Roberto Abbado

Roberto Abbado – Vive Verdi! (Live) (2022)
FLAC (tracks) 24 bit/48 kHz | Time – 01:08:24 minutes | 675 MB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Dynamic

The premiere of Nabucco at La Scala, Milan in 1842 was a huge success for Verdi and soon led to foreign performances of the work. For its appearance in Brussels under the name Nabuchodonosor Verdi fashioned an orchestral Divertissement which was inserted into Act III; the composer’s score of this, performed here, has only very recently been rediscovered.

Macbeth is one of his psychologically penetrating masterpieces and for its Parisian staging in 1865 it underwent considerable revision, notably to make its dramatic development more incisive. When Il trovatore was performed in Paris as “Le Trouvère” Verdi added lively local colour as new additions to the score.
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Roberto Abbado – Verdi: Un ballo in maschera (Live) (2022)
FLAC (tracks) 24 bit/48 kHz | Time – 02:12:35 minutes | 1,32 GB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Dynamic

On 7th February 1857, after a delay of one year due to problems of copyright on a possible production of King Lear, Verdi accepted and signed a new agreement with the Teatro di San Carlo of Naples for an opera to be staged in January or February 1858. Not long after he had put behind the experiences of Simon Boccanegra (June 1857) and Aroldo (August), Verdi, then, had to face the issue of a new subject for Naples, which would no longer be King Lear, discarded for various reasons, and not even El tesorero del Rey by António García Gutiérrez or Ruy Blas by Hugo, to which he had given more serious thought, but Gustave III by Eugène Scribe, a play written in 1833 for Daniel Auber in which the king of Sweden is assassinated, in 1792, by a group of noblemen led by Jacob Ankarström. The composition of the score, between October 1857 and January 1858, went hand in hand with Verdi’s complex relationship with the Neapolitan censors, who would end up distorting the libretto and unnerving the composer to the point that he ended up refusing to stage the opera and breaking his agreement with the theatre.
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