“Viva VERDI!” – the cry of Italian patriots on the eve of unification.
Italy of the 1850s was but a conglomerate of individual states, many of them still under foreign rule. The slogan “Viva VERDI!” was coined in 1859, following the premiere of the composer’s politically sensitive opera “Un ballo in maschera.”
Verdi’s ongoing troubles with the censors are well-known. It’s a safe bet that when he undertook an opera about a political assassination, he had a pretty good idea what to expect. The name VERDI was taken up by firebrands of the Risorgimento as an acronym for “Vittorio Emanuele, Re D’Italia.” King Vittorio Emanuele II of Piedmont was seen by many as the best hope for a free and united Italy.
This Sunday night on “The Lost Chord,” we’ll refrain for delving too much into Italy’s Second War for Independence, or of Garibaldi’s struggles with the Bourbons. Instead, we’ll enjoy examples of MUSICAL unification – various composers of Italian origin coming together to attempt cohesive works of art.
There are those who believe the serenata “Andromeda Liberata” may have been composed entirely by Antonio Vivaldi – but perhaps not. The likely impetus for its creation was the return to Rome of one Cardinal Ottobone, who was also a patron of both Arcangelo Corelli and Alessandro Scarlatti.
The story is that of Perseus and Andromeda. Andromeda has already been rescued from the sea serpent at the start of the piece, which mostly explores the ambiguous feelings of its characters, with a few extraneous love interests tossed into the mix to provide romantic conflict.
The two-hour entertainment contains in its second part a single aria known definitively to have been composed by Vivaldi. The authorship of the rest remains in doubt. The long-lost manuscript, dating from 1726, was rediscovered as recently as 2002.
In 1868, Verdi’s great operatic predecessor, the long-retired Gioachino Rossini, died. Rossini had completed his last opera nearly forty years before. Verdi undertook to bring together 12 of his contemporaries, now largely forgotten. The oldest, Carlo Coccia, at age 87, was actually a decade Rossini’s senior!
Within the year, a collaborative mass was compiled in Rossini’s memory, for which Verdi provided the concluding “Libera me.” In fact, the music looks forward to Verdi’s own masterful Requiem. The completed work doesn’t attain anywhere near the lofty heights of Verdi’s solo run. However, it’s an interesting compendium of contemporary styles, and even the music of lesser talents serves to cast Verdi’s genius in a new light.
Remarkably, the work lay unperformed in Verdi’s lifetime. Talk about politics! Here was Verdi, a Milanese, trying to kindle some sort of enthusiasm in Bologna (the location of Rossini’s earliest successes), for a project which was to bring together a bunch compositional dinosaurs, to salute a figure who, for all intents and purposes, had retired from public life some four decades earlier. Bologna at the time was in the process of becoming a stronghold of the musical avant-garde.
All these factors, along with puzzling stipulations, such as the work being locked away after its first performance, to be trotted out only on special occasions, doomed the project virtually from the start. It remained unheard for another 120 years, resurrected only in 1988.
I hope you’ll join me for “Viva VERDI!” – Italian unification through music – this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.
