The Sounds of Paris in Verdi's La traviata

Sampul Depan
Cambridge University Press, 9 Mei 2013
How did Paris and its musical landscape influence Verdi's La traviata? In this book, Emilio Sala re-examines La traviata in the cultural context of the French capital in the mid-nineteenth century. Verdi arrived in Paris in 1847 and stayed for almost two years: there, he began his relationship with Giuseppina Strepponi and assiduously attended performances at the popular theatres, whose plays made frequent use of incidental music to intensify emotion and render certain dramatic moments memorable to the audience. It is in one of these popular theatres that Verdi probably witnessed one of the first performances of Dumas fils' La Dame aux camélias, which became hugely successful in 1852. Making use of primary source material, including unpublished musical works, journal articles and rare documents and images, Sala's close examination of the incidental music of La Dame aux camélias - and its musical context - offers an invaluable interpretation of La traviata's modernity.

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Le Chevalier de MaisonRouge I
Robert Macaire I
Images and sounds in Waltz and polka time
A vaguely Spanish character I
Interferences and condensations
Motifs of reminiscence and musical dramaturgy I
The rest of the play
Crosspollinations actualisations backdating
Coda I
Hak Cipta

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Tentang pengarang (2013)

Emilio Sala is Associate Professor of Musical Dramaturgy at the University of Milan. His research focuses on the musical dramaturgy of opera, melodrama and film music and his publications include L'opera senza canto. Il mlo romantico e l'invenzione della colonna sonora (1995) and Il valzer delle camelie. Echi di Parigi nella Traviata (2008). He has published articles and reviews in the Cambridge Opera Journal, Opera Quarterly, the Revue de musicologie, Orages, R. H. L. F., Saggiatore musicale, Musica/Realt, Musicalia, Musica e storia and elsewhere.

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