Alzira is the seventh work and the sixth opera to be published in the critical edition of The Works of Giuseppe Verdi. Composed during the middle of the very productive period of Verdi's first large-scale successes, Alzira premiered at Naples on August 12, 1845. Cammarano's libretto is based on a play of Voltaire, who used a real incident in sixteenth-century Peru during the Spanish conquest to shape a critique of the morality of the noble savage as against Christian values. The inherent conflicts and exotic setting appealed to Verdi's dramatic sense, and in its best moments the music of Alzira fully realizes his potential as a masterful composer for the theater.

Because the success of the premiere was not repeated, Alzira fell out of the repertory and no orchestral score was ever published. The critical edition, based on Verdi's autograph score and important secondary sources, provides the first reliable full score of the work. It is complemented by an introduction tracing the opera's genesis, sources and performance history and practices. Together with the detailed critical commentary, discussing problems and ambiguities in the sources, the edition provides scholars and performers alike with unequalled means for interpretation and study of this poorly known work.

 

Once Verdi had become Italy’s preeminent opera composer, he created only a few compositions for instrumental soloists, most notably the String Quartet in E Minor. He originally wanted to keep the string quartet—which was first performed in his hotel for a few friends—private, but eventually he allowed its publication and it soon became well known all over Europe and the United States. Though several recordings are available and the piece is regularly featured in performances, all of them use later editions that do not live up to Verdi’s intentions as recorded in his autograph score. This critical edition is based on that score, preserved at the Naples conservatory library, and the composer’s own instructions for performance.

Verdi wrote as gifts for admirers the three original piano pieces—“Romance sans paroles,” “Valzer,” and “Album Leaf for Francesco Florimo”—also included here, and these critical editions are based on the autograph scores or, in the case of “Romance sans paroles,” on photographs of the never-released original.  Editor Gundula Kreuzer details the origins, sources, and performance questions of all these works in her skillful introduction, and her critical commentary explains editorial problems and solutions.

The instrumental parts are also available as Quartetto (1873): Four Parts for String Quartet (ISBN 978-0-226-85321-5), extracted from this full score.

Composed between October 1846 and the spring of 1847, I masnadieri features a libretto based on Schiller's play Die Raüber (The Robbers). The opera premiered in July 1847 at Her Majesty's Theatre, London, with Jenny Lind as the prima donna. Verdi himself supervised the rehearsals for the premiere, and the original performing parts, which contain annotations made by the players under Verdi's direction and changes made by the composer during the rehearsals, have been preserved at the archives of the Royal Opera House.

The critical edition is the first publication of I masnadieri in full score. Based on the composer's autograph and on important secondary sources such as the performing parts mentioned above, this edition provides scholars and performers alike with unequaled means for interpretation and study of one of Verdi's less well known works. The detailed critical commentary discusses problems and ambiguities in the sources, while a wide-ranging introduction to the score traces the opera's genesis, sources, and performance history and practices.

Although Verdi began sketching the music for Il corsaro in 1846, a lengthy illness forced him to postpone further work. He finally completed the score in early 1848, but the revolutions of that year delayed its first performance. When it finally premiered on 25 October at the Teatro Grande of Trieste Verdi was in Paris and did not participate as usual in the production, which was poorly received. Though more successful in subsequent stagings, Il corsaro was soon eclipsed by the operas of the noted "trilogy" and fell from the repertory.

The full score of Il corsaro, published here for the first time, as well as recent revivals based on pre-publication proofs of this critical edition, reveal the work to be far more rewarding than even Verdi himself would later admit. Showing the gradual consolidation of Verdi's mature style through his contacts with French opera, Il corsaro well repays the renewed attention it is receiving.

The Works of Giuseppe Verdi is the first critical edition of the composer’s oeuvre. Together with his operas, the series presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works.

Based on Verdi’s autograph score and an examination of important secondary sources, including contemporary manuscript copies and performing parts, this edition of Il trovatore identifies and resolves numerous ambiguities of harmony, melodic detail, text, and phrasing that have marred previous scores. Scholars and performers alike will find a wealth of information in the critical apparatus to inform their research and interpretations. The introduction to the score outlines the work’s genesis, sources, and performance history, while the critical commentary discusses all editorial decisions.

Il trovatore, the middle opera of Verdi's famous "trilogy" of the 1850s (with Rigoletto and La traviata), is the sixth work to be published in The Works of Giuseppe Verdi. Based on Verdi's autograph score and an examination of important secondary sources including contemporary manuscript copies and performing parts, the edition identifies and resolves numerous ambiguities of harmony, melodic detail, text, and phrasing that have marred previous scores. Scholars and performers alike will find a wealth of information in the critical apparatus to inform their research and interpretations.

The lengthy introduction to the score discusses the work's genesis, sources, and performance history as well as issues of instrumental and vocal performance practice, production and staging, and problems of notation. As an added feature of the introduction is an original study by Carlos Matteo Mossa of the creation of the libretto, based on the original draft and numerous other autograph documents.

“I complain bitterly of the editions of my last operas, made with such little care, and filled with an infinite number of errors.”—Giuseppe Verdi

The University of Chicago Press, in collaboration with Casa Ricordi, has undertaken to publish the first critical edition of the complete works of Giuseppe Verdi. The series, based exclusively on original sources, is the only one to present authentic versions of all of the composer’s works; together with his operas, the critical edition presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works.
The Works of Giuseppe Verdi will be an invaluable standard reference work—a necessary acquisition for all music libraries and a joy to own for all lovers of opera. The new series of study scores presents an adaptation of each critical edition that provides scholars with an affordable and portable option for exploring Verdi’s oeuvre. The study scores have been designed to distinguish editors’ marks from Verdi’s own notations while remaining clear enough for use in performance. The introduction to each score discusses the work’s sources, composition, and performance history, as well as performance practices, instrumentation, and problems of notation. The newest editions of the study scores examine two of Verdi’s three-act operas: La traviata and Rigoletto.

Now one of Verdi's most beloved works, La traviata was initially far from a success. Verdi declared its 1853 premiere a "fiasco," and later reworked parts of five pieces in the first two acts, retaining the original setting for the rest. The first performance of the new version in 1854 was a tremendous success, and the opera was quickly taken up by theaters around the world.

This critical edition presents the 1854 version as the main score, and also makes available for the first time in full score the original 1853 settings of the revised pieces. For this edition Fabrizio della Seta used not only the composer's autograph and many secondary sources, but also Verdi's previously unknown sketches. These sketches helped corroborate the original readings and illuminate the work's compositional stages. The editor's wide-ranging introduction traces the opera's genesis, sources, performance history and practices, and a detailed critical commentary discusses source problems and ambiguities.
 

Luisa Miller, a milestone in the maturation of Verdi's style, is the fifth work to be published in The Works of Giuseppe Verdi. Following the strict requirements of the series, this edition is based on Verdi's autograph and other authentic sources, and has been reviewed by a distinguished editorial board—Philip Gossett (general editor), Julian Budden, Martin Chusid, Francesco Degrada, Ursula Günter, Giorgio Pestelli, and Pierluigi Petrobelli. It is available as a two-volume set: a full orchestral score and a critical commentary. The newly set score is printed on acid-free paper and beautifully bound in an oversized format. The introduction to the score discusses the work's genesis, sources, and performance history as well as performance practice, instrumentation, and problems of notation. The critical commentary discusses editorial decisions and identifies the sources of alternate readings of the music and libretto.

Verdi had a special fondness for Macbeth, and the first version of his opera based on Shakespeare's play is arguably the most important work of his formative years. But dissatisfied with the work of his librettist, Francesco Maria Piave, Verdi reworked the text himself and lavished the score with particular attention. The premiere in Florence in 1847 was a great success, but for the Paris premiere in 1865, Verdi made substantial changes, adding dances and an entirely new aria, duet, chorus, and death scene. Clearly, he intended that Macbeth II supersede the earlier version, and today the "Paris" version is the one generally performed.

Published in three volumes, this critical edition of Macbeth is the only one based entirely on autograph sources. Containing the later version as the principal score, it is the first edition to consult the composer's manuscripts of the revised pieces, preserved at the Bibliothèque Nationale in Paris. An appendix contains the earlier movements, and David Lawton provides a wide-ranging introduction to the opera's complex history. This critical edition of Macbeth includes here for the first time Verdi's preferred text—the version he set to music—as well as his own stage directions and thus offers the most vivid and dramatic reading to date.

The Works of Giuseppe Verdi is the first critical edition of the composer’s oeuvre. Together with his operas, the series presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works.

This edition of Messa da Requiem is based on Verdi’s autograph score and other original sources. The appendices include two pieces from the compositional history of the Requiem: an early version of the Libera me, composed in 1869 as part of a collaborative work planned as a memorial to Rossini; and the Liber scriptus, which in the original score of the Manzoni memorial Requiem was composed as a fugue for chorus. The introduction to the score traces the complex compositional and performance histories of the Requiem and discusses the work’s problems of instrumentation and notation, while the critical commentary gives a full description of the sources and an account of all editorial decisions.

Messa da Requiem is the fourth work to be published in The Works of Giuseppe Verdi. Following the strict requirements of the series, this edition is based on Verdi's autograph and other authentic sources, and has been reviewed by a distinguished editorial board—Philip Gossett (general editor), Julian Budden, Martin Chusid, Francesco Degrada, Ursula Günther, Giorgio Pestelli, and Pierluigi Petrobelli. It is available as a two-volume set: a full orchestral score and a critical commentary. The appendixes include two pieces from the compositional history of the Requiem: an early version of the Libera me, composed in 1869 as part of a collaborative work planned as a memorial to Rossini; and the Liber scriptus, which in the original score of the Manzoni memorial Requiem was composed as a fugue in G minor. The score, which has been beautifully bound and autographed, is printed on high-grade paper in an oversized format. The introduction to the score discusses the work's genesis, instrumentation, and problems of notation. The critical commentary, printed in a smaller format, discusses the editorial decisions and traces the complex compositional history of the Requiem.

Nabucodonosor, one of the early Verdi operas, is the third work to be published in The Works of Giuseppe Verdi. Following the strict requirements of the series, the edition is based on Verdi's autograph and other authentic sources, and has been reviewed by a distinguished editorial board—Philip Gossett, Julian Budden, Martin Chusid, Francesco Degrada, Ursula Günther, Giorgio Pestelli, and Pierluigi Petrobelli. Nabucodonosor is available as a two-volume set: a full orchestral score and a critical commentary. The score, which has been beautifully bound and autographed, is printed on high-grade paper in an oversized, 10-1/2 x 14-1/2-inch format. The introduction to the score discusses the work's genesis, sources, and performance history as well as performance practices, instrumentation, and problems of notation. The critical commentary, printed in a smaller format, discusses editorial decisions and identifies the sources of alternate readings of the music and libretto.

“I complain bitterly of the editions of my last operas, made with such little care, and filled with an infinite number of errors.”—Giuseppe Verdi
 
The University of Chicago Press, in collaboration with Casa Ricordi, has undertaken to publish the first critical edition of the complete works of Giuseppe Verdi. The series, based exclusively on original sources, is the only one to present authentic versions of all of the composer’s works; together with his operas, the critical edition presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works.
The Works of Giuseppe Verdi will be an invaluable standard reference work—a necessary acquisition for all music libraries and a joy to own for all lovers of opera. The new series of study scores presents an adaptation of each critical edition that provides scholars with an affordable and portable option for exploring Verdi’s oeuvre. The study scores have been designed to distinguish editors’ marks from Verdi’s own notations while remaining clear enough for use in performance. The introduction to each score discusses the work’s sources, composition, and performance history, as well as performance practices, instrumentation, and problems of notation. The newest editions of the study scores examine two of Verdi’s three-act operas: La traviata and Rigoletto.
 

The University of Chicago Press, in collaboration with Casa Ricordi of Milan, has undertaken to publish the first critical edition of the complete works of Giuseppe Verdi. The Works of Giuseppe Verdi, the only edition based exclusively on original sources and the only one to present authentic versions of all the composer's works, will include each of Verdi's twenty-eight operas (all versions), his sacred music, songs, chamber music, and juvenilia. The series begins with the definitive version of Rigoletto.

The performance history of Stiffelio as Verdi envisioned it began only in 1993. Composed with Rigoletto, and sharing many of its characteristics, Stiffelio suffered from the censors' strictures. From its premiere in 1850, its text was diluted to appease the authorities, making a mockery of the action and Verdi's carefully calibrated music. The story of Stiffelio, a protestant minister who eventually divorces his adulterous wife but forgives her from the pulpit in the final scene, shocked conservative Italian religious and political powers. The libretto was rewritten for subsequent revivals, and even some music was dropped. In 1856 the composer angrily withdrew Stiffelio from circulation, reusing parts of the score for his Aroldo. The rest was later presumed lost.

Not until 1992 was it revealed that Verdi's heirs possessed not only most of the canceled score, but also sixty pages of sketches for Stiffelio. These were used for the preliminary score of the critical edition, premiered in 1993 at New York's Metropolitan Opera. It was the first time Stiffelio was performed as Verdi wrote it. It has been enthusiastically received around the world.

With the publication of the critical edition, the first in full orchestral score, Stiffelio should take its rightful place in the Verdi canon.