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Giuseppe Verdi, Il Corsaro Matheus Pompeu, ten, Ilona Mataradze, sop, Aleksey Bogdanov, bar, Karen Gardeazabal, sop, Mateusz Stachura, bar, Pawel Cichoński, ten Podlasie Opera and Philharmonic Choir, Europa Galante, Fabio Biondi, cond Fryderyk Chopin Institute, NIFCCD 087–088 2021 (2 CDs: 91 minutes), €18

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Giuseppe Verdi, Il Corsaro Matheus Pompeu, ten, Ilona Mataradze, sop, Aleksey Bogdanov, bar, Karen Gardeazabal, sop, Mateusz Stachura, bar, Pawel Cichoński, ten Podlasie Opera and Philharmonic Choir, Europa Galante, Fabio Biondi, cond Fryderyk Chopin Institute, NIFCCD 087–088 2021 (2 CDs: 91 minutes), €18

Published online by Cambridge University Press:  27 June 2023

Jane Sylvester
Jane Sylvester*
Affiliation:
University of Missouri-Kansas City jsylvester@umkc.edu
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Type
CD Review
Information
Nineteenth-Century Music Review , Volume 20 , Issue 3 , December 2023 , pp. 627 - 632
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Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press

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References

1 Original: ‘Dal Nabucco in poi non ho avuto, si può dire, un'ora di quiete’. Cesari, Gaetano and Luzio, Alessandro, I copialettere di Giuseppe Verdi (Milan: Stucchi Ceretti, 1913): 572Google Scholar.

2 For further context of Verdi's tumult in the late 1840s, see Budden, Julian, Verdi, 3rd ed. (Oxford: Oxford University Press, 2008): 185–209Google Scholar.

3 Esse, Melina, ‘“Chi piange, qual forza m'arretra?”: Verdi's Interior Voices’, Cambridge Opera Journal 14/1–2 (2002): 63–7CrossRefGoogle Scholar.

4 Hadlock, Heather, ‘“The Firmness of a Female Hand” in The Corsair and Il corsaro’, Cambridge Opera Journal 14/1–2 (2002): 47–57CrossRefGoogle Scholar.

5 Sala, Emilio, ‘Verdi and the Parisian Boulevard Theatre, 1847–9’, trans. Smart, Mary Ann, Cambridge Opera Journal 7/3 (1995): 185–205CrossRefGoogle Scholar.

6 Esse, ‘Verdi's Interior Voices’, 62–3.

7 The cimbasso was often indicated in scores as a more general marker to require a musician to play the lowest brass instrument available. The cimbasso itself is a low brass instrument with a range similar to that of a contrabass trombone. Developed from the upright serpent horn, it was used within nineteenth-century Italian opera orchestras. By the 1880s, Verdi used a valve contrabass trombone.

8 Esse, ‘Verdi's Interior Voices’, 77–8.

9 Budden, Verdi, 209.