man Verdi (1982), New York: Knopf, 1962, Chicago: University of Chicago Press.

ISBN 0-226-87132-0 Warrack, John and West, Ewan, The Oxford Dictionary of Opera New York: OUP: 1992 ISBN 0-19-869164-5 External links Un Ballo in Maschera - Arena di Verona (2014) (Production - Verona, italy) | Opera Online - The opera lovers web site Opera house : Arena di Verona Description In 1856 Verdi came to an arrangement with the San Carlo Theatre in Naples for the composition of a new opera to be staged in January 1858. At first the choice of the subject had been on the Shakespearian King Lear with a libretto by Antonio Somma, but this project soon began to fade away. Actually Verdi had requested the presence of Maria Piccolomini for the role of Cordelia, but the singer was not available. Then the composer put King Lear to one side and chose a new subject inspired by a libretto which Scribe had written for an opera by Auber (Gustave III ou Le Bal masqué).

This opera had premièred in 1833 and at that time it was still performed in numerous theatres. It was not the first adaptation of the above mentioned opera: the libretto had been translated and modified by Salvatore Cammarano for Il Reggente by Mercadante (Turin 1843). The subject of the libretto written by Scribe dealt with the murder of the Swedish King, Gustavus III, in 1792 during a masked ball. Verdi asked Somma to translate the libretto in 5 acts by Scribe and to adapt it to be made into a three-act opera. Somma was a renowned man of letters, but all in all a quite inexperienced librettist and therefore Verdi played an active and instrumental role in writing up the text. Verdi and Somma took this decision in October 1857, when there were only three months to go before the scheduled première. Anyway Somma worked very quickly and towards the end of the month the first act was already completed. Three weeks later the second act was ready too. Lack of time was not, however, the only problem.

Verdi had to submit the libretto to the Neapolitan board of censors for its approval. He had already been warned by the executive secretary of the San Carlo Theatre that the board of censors might make some changes as the opera dealt with a regicide and that's exactly what happened. Some of the conditions the censors laid down for the staging of the opera included the changing of the main character from king to duke and the shifting of the time and place. Verdi conveyed to Somma the changes to be made to the libretto and the latter proposed to move the story back to the twelfth century and to set it in Stettino in Pomerania, but although the composer agreed with Somma about the place, he found that the age the librettist had chosen was too rough and violent and it didn't actually suit the the elegance of the characters and the subtlety of the story. Then the choice fell on the seventeenth century and a new title: La vendetta in domino.

In spite of all these attempts to soften the potentially dangerous elements, in January 1858 Verdi reached Naples and was in for a bitter surprise: on arrival the censors had refused the permission to stage the opera with or without the changes of time and place. The attempt on Napoleon III's life at the hands of Felice Orsini, which occurred on January 13th the same year, had deeply troubled the Neapolitan monarchy which at that time was more than ever prejudiced against any references to the regicide, even if it was only on the stage. Moreover the censors insisted that the libretto be completely written again. In order to meet these unalterable requests the San Carlo Theatre consulted another librettist, who created a new opera, Adelia degli Adimari, set in Florence during the fourteenth century. The theatre offered Verdi this new composition, but it was met with his refusal: as a result the theatre brought an action against the composer. The latter promptly replied through his lawyers and he succeeded in having his contract with the Neapolitan theatre annulled, but at the same time he committed himself to staging a new opera the following autumn.

Un Ballo in maschera - Act II - Teatro Filarmonico 2002Meanwhile Verdi had already offered La vendetta in domino to the Apollo Theatre in Rome and they had accepted it with the proviso that it had to be submitted to the papal censors. The latter gave their consent on condition that the story was not set in Europe. After taking numerous countries into consideration, Caucasus included, Verdi and Somma decided on the United States at the end of the sixteenth century and they changed King Gustavus III into Riccardo, Count of Warwick and Governor of Boston. Moreover they decided to change the title of the opera by using the original subtitle by Scribe, i.e. Le Bal masqué, which became Un Ballo in maschera. When the last changes suggested by the censors were made, at last it was possible to stage the opera. From its première, which took place on February 17th 1859, Un Ballo in maschera was a great success.

It was also on that occasion that the acrostic "Viva Verdi" was invented: it was a hymn to Vittorio Emanuele, King of Italy, interpreted as a challenge to the Austrians and it spread rapidly throughout Italy. Apart from its role in the patriotic atmosphere of that time, Un Ballo in maschera stands out for its emotional strength and Verdi's genius that found here a new and lively expression. The opera met with success immediately and the Roman critics defined it as a a step forward in Verdi's new style.

Question: Who wrote the tragedy-opera "The Masked Ball" ("Ballo in Maschera")?
Answer: Giuseppe Verdi