Andrew Knapp
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
Renata Tebaldi had one major advantage over Milanov and Callas (and most other sopranos): she was Italian.
Maria Callas’s official debut in opera was as La Gioconda in 1947 at the arena in Verona.
It’s time to discuss Zinka Milanov.
Amilcare Ponchielli’s La Gioconda might not be a perfect opera (though I don’t see why not) but it is one of my favorites…
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
It is a measure of Verdi’s genius that throughout the four rambling acts, his musical invention in the service of creating characters never failed him.
Following the composition of Un ballo in maschera, Verdi had gone into a self-imposed retirement, at least musically; he had not composed a note in four years.
I’ve argued with myself for many years as to which was my favorite opera by Giuseppe Verdi, La forza del destino or Don Carlos. The latter finally won out especially after studying it in depth, but in the long run, it is the music of Forza that I love the most.
In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?
The only correct version of Don Carlos must be in French. That is the language that Verdi composed it in and he made all his revisions in that language.
In online discussion on “Favorite Opera” and cuts in opera in general, it seems Don Carlos (in its original French title) or Don Carlo (as it is better known in Italian) – with or without the “s” – generally get the most votes both as favorite and as an opera from which deplorable cuts are made.