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Verdian Musicodramatic Expression in Un Ballo in Maschera

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Verdian Musicodramatic Expression in Un Ballo in Maschera VERDIAN MUSICODRAMATIC EXPRESSION IN UN BALLO IN MASCHERA A RESEARCH PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTERS OF MUSIC BY JERRY POLMAN DR. CRAIG PRIEBE – ADVISER BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2010 | 1 On September 19, 1857, Giuseppe Verdi wrote to the impresario at San Carlo that he was “in despair.” He was commissioned to write an opera for the 1858 carnival season but could not find what he deemed a suitable libretto. For many years he desired to compose an opera based on Shakespeare‟s King Lear but he deemed the singers in Naples to be inadequate for the task. Nevertheless, he writes in the same letter that he is now “…condensing a French drama, Gustave III di Svezia, libretto by Scribe, given at the [Paris Grand Opéra with music by Auber] about twenty years ago [1833]. It is grand and vast; it is beautiful; but this too has the conventional forms of all works for music, something which I have never liked and I now find unbearable. I repeat, I am in despair, because it is too late to find other subjects.”1 Despite finding it “unbearable” Verdi continued to work on Gustave, calling on the talents of Antonia Somma to write the libretto. However, Verdi did not foresee the intense scrutiny that would be leveled against it. Upon receiving word from Vincenzo Torelli (the impresario of the San Carlo Opera House), that nothing less than a new production would suffice to fulfill his contract, Verdi and Somma set to work immediately on Gustave. At this point, in order to write with greater freedom, Somma asked that his name be left off the libretto. He had already experienced some trouble with the authorities for his patriotic ideas and may have foreseen some of the problems that were to come regarding the subject of Gustave. In order to better understand this situation, let us examine, for a moment, the history of this story before it reached the hands of Verdi and Somma. 1 William Weaver, ed. Verdi: A Documentary Study, Translated by William Weaver (London: Thames and Hudson, 1977), 198. | 2 In 1792, Gustave III, the king of Sweden, was assassinated by a member of his own court. The man, Ankarstrom, shot Gustave with a pistol loaded with rusty nails, thus ensuring his eventual and painful death. Though submitted to the gravest of torture, Ankarstrom remained resolute, never giving the names of any of his possible conspirators. Fascinatingly, Gustave did pardon Ankarstrom as well as his suspected conspirators on his death-bed. Nevertheless, while his suspected conspirators were simply exiled, Ankarstrom was tortured brutally and cut into pieces in a gruesome execution. Like the rest of modern Europe, the French poet Scribe heard of this story and decided to write a play based on the story. As an addition to the historical account, Scribe sought to explain Ankarstrom‟s reasons for the heinous act since the man himself had provided none. For Scribe the reason would center around Ankarstrom‟s wife, Amelia. In Scribe‟s story, though she is faithful to Ankarstrom, she is pursued by Gustave and even confesses love for him. Ankarstrom, when coming to warn the king of an attempted assassination, discovers Amelia and Gustave together in the dead of night. The plot turns on this event, in which Ankarstrom goes from trusted ally to vengeful enemy. Twice, before Verdi undertook the story, it had already been made into an opera, by Auber in 1833 and Mercadente in 1843. The treatment by Auber, produced at the Paris Grand Opéra quickly faded into obscurity. However, Mercadente‟s composition, though not his greatest success, did intermittently hold the stage through 1870. Mercadente‟s portrayal was first performed at the Teatro Regio in Turin. The action in his story was moved to Scotland at the time of James VI. The popularity of Mercadente‟s setting could not have escaped Verdi, but he was nevertheless drawn to the story, and its Shakespearean characters, as a substitute for Re Lear. | 3 Verdi and Somma‟s portrayal, entitled Una vendetta in domino, is as follows. Gustavo, now a duke, is a carefree and light-hearted ruler. He takes pleasure in magnanimity toward his subjects and courtly splendor. Oscar, a young page boy, brings in a list of invited guests for the next day‟s masked ball. Gustavo is immediately struck by the name of Amelia, who, despite being married to Gustavo‟s secretary Ankarstrom, enamors Gustavo completely. Ankarstrom then enters bearing tidings of an assassination plot by conspirators within Gustavo‟s own court. He is concerned about his sovereign and asks him to exercise caution, a notion which Gustavo flatly refuses. A judge then enters with a writ seeking the arrest of a local sorceress, Ulrica. Gustavo remains ambivalent but Oscar pleads playfully for leniency citing the popularity of the woman with the peasantry. Gustavo decides that he will go in disguise to see for himself. The next scene opens in Ulrica‟s cave where she is plying her craft in the midst of a group of commoners. Gustavo arrives early and is pleased to discover that his disguise is working as he is shuffled into a corner by the crowd. A young sailor, Silvano, then enters with a desire to know from the sorceress how he will be rewarded for his bravery in the service of Gustavo. Ulrica predicts a commission for the young man; a prophecy which is made good by Riccardo as he slides the paper surreptitiously into Silvano‟s coat pocket. A servant then enters asking for a private audience for his mistress, which is granted by Ulrica as everyone but Gustavo exits the room. Gustavo remains hidden in the corner as, to his surprise, Amelia enters the room in a state of panic. She is guilt-ridden over a forbidden love for Gustavo and asks Ulrica‟s help in removing it. The sorceress indicates that Amelia must gather an herb which grows only under the gallows in the dead of night. Amelia is terrified but resolves to accomplish the task and rid herself of her love for Gustavo; meanwhile Gustavo pledges from the shadows to be there to meet her. When Amelia leaves, the rest of Gustavo‟s party arrives and he approaches | 4 the sorceress for a palm reading. In horror she indicates that he will die at the hand of a friend; in fact, the very next person he shakes hands with. The conspirators, who are present in the cave, worry about being found out until Ankarstrom enters the cave and immediately takes Gustavo‟s hand. All but Ulrica laugh at the idea of the faithful Ankarstrom being Gustavo‟s assassin. The following scene finds Amelia in the graveyard lamenting her inappropriate love for Gustavo. In short order Gustavo himself appears and pleads for Amelia to tell him that she loves him. Eventually, Amelia submits and Gustavo revels in the confession, meanwhile expressing his love for Amelia. Suddenly a sound is heard and Ankarstrom approaches to warn Gustavo that he is being tracked by a group of conspirators determined to kill him. Amelia is veiled and, as yet, her presence is unknown to Ankarstrom. Gustavo leaves but requires Ankarstrom to escort the veiled Amelia back to the city without looking at, or speaking to her; Ankarstrom agrees. As the two prepare to leave together, the conspirators arrive and, in the confusion, Amelia is unveiled. The conspirators laugh and deride Ankarstrom while his confusion turns to vengeance and he invites the leaders of the conspiracy to his home. Now at home, Ankarstrom vows to kill Amelia for her infidelity despite her pleas of innocence, but eventually turns all his anger toward Gustavo. When the conspirators arrive Ankarstrom pledges himself to the assassination plot, guaranteeing even the life of his own son if he proves unfaithful. The three argue about who will have the honor of performing the deed and it is decided that they should draw the name at random. As Amelia reenters the room, Ankarstrom requires her to draw a name and it is shown to be his. Moments later, Oscar arrives with an invitation to the masked ball and the conspirators deem that this will be the time to carry out their plan. | 5 The next short scene opens in Gustavo‟s office where he decides that he must do the proper thing and send Amelia and Ankarstrom away since he cannot help but love her. The scene then opens into a ballroom where everyone in attendance is masked and in costume. After some sleuthing involving an interrogation of Oscar, Ankarstrom discovers the identity of Gustavo. Meanwhile, Amelia begs Gustavo to flee for his life, but he will not leave her or the ball in fear. Finally, Ankarstrom fires the fatal shot and fatally wounds Gustavo, who, in his dying breath, pardons all the conspirators and pronounces Amelia‟s innocence to Ankarstrom. A prose version of the libretto was sent to Torelli for censor approval in November of 1857. Unbeknownst to Verdi, the censors flatly refused to accept the libretto. It would be three months later when Verdi himself would travel to Naples and discover the secret Torelli had been keeping from him.2 The censors had identified multiple issues with the libretto but Verdi focused on seven requirements that he found laughable. 1. change the protagonist to a gentleman, removing completely the idea of a sovereign; 2. change his wife to a sister; 3. modify the scene of a Witch, shifting it to a period when they were believed in; 4.
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