Works
Verdi's operas, and their date of première are:
- Oberto, 17 November 1839
- Un giorno di regno, 5 September 1840
- Nabucco, 9 March 1842
- I Lombardi alla prima crociata, 11 February 1843
- Ernani, 9 March 1844
- I due Foscari, 3 November 1844
- Giovanna d'Arco, 15 February 1845
- Alzira, 12 August 1845
- Attila, 17 March 1846
- Macbeth, 14 March 1847
- I masnadieri, 22 July 1847
- Jérusalem (a revision and translation of I Lombardi alla prima crociata) 26 November 1847
- Il corsaro, 25 October 1848
- La battaglia di Legnano, 27 January 1849
- Luisa Miller, 8 December 1849
- Stiffelio, 16 November 1850
- Rigoletto, 11 March 1851
- Il trovatore, 19 January 1853
- La traviata, 6 March 1853
- Les vêpres siciliennes, 13 June 1855
- Simon Boccanegra, (Original Version), 12 March 1857
- Aroldo (A major revision of Stiffelio), 16 August 1857
- Un ballo in maschera, 17 February 1859
- La forza del destino, 10 November 1862
- Don Carlos, 11 March 1867
- Aida, 24 December 1871
- Simon Boccanegra, (Revised Version), 24 March 1881
- Otello, 5 February 1887
- Falstaff, 9 February 1893
Read more about this topic: Giuseppe Verdi
Famous quotes containing the word works:
“I look on trade and every mechanical craft as education also. But let me discriminate what is precious herein. There is in each of these works an act of invention, an intellectual step, or short series of steps taken; that act or step is the spiritual act; all the rest is mere repetition of the same a thousand times.”
—Ralph Waldo Emerson (1803–1882)
“The ancients of the ideal description, instead of trying to turn their impracticable chimeras, as does the modern dreamer, into social and political prodigies, deposited them in great works of art, which still live while states and constitutions have perished, bequeathing to posterity not shameful defects but triumphant successes.”
—Herman Melville (1819–1891)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)