|Dr. Francesco Izzo|
We asked Dr. Izzo to prepare a brief write up on Verdi's A King for a Day in which he points out that just because a piece is not seen with the frequency of say a Madama Butterfly, does not mean it should be discounted as something not worth paying attention to.
|Corey Crider as Belfiore, Jennifer Feinstein |
as the Marchesa, and Stefano de Peppo
as the Baron
|Baritone Corey Crider as Belfiore, the |
fake King of Poland
Case closed, then? Should we regard Un giorno di regno as an unfortunate parenthesis in Verdi’s otherwise stellar career? Not so fast, ladies and gentlemen. Verdi himself never referred to Un giorno di regno as a failure. And he never suggested that he was not inclined to write a comic work at that time. Although he was certainly mourning and under significant time pressure, he invested tremendous energy into the creation of this opera, working tirelessly on the score to the last minute. Years ago, when I had the good fortune to examine for the first time Verdi’s autograph manuscript in Milan, Italy, I realized that almost every page showed the composer thinking carefully through his music, entering significant revisions in the vocal lines, polishing the orchestration, and concentrating on a variety of details. At a very late stage, he even managed to compose a new closing section for the Act 1 trio and a new cabaletta for Edoardo’s aria at the beginning of Act 2. The original versions of these pieces, fully orchestrated, are still found in the autograph, and the audience of Sarasota Opera will be able to hear these pieces as they are performed for the first time at a concert on March 24.
|Finally united in the end, the Cavaliere of Belfiore |
and the Marchesa of Poggio
|Stefano de Peppo as the Baron of Kelbar|