On Verdi, Ghislanzoni, And Aid The Uses Of Convention
Verdi, Ghislanzoni, and “Aida”: The Uses of Convention
In the essay, “Verdi, Ghislanzoni, and “Aida”: The Uses of Convention,” Philip Gossett discusses Verdi’s problems finding a librettist who could supply him with texts that sufficiently met his need for articulating drama as well as push the bounds of conventional musical forms. Gossett singled out Verdi’s opera Aida, using examples of correspondence between the composer and the librettist to paint a picture of what Verdi had originally intended and what eventually came to be. Much of the essay contains correspondence from Verdi and Gossett begins with Verdi’s own words, “I should like nothing better than to find a good libretto and with it a good poet (we have such need of one!) but I cannot hide from you that I read with great reluctance the libretti that are sent to me. It is impossible, or almost impossible, for another to sense what I want. I want subjects that are new, great, beautiful, varied, bold, bold to the core, with new forms, yet at the same time appropriate for music….”1 This letter demonstrates Verdi’s frustrations with what he felt were both the lack of compelling subject matter and librettists to set the subject matter. In the essay, Gossett …show more content…
reveals that he believes Verdi is partially responsible for both the dramatic intentions of his operas, the settings of his operas and ultimately the choices of musical forms. Gossett uses correspondence regarding the composition of Aida to make his point. Gossett begins with the historical background of how Verdi and his librettist, Ghislanzoni, for Aida, came into contact. Gossett makes it clear through excerpts from Verdi’s letters to his publisher, Ricordi, that Ghislanzoni was his first choice in librettist for the work of Aida. Seemingly, Gossett choose to focus on Aida because of the sheer volume of correspondence that is still in existance today between Ghislanzoni and the Verdi. Gossett reveals in the article that a large number of letters survive today and the letters offer points of modification and aesthetic preferences. Gossett goes into detail about what can be derived from a careful reading of the Verdi letters, in particular pointing out the relationship between Verdi’s musical and dramatic forms in his earlier operas to the Italian operatic conventions of his time.2 Gossett pays specific attention to the duets in Aida, as that is where he feels most of the drama in the opera takes place. Gossett references several communications between the composer and librettist discussing the composition of each duet in detail to help support his claim that while Verdi was being supplied subpar libretti he was virtually forced to continue to write in conventional musical forms. Before addressing Verdi’s duet structures, Gossett back tracks a bit and reminds us of Rossini’s ensemble and duet structures. Rossini’s mature works had fewer arias and more ensembles, but Rossini’s “main problem was how to approach the ensemble, which offered characters opportunity for lyrical expression while focusing on their dramatic confrontation and interaction. His manners were so compelling because they fused in a simple yet satisfactory manner the urge for lyrical expression and the needs of the drama.”3 Gossett uses the example of “Ebben a te ferisci,” a traditional Rossini duet between Semiramide and Arsace to show how similar, Rossini’s duet form is to several of Verdi’s mid-period works and some of the work in Verdi’s later operas like Aida. Specifically, the duet between Amneris and Radames is in a conventional duet form of two parallel stanzas, each verse lengthy with involved rhyming schemes. Gossett wonders then if Verdi had fought Ghislanzoni on the text for this duet, and through the course of several letters he finds that Verdi did put up a small fight hoping that Ghislanzoni would come up with something more akin to a through-composed piece. Ultimately it was Verdi himself who added enough text to make the form back into a cabaletta. In a small contrast to the very conventional Ameris-Radames duet, Gossett tells us that the duet between Aida and Amneris has a more novel feel about it. Ghislanzoni had written several stanzas for Aida, and a parallel one for Amneris and another, in a different meter, also for Amneris. But Verdi had objections to the strict stanzas that Ghislanzoni had written, stating that when the action demanded it they should abandon all rhythm, rhyme, and stanza, in favor of parole sceniche.4 What makes the duet feel somewhat novel is the reversal of the dramatic action, as Verdi sets it between the cantabile and the cabaletta. But Gossett tells us that despite the reversal of action, all the main parts of a traditional duet are still included, except for the last two lines of the cabaletta, which is a reprise of the chorus. This is a novelty because the reprisal of the chorus becomes integral to the story and cabaletta. Also important in the duet and Verdi’s decision to keep Aida onstage after Amneris’ departure to have her sing a short reprise of her first act aria. Gossett explains, “It is a telling and beautiful gesture, but we must be careful to recognize it as the external gesture it is and not pretend that the duet to which it is appended becomes any less an obvious development of classical procedures because of it.”5 Wrapping up the Aida-Amneris duet, Gossett references letters from Verdi specifically discussing the cabaletta. Ghislanzoni was most likely reacting to comments Verdi had previously made about the fact that he hated cabalettas. However, Verdi insists in his letter to Ghislanzoni that when the drama fits into an existing form it is appropriate to use it, but when it does not they should be searching for bolder and innovative choices. In this specific case, Verdi was talking about the duets between Aida and Amonasoro and Aida and Radames. And in the case of the Aida-Amonasoro duet, he would get his way, being able to almost fully digress from the norms of musical convention. However, as we have already seen in the case of the Aida and Radames duet, although Verdi felt like a cabaletta was not warranted, he nonetheless accepted it without too much protest in these words to Ghislanzoni, “The duet between Radames and Aida is, for me, greatly inferior to the other between father and daughter. The cause may the situation or perhaps the form, which is more common than the preceding duet. Certainly this succession of cantabiles of eight verses, sung by one and repeated by the other, is not going to keep the dialogue alive…”6 Gossett tells us that because Ghislanzoni had perceived the duet with a cabaletta, Verdi would ultimately yield, making it one of the most conventional pieces in the opera. Gossett’s final example is the finale from Aida, which is essentially a duet between Aida and Radames.
Gossett points out that this example again shows Verdi’s ambivalence towards form and convention. While Ghislanzoni’s wanted two matching parallel sets of seven syllable stanzas, Verdi warned him to “avoid monotony, and forced him to look for uncommon forms, tempos and melodies.” Gossett points out the interesting fact of Verdi’s knowledge of how form and text worked together in a correspondence dated November 13th, “You cannot imagine what a beautiful melody can be made with such a strange form; how graceful the five-syllable line is after three of seven syllables; and what variety the two succeeding eleven-syllable lines
provide…”7
Gossett concludes by stating that each of the five duets in Aida stems from traditions found in earlier nineteenth century opera. At one end, the Amneris-Radames duet fulfills practically all the basic requirements of the Rossinian model; at the other the Amonasro-Aida duet consciously avoids them.8 Gossett states that it is obvious that Aida is written under the influence of the musical conventions of nineteenth century operatic traditions and that while Verdi tried to push his librettists to supply him with bolder choices that were not squarely under the auspicious of a specific music format, all he could do was push.
This essay was rather interesting for several reasons, the first being the sheer amount of historical content written by Verdi himself. It would be hard not to believe Gossett’s assertions with this much historical data, although he did not have as much access to Ghislanzoni’s letters, he can make fairly accurate assumptions based on Verdi’s responses. I also thought this article was interesting because it focused on several duets in the opera, giving me a greater picture of Verdi’s thought process. Lastly, we have now read enough, to have the background information to understand the musical forms from the early nineteenth century to gain some true perspective, rather than merely reading another article.
In conclusion, there is no doubt in my mind that Verdi was ambivalent towards traditional musical convention and form. He was often supplied texts from his librettists that forced him into certain musical forms he would have rather avoided.
In the essay, “Verdi, Ghislanzoni, and “Aida”: The Uses of Convention,” Philip Gossett discusses Verdi’s problems finding a librettist who could supply him with texts that sufficiently met his need for articulating drama as well as push the bounds of conventional musical forms. Gossett singled out Verdi’s opera Aida, using examples of correspondence between the composer and the librettist to paint a picture of what Verdi had originally intended and what eventually came to be. Much of the essay contains correspondence from Verdi and Gossett begins with Verdi’s own words, “I should like nothing better than to find a good libretto and with it a good poet (we have such need of one!) but I cannot hide from you that I read with great reluctance the libretti that are sent to me. It is impossible, or almost impossible, for another to sense what I want. I want subjects that are new, great, beautiful, varied, bold, bold to the core, with new forms, yet at the same time appropriate for music….”1 This letter demonstrates Verdi’s frustrations with what he felt were both the lack of compelling subject matter and librettists to set the subject matter. In the essay, Gossett …show more content…
reveals that he believes Verdi is partially responsible for both the dramatic intentions of his operas, the settings of his operas and ultimately the choices of musical forms. Gossett uses correspondence regarding the composition of Aida to make his point. Gossett begins with the historical background of how Verdi and his librettist, Ghislanzoni, for Aida, came into contact. Gossett makes it clear through excerpts from Verdi’s letters to his publisher, Ricordi, that Ghislanzoni was his first choice in librettist for the work of Aida. Seemingly, Gossett choose to focus on Aida because of the sheer volume of correspondence that is still in existance today between Ghislanzoni and the Verdi. Gossett reveals in the article that a large number of letters survive today and the letters offer points of modification and aesthetic preferences. Gossett goes into detail about what can be derived from a careful reading of the Verdi letters, in particular pointing out the relationship between Verdi’s musical and dramatic forms in his earlier operas to the Italian operatic conventions of his time.2 Gossett pays specific attention to the duets in Aida, as that is where he feels most of the drama in the opera takes place. Gossett references several communications between the composer and librettist discussing the composition of each duet in detail to help support his claim that while Verdi was being supplied subpar libretti he was virtually forced to continue to write in conventional musical forms. Before addressing Verdi’s duet structures, Gossett back tracks a bit and reminds us of Rossini’s ensemble and duet structures. Rossini’s mature works had fewer arias and more ensembles, but Rossini’s “main problem was how to approach the ensemble, which offered characters opportunity for lyrical expression while focusing on their dramatic confrontation and interaction. His manners were so compelling because they fused in a simple yet satisfactory manner the urge for lyrical expression and the needs of the drama.”3 Gossett uses the example of “Ebben a te ferisci,” a traditional Rossini duet between Semiramide and Arsace to show how similar, Rossini’s duet form is to several of Verdi’s mid-period works and some of the work in Verdi’s later operas like Aida. Specifically, the duet between Amneris and Radames is in a conventional duet form of two parallel stanzas, each verse lengthy with involved rhyming schemes. Gossett wonders then if Verdi had fought Ghislanzoni on the text for this duet, and through the course of several letters he finds that Verdi did put up a small fight hoping that Ghislanzoni would come up with something more akin to a through-composed piece. Ultimately it was Verdi himself who added enough text to make the form back into a cabaletta. In a small contrast to the very conventional Ameris-Radames duet, Gossett tells us that the duet between Aida and Amneris has a more novel feel about it. Ghislanzoni had written several stanzas for Aida, and a parallel one for Amneris and another, in a different meter, also for Amneris. But Verdi had objections to the strict stanzas that Ghislanzoni had written, stating that when the action demanded it they should abandon all rhythm, rhyme, and stanza, in favor of parole sceniche.4 What makes the duet feel somewhat novel is the reversal of the dramatic action, as Verdi sets it between the cantabile and the cabaletta. But Gossett tells us that despite the reversal of action, all the main parts of a traditional duet are still included, except for the last two lines of the cabaletta, which is a reprise of the chorus. This is a novelty because the reprisal of the chorus becomes integral to the story and cabaletta. Also important in the duet and Verdi’s decision to keep Aida onstage after Amneris’ departure to have her sing a short reprise of her first act aria. Gossett explains, “It is a telling and beautiful gesture, but we must be careful to recognize it as the external gesture it is and not pretend that the duet to which it is appended becomes any less an obvious development of classical procedures because of it.”5 Wrapping up the Aida-Amneris duet, Gossett references letters from Verdi specifically discussing the cabaletta. Ghislanzoni was most likely reacting to comments Verdi had previously made about the fact that he hated cabalettas. However, Verdi insists in his letter to Ghislanzoni that when the drama fits into an existing form it is appropriate to use it, but when it does not they should be searching for bolder and innovative choices. In this specific case, Verdi was talking about the duets between Aida and Amonasoro and Aida and Radames. And in the case of the Aida-Amonasoro duet, he would get his way, being able to almost fully digress from the norms of musical convention. However, as we have already seen in the case of the Aida and Radames duet, although Verdi felt like a cabaletta was not warranted, he nonetheless accepted it without too much protest in these words to Ghislanzoni, “The duet between Radames and Aida is, for me, greatly inferior to the other between father and daughter. The cause may the situation or perhaps the form, which is more common than the preceding duet. Certainly this succession of cantabiles of eight verses, sung by one and repeated by the other, is not going to keep the dialogue alive…”6 Gossett tells us that because Ghislanzoni had perceived the duet with a cabaletta, Verdi would ultimately yield, making it one of the most conventional pieces in the opera. Gossett’s final example is the finale from Aida, which is essentially a duet between Aida and Radames.
Gossett points out that this example again shows Verdi’s ambivalence towards form and convention. While Ghislanzoni’s wanted two matching parallel sets of seven syllable stanzas, Verdi warned him to “avoid monotony, and forced him to look for uncommon forms, tempos and melodies.” Gossett points out the interesting fact of Verdi’s knowledge of how form and text worked together in a correspondence dated November 13th, “You cannot imagine what a beautiful melody can be made with such a strange form; how graceful the five-syllable line is after three of seven syllables; and what variety the two succeeding eleven-syllable lines
provide…”7
Gossett concludes by stating that each of the five duets in Aida stems from traditions found in earlier nineteenth century opera. At one end, the Amneris-Radames duet fulfills practically all the basic requirements of the Rossinian model; at the other the Amonasro-Aida duet consciously avoids them.8 Gossett states that it is obvious that Aida is written under the influence of the musical conventions of nineteenth century operatic traditions and that while Verdi tried to push his librettists to supply him with bolder choices that were not squarely under the auspicious of a specific music format, all he could do was push.
This essay was rather interesting for several reasons, the first being the sheer amount of historical content written by Verdi himself. It would be hard not to believe Gossett’s assertions with this much historical data, although he did not have as much access to Ghislanzoni’s letters, he can make fairly accurate assumptions based on Verdi’s responses. I also thought this article was interesting because it focused on several duets in the opera, giving me a greater picture of Verdi’s thought process. Lastly, we have now read enough, to have the background information to understand the musical forms from the early nineteenth century to gain some true perspective, rather than merely reading another article.
In conclusion, there is no doubt in my mind that Verdi was ambivalent towards traditional musical convention and form. He was often supplied texts from his librettists that forced him into certain musical forms he would have rather avoided.