- Vlad, Roman. “Anticipazioni nel linguaggio armonico verdiano.” Rassegna
musicale21 (1951): 237–245.
Describes harmonic practices of Verdi that anticipate later practice: polytonal-
ity, modality, dissonance treatment, unusual modulations, and so on. Such
techniques appear early and are found throughout Verdi’s works, so they could
not have originated as Wagner imitations. - Pizzetti, Ildebrando. “Contrappunto e armonia nell’opera di Verdi.” Rassegna
musicale21 (1951): 189–200.
An overview of Verdi’s harmonic and contrapuntal practice, finding more
sophistication in it than has been generally credited to him. A close look at the
harmonies of a Rigolettoaria points out the subtleties.
Analysis: Melody and Voice
- Wedell, Friedrich. Annäherung an Verdi: Zur Melodik des jungen Verdi und
ihren musiktheoretischen und ästhetischen Voraussetzungen. Kieler Schriften
zur Musikwissenschaft, 44. Kassel: Bärenreiter, 1995. xix, 344p. ISBN 3-7618-
1259-0. ML290.4 .W43.
Originally the author’s Ph.D. dissertation, Kiel U., 1995. Summarizes a num-
ber of treatises on melody that would have been known to Verdi, then sees to
what extent he attended to them. Wedell then compares Verdi’s melodic prac-
tice to that of Bellini and Donizetti. Without index. - Crutchfield, Will. “Vocal Ornamentation in Verdi: The Phonographic Evi-
dence.” 19thCM7 (1983–1984): 3–54.
Studies more than 1,200 early Verdi recordings and gives transcriptions of 207
examples by 74 singers. A valuable analysis of these performances enhances
understanding of improvised ornamentation and cadenzas by singers contem-
porary with the composer, including some who had worked with him. Bio-
graphical summaries on the singers, discographical information. - Celletti, Rodolfo. “Lo stile vocale di Verdi e di Wagner.” Analecta musicolog-
ica 11 (1972): 328–341.
Verdi and Wagner gave similar roles to tenors, sopranos, and mezzos but a
variety of roles to baritones. In Wagner the soprano and tenor are heroic voices
(Heldentenor). Bellini began the “massacre” of the voice by raising the tessi-
tura about a third. Verdi then increased orchestral accompaniments, requiring
louder singing. His tenore di grazieevolved into the tenore di forza. Otello is
his only Heldentenor. Wagner departed from the traditional vocality in Tristan
and Siegfried—presenting a wider range and quick moves from one vocal area
to another. Isolde and Kundry are the novel sopranos (Kundry is something of
a Rossinian soprano). In sum, the major difference between the approaches of
the two composers is in their handling of the text. - Edwards, Geoffrey, and Ryan Edwards. The Verdi Baritone: Studies in the
Development of Dramatic Character.Bloomington: Indiana U. Press, 1994. x,
193p. ISBN 0-253-31949-8. ML410 .V4 E3.
Giuseppe Verdi 345