# Your choice/Top Verdi opera



## Chi_townPhilly (Apr 21, 2007)

Ulterior motive for starting this poll: I admired the "galley operas" (_Rigoletto, Il Trovatore and La Traviata_) in my teenaged years. Later, I added _Aϊda_ to my list of beloved works. Recently, though, I have not been as enthusiastic about these compositions. Perhaps it's a case of the performances I've been auditioning, though I actually don't suspect this is the case. I used to consider Verdi neck-and-neck with Wagner for all time opera output. Now, I'm not even sure I'd rank him ahead of Mozart, or  Puccini.

So, let's resuscitate the grand Italian master by reminding me what you like about your favorite Verdi opera. *Please vote here*.


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## Rachovsky (Jan 5, 2008)

I saw Aida a few months ago. The storyline was great (even though I knew what happen before it did). Sadly I don't know Italian, so the only thing I could make out was Ramades yelling out for AIDA!!!
I don't like Wagner's operas... Maybe it's because I'm not a fan of mythology and all that. The only one I truly like by him is Götterdämmerung. Actually, now that I think about it, I haven't heard that many by him other than the well known ones.
But anyways, Aida is my favorite out of that list, although I do like certain selections from the other operas like the Anvil Chorus and such.


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## Morigan (Oct 16, 2006)

I must be stuck in my teenage years  La Traviata is my personal favourite. I suppose it's the great romantic in me that governs my choice. It's still a tough choice. I always cry at the end when Violetta dies .


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## Guarnerius (Oct 15, 2007)

For me, the top Verdi opera is absolutely Aida. Hmmm... no surprise, according to that statistics above it seems to be the favorite for many others polling, too. 

Of course it depends on, what is the direction like, stage settings etc. other non musical factors. Must confess, I'm not a fan of ultramodern direction. But surely, if you have your favorite artists performing, they'll do a wonderful job in any "era" of productions and under different direction styles. 

The top artists can give to the listener a huge musical experience no matter what other Verdi masterwork is concerned and surely they all are worth of learning (that way you can get acquainted with the development periods of the composer). With that condition in mind, to have a possibility to choose favorite artists, I could take as well for example Rigoletto or Macbeth, too. Hmmm... so difficult to choose, the best solution is to take them all!


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## Chi_townPhilly (Apr 21, 2007)

Morigan said:


> La Traviata is my personal favourite.


Thanks for weighing in, Msr. M! I was thinking that something good could be said about _all_ of the "galley-operas," or all of the operas listed here, for the matter of that. I think that La Traviata has the best _story_ of the galley operas. Concerning Il Trovatore, I read that Caruso stated that casting it was easy, just find the four finest operatic voices in the world. (So obviously, the opportunities for singing display are there in abundance.) Finally, it was Stravinsky who said that he considered the Rigoletto showpiece "La Donna è Mobile" to be of greater value than the entire Ring cycle. (I disagree, of course, but this helps show the extent of advocacy [and partisanship] on such issues.)


Guarnerius said:


> Must confess, I'm not a fan of ultramodern direction.


Neither am I. (I've already spoken on this in the Ring thread.) It does appear to me that Verdi is subject to somewhat less "ultramodern" stage mutilation that Wagner, though.


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## rich23434565 (Mar 7, 2008)

Great thread! I wouldn't count the 'galley' operas as amongst my favourites. The ones I like the most are _Simon Boccanegra_ and _Otello_. But my number one choice would have to be _Falstaff_ which is, musically-speaking, utterly miraculous. It's the only one of Verdi's operas, I think, in which he approaches Mozart's unequalled ability to set action to music (e.g. the Act Two finale).

Apart from _Falstaff_, my favourite work by Verdi is probably the Requiem.


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## Rachovsky (Jan 5, 2008)

rich23434565 said:


> Apart from _Falstaff_, my favourite work by Verdi is probably the Reqiuem.


The Dies Irae movement is probably the best Dies Irae that I have heard. I haven't actually listened to Mozart's thoroughly, but from what I've heard, Verdi's outshines all the others.


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## rich23434565 (Mar 7, 2008)

Rachovsky said:


> The Dies Irae movement is probably the best Dies Irae that I have heard. I haven't actually listened to Mozart's thoroughly, but from what I've heard, Verdi's outshines all the others.


Mozart is much less operatic in his Requiem (at least in the parts he actually composed) and more concentrated too.

But Verdi's Requiem is magnificent. I never tire of hearing the Dies Irae section, especially the stereophonic fanfares and the setting for the choir: _Tuba mirum spargens sonum_. Incredibly powerful and elemental stuff!


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## BuddhaBandit (Dec 31, 2007)

Rachovsky said:


> The Dies Irae movement is probably the best Dies Irae that I have heard. I haven't actually listened to Mozart's thoroughly, but from what I've heard, Verdi's outshines all the others.


Yes it does. For me, the Verdi Irae is neck-and neck with the Liszt Totentanz Irae (which I love).


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## Isabelle (Oct 16, 2008)

La traviata, I like listening to it as much as singing it (the tessitura of violetta´s role comes extremely easy to me) I like the story and the ending actually had my crying the first time I saw all of it.


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## bryzeida (Oct 26, 2008)

Like Morigan, I'm also stuck in my teenage days . Another vote went to La Traviata! 

I've always had something indescribable against Aida, being completely unable to appreciate it at all. I love some other Verdi's operas and enjoy most of them, except Aida. The story doesn't move me and I dislike those crowds on the stage. Yes, the problem is me, I know, and not the opera . Now, knowing that a significant majority here chose this opera as their favourite among Verdi's... I may give it another try. Would you specially recommend any version of it?


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## jhar26 (Jul 6, 2008)

I voted for "Aida", but I just as easily could have voted for "La Traviata", "Don Carlos" (the five-act version) or "Falstaff." I love all of the operas in this poll actually.  

Maybe one of the reasons why "Aida" is so popular among voters is it's exotic setting. And it's so grand. He's out Meyerbeer-ing Meyerbeer.


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## bryzeida (Oct 26, 2008)

Exactly, jhar26. And that's my problem with it: the story, the settings, all suggests that _Ten-Commandments_ flair which I dislike. However, I know Verdi is Verdi, that means the music must be good even if the drama is not.

I am now very curious about what will happen. I've avoided Aida for years, I'll let you know what my new impressions are .


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## SixFootScowl (Oct 17, 2011)

I voted "Other" for Jerusalem. Jerusalem is a wonderful opera. Synopsis.


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## Sloe (May 9, 2014)

My favourite Verdi opera is Don Carlo.


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## graziesignore (Mar 13, 2015)

I'm still stuck on Don Carlo as well...


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## Woodduck (Mar 17, 2014)

As music, I like late Verdi best, the later the better, so it's _Otello_ and _Falstaff_ for me (I also prefer the _Quatro Pezzi Sacri_ to the _Requiem_). Among earlier operas La _Traviata_ is probably my favorite, though I like _Rigoletto_ too if the singers are really up to it. All these operas have well-focused plots and/or characters and maintain the tension to the end, which Verdi doesn't always do. _Don Carlo_ has a lot of great music and a lot of fans, but to me it seems rather sprawling and shapeless and ends vaguely no matter what version is used. _Aida_ makes a good Hollywood movie but the characters are one-dimensional and don't interest me at all. Lovely quiet ending, though.


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## graziesignore (Mar 13, 2015)

Woodduck said:


> _Don Carlo_ has a lot of great music and a lot of fans, but to me it seems rather sprawling and shapeless and ends vaguely no matter what version is used. _Aida_ makes a good Hollywood movie but the characters are one-dimensional and don't interest me at all. Lovely quiet ending, though.


Actually I keep thinking that Don Carlo would make a terrific opera movie (has it been done already?) because I think a well-made film could tie together the undercurrents in the story -- as well as the bizarre ending -- and make a statement. It is difficult to pull off a mix of political realism and the supernatural on stage, but on film it could be intriguing and memorable (that is to say, I wouldn't want Zeffirelli as the director...)

And for a film, I wouldn't cut anything either (I'd use the five-act version). Hey, it's my fantasy film and I'll make it as long as I want...


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## Pugg (Aug 8, 2014)

I can't choose between La Traviata and Don Carlo, great in their own way.


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## schigolch (Jun 26, 2011)

My list of Verdi's favorites, as of September, 2016:


1. La Traviata
2. Aida
3. Otello
4. Simon Boccanegra
5. Il Trovatore
6. Rigoletto
7. Falstaff
8. Un ballo in maschera
9. Don Carlo
10. I due Foscari
11. Luisa Miller
12. Ernani
13. Nabucco
14. La forza del destino
15. Attila
16. Macbeth
17. I vespri siciliani
18. I Lombardi alla prima crociata
19. Stiffelio
20. Giovanna d'Arco
21. I masnadieri
22. Alzira
23. Il corsaro
24. La batagglia di Legnano
25. Oberto
26. Un giorno di regno


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## sospiro (Apr 3, 2010)

Thank you Florestan for reviving this thread! It's fascinating to read eight year old posts and from members I'd not heard of or not seen for ages.

My favourite Verdi and my favourite opera of all is _Simon Boccanegra_. It's one of the very few operas where I was smitten on hearing the opening bars and, for me, the father/daughter story is more rewarding than a love story. I could imagine Verdi wondering what it would feel like if his little girl hadn't died and he was reunited with her.

_Macbeth_ is my second favourite Verdi and second favourite opera.

After reading up on him, I could understand his galley operas and why he just wanted to deliver popular operas that would earn him money but I like all his operas.


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## ma7730 (Jun 8, 2015)

Woodduck said:


> (I also prefer the _Quatro Pezzi Sacri_ to the _Requiem_).


That's interesting. I really like the _Requiem_, and have been trying to get into _Quatro Pezzi Sacri_ more. But for whatever reason, I still find the latter boring.


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## Seattleoperafan (Mar 24, 2013)

Aida is my favorite opera both visually, emotionally and musically. It would be a desert island piece with a good cast. BUT, with a superb cast I would rather listen to Il Trovatore more on a regular basis. Silly story but such spectacular music. May I have two answers??


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## howlingfantods (Jul 27, 2015)

Otello, Rigoletto and Aida are my tops. Don Carlo is very close--it's got some of my favorite music that Verdi composed but I do think there are some fundamental weaknesses (the absurd ending and the secondary characters being much more interesting and having better music than the putative leads).


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## Sloe (May 9, 2014)

I think the ending of Don Carlo is original, spectacular and super cool.
How many other operas are there that ends with the lead character being dragged away by the ghost of his grandfather.

Second: La Traviata
Third: Simon Boccanegra


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## Woodduck (Mar 17, 2014)

Sloe said:


> I think the ending of Don Carlo is original, spectacular and super cool.
> How many other operas are there that ends with the lead character being dragged away by the ghost of his grandfather.
> 
> Second: La Traviata
> Third: Simon Boccanegra


It was unkind of Gramps not to take Elisabeth too. Imagine having to get on with life after watching your true love dragged away by a ghost. They could have sung an ecstatic duet before descending together into the tomb, with the bystanders raising a prayerful chorus of blessing. Or is that too Wagnerian?


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## Sloe (May 9, 2014)

Woodduck said:


> It was unkind of Gramps not to take Elisabeth too. Imagine having to get on with life after watching your true love dragged away by a ghost. They could have sung an ecstatic duet before descending together into the tomb, with the bystanders raising a prayerful chorus of blessing. Or is that too Wagnerian?


Some misery is necessary.
The real Elisabeth died the same year as the real Don Carlo anyway.
They do sing a duet before the end that I like a lot anyway.


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## Pugg (Aug 8, 2014)

> They do sing a duet before the end that I like a lot anyway.


I think this is Verdi at his highest point, breathtaking, for audience and singers.


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## Sloe (May 9, 2014)

Pugg said:


> I think this is Verdi at his highest point, breathtaking, for audience and singers.


I agree completely. Before that Tu che le vanita that is maybe my favourite aria.


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## Itullian (Aug 27, 2011)

Un Giorno di Regno.

But I never have the urge to listen to Verdi any more.


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## sospiro (Apr 3, 2010)

Itullian said:


> Un Giorno di Regno.














Itullian said:


> But I never have the urge to listen to Verdi any more.


That's a shame but these things go in cycles so maybe you'll come back to him.


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## SixFootScowl (Oct 17, 2011)

Fritz Kobus said:


> I voted "Other" for Jerusalem. Jerusalem is a wonderful opera. Synopsis.


If I were to vote now it would be Il trovatore.


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## Taplow (Aug 13, 2017)

I would like to choose either Don Carlos or La Forza from your list, if for no other than academic reasons. But instead I went with Falstaff. It is perhaps the one Verdi opera I can think of that is totally coherent from end to end, rousing fun, and musically not a dull moment. A well-crafted and, dare I say it, Mozartian piece for the stage.

My long-standing personal favourite, however, remains _Simon Boccanegra_.


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## Itullian (Aug 27, 2011)

Falstaff, Un Giorno di Regno


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## elgar's ghost (Aug 8, 2010)

Well, I've 'only' got eight operas by Verdi and I don't play them that often due to having to be in the mood for opera in the first place, but of those my favourites have always been _Rigoletto_, _Macbeth_ and _Otello_.


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## Bellinilover (Jul 24, 2013)

RIGOLETTO and LUISA MILLER are my two top favorites, though I'd be willing to agree with the general consensus that OTELLO and FALSTAFF are Verdi's greatest works.


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## Becca (Feb 5, 2015)

Chi_townPhilly said:


> I admired the "galley operas" (_Rigoletto, Il Trovatore and La Traviata_) in my teenaged years. Later, I added _Aϊda_ to my list of beloved works. Recently, though, I have not been as enthusiastic about these compositions. Perhaps it's a case of the performances I've been auditioning, though I actually don't suspect this is the case. I used to consider Verdi neck-and-neck with Wagner for all time opera output. Now, I'm not even sure I'd rank him ahead of Mozart, or  Puccini.


Yes I know this thread is 10 years but the OP sums up my history and current feelings about Verdi. Falstaff remains on my list of top 10 (15?) operas. Otello has maybe climbed into the top 25. The rest  Or to put it another way, if I never hear another Verdian oom-pah-pah introduction, it will be too soon.


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## Pugg (Aug 8, 2014)

If I can't have Con Carlo _and_ La Traviata in one vote, I abstain voting.


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## Tsaraslondon (Nov 7, 2013)

Impossible to make a choice. My favourite tends to be the Verdi opera I'm seeing or hearing at the time. The last Verdi opera I listened to was *La Traviata*, so I guess that would be my favourite today.


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## Woodduck (Mar 17, 2014)

Forced to choose one, it has to be _Otello._ of course the cast has to be superb, and I've yet to hear an ideal cast, but the opera is devastatingly poignant regardless. I want to love _Falstaff_ as much, but I admire it more than love it, probably because it's a comedy and comedy needs to be seen as well as heard; music can't really be funny (unless it's Rossini), and without seeing people laughing and slapping each other's backs onstage I don't crack a smile while listening to "Tutto nel mondo e burla." I do love the fairy music, though.


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## Belowpar (Jan 14, 2015)

Becca said:


> Yes I know this thread is 10 years but the OP sums up my history and current feelings about Verdi. Falstaff remains on my list of top 10 (15?) operas. Otello has maybe climbed into the top 25. The rest  Or to put it another way, if I never hear another Verdian oom-pah-pah introduction, it will be too soon.


Becca don't give up. I went through a phase where I thought I'd "outgrown" Verdi. Thankfully it didn't last too long.

I do feel an unsympathetic conductor can make the orchestra sound like the big guitar, but when a production comes together Verdi offers the complete operatic experience. My reconversion happened during a performance of Traviata. I realised I was listening out for simplistic rhythms and seeking to detect bland accompaniment i.e. being my own worst enemy. By half way through act 1, I realised the orchestration was 'light' and perfect for the development of the story. More subtlety came with Germont in Act 2, but by then I was once again, as one with the action.

I hope you can find your way back to him, because Old Joe knew a thing or two about Opera.


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## Woodduck (Mar 17, 2014)

Belowpar said:


> Becca don't give up. I went through a phase where I thought I'd "outgrown" Verdi. Thankfully it didn't last too long.
> 
> I do feel an unsympathetic conductor can make the orchestra sound like *the big guitar,* but when a production comes together Verdi offers the complete operatic experience. My reconversion happened during a performance of Traviata. I realised I was listening out for simplistic rhythms and seeking to detect bland accompaniment i.e. being my own worst enemy. By half way through act 1, I realised the orchestration was 'light' and perfect for the development of the story. More subtlety came with Germont in Act 2, but by then I was once again, as one with the action.
> 
> I hope you can find your way back to him, because Old Joe knew a thing or two about Opera.


Indeed. I was once halfway, or more than halfway, to accepting that "big guitar" business too. But let's be frank: this is Italian opera from the era when opera was _the_ popular musical entertainment, and Verdi was writing popular music, in the strictest sense of the term. That didn't have the same connotations then as now; popular and classical were a continuum, not an antithesis, and nobody thought of such a thing as "crossover," because musical idioms naturally crossed over in both directions. Opera singers sang Verdi in the theater, organ-grinders played him in the streets, and gondoliers presumably still sing him while gondoliering.

I think that "big guitar" thing comes from Wagner in one of his competitive moods, maybe while he was forgetting that he loved Bellini. Don't listen to that old crank (but do listen to his operas; like Verdi's, they're pretty good, even if gondoliers don't sing them).


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## Itullian (Aug 27, 2011)

Woodduck said:


> Indeed.* I was once halfway, or more than halfway, to accepting that "big guitar" business too*. But let's be frank: this is Italian opera from the era when opera was _the_ popular musical entertainment, and Verdi was writing popular music, in the strictest sense of the term. That didn't have the same connotations then as now; popular and classical were a continuum, not an antithesis, and nobody thought of such a thing as "crossover," because musical idioms naturally crossed over in both directions. Opera singers sang Verdi in the theater, organ-grinders played him in the streets, and gondoliers presumably still sing him while gondoliering.
> 
> I think that "big guitar" thing comes from Wagner in one of his competitive moods, maybe while he was forgetting that he loved Bellini. Don't listen to that old crank (but do listen to his operas; like Verdi's, they're pretty good, even if gondoliers don't sing them).


I'm there already. 15 minutes of a Verdi opera and my eyes glaze over and I'm on my way.


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## Woodduck (Mar 17, 2014)

Itullian said:


> I'm there already. 15 minutes of a Verdi opera and my eyes glaze over and I'm on my way.


Poor boy. At least set your alarm for _Otello._ No guitars in that one - only mandolins.


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## Itullian (Aug 27, 2011)

I find Otello extremely boring.
Actually the only operas I enjoy of Verdi are Falstaff and Un Giorno di Regno.

I do enjoy Italian comic operas very much.
And Mefistofele.


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## Woodduck (Mar 17, 2014)

Itullian said:


> I find Otello extremely boring.
> Actually the only operas I enjoy of Verdi are Falstaff and Un Giorno di Regno.
> 
> I do enjoy Italian comic operas very much.
> And Mefistofele.


Ah well. Nobody's perfect. But I'm sure you come very close.


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## nina foresti (Mar 11, 2014)

Woodduck said:


> Ah well. Nobody's perfect. *But I'm sure you come very close*.


Close? Close to what?


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## Pugg (Aug 8, 2014)

nina foresti said:


> Close? Close to what?


_Perfection_ Nina, perfection. :angel:


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