4. Un ballo in maschera. Historical Fiction. The climactic event of Verdi’s Ballo in maschera (1858), the assassination of the Swedish King Gustavus III at a masked ball in 1792, may indeed have been an historical event, but it order to make an opera of it, Verdi and his librettist Antonio Somma had to invent a wholly fictional romance between the King and the wife of his best friend Count Anckarstroem, turning him from ally to bitter enemy. Add to this the prohibition by the censor against showing a monarch in unflattering light, and the consequent relocation of the opera to colonial Boston, and you get a farrago that is certainly more fiction than fact.

Against this, you have the composer in total command of his formal means, building large structures in carefully controlled increments, and writing some of his best tunes. We also see him trying new experiments with introducing comic devices into a tragic plot, to produce a true—if underperformed—masterpiece.

 
Other resources will be posted immediately after class.

 
VIDEO LINKS

No luck whatsoever in finding a You Tube version of the 1980 Met production with English titles. I do however have the complete production un-titled, and have cued it to the clips we watched in class. And I do have two options with English titles: a vintage 1975 production from London in traditional style with Domingo and Ricciarelli, where the titles are huge and obtrusive, and the more recent (2012) Met production by David Alden. The latter is actually my favorite; it is a clear video with a fine cast, but you have to be willing to accept an updated production with some surprising (though interesting) directorial concepts. [Note that about an hour's worth of extra stuff has been tacked on to the end of the London video; I'm not sure where it comes from.]

AS SEEN IN CLASS
  Met 1980   Complete (Pavaroti/Ricciarelli/Quilico)
Opening chorus
End of I/i
Amelia in I/ii
Act II complete
PRODUCTIONS WITH TITLES
  London 1975   Complete (Domingo/Ricciarelli/Capulcilli)
  Met 2012   Complete (Alvarez/Radvanovsky/Hvorostovsky)

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