For many centuries, the Italian peninsula was politically divided in many states, ruled by foreign powers, mostly France and Austria. History is filled with examples of censorship and Verdi`s Italy was no exception. Operatic censorship refers to the process of controlling those aspects of a production that might be considered to destabilise the political, religious, and moral fabric of society. The censors were primarily concerned about the scenario and the libretto. Ideas promoting freedom of expression and political independence from the ruling faction could only stir opposition that was dangerous to the rulers. The idea that opera functioned as a coded form of political subversion would seem to be reinforced in politically divided Italy,
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In some areas, the Austrian censor was in control; in the most other states and duchies there were localized systems. A royal committee was set up in Naples in 1807 to supervise all aspects of theatrical production, while at the Vatican Pius VII appointed a censorship board of six cavalieri and a prelate.
2.3.1 Austrian Censorship
Austrian influence of Italian political life was assured by the return of the Kingdom of Lombardy- Venetia and the central Duchies to Austrian control in 1814.
In 1842, the year of Nabucco a terrific explosion was imminent. The Austrians did censor the text of the “Immenso Jeovah” chorus, the censors were not happy at this description of captive people breaking its chains. The modification substitutes the "ridente" for pianto".
Ex: 2.2: Nabucco, No13 ("Finale Ultimo"), draft for mm 136-39.
The censors totally overlooked what turned out to Verdi’s most potent cry for freedom. The verse;
"Oh mia patria sì bella e perduta!
O membranza sì cara e fatal!"
(Oh, my homeland, so lovely and lost!
Oh, remembrance so dear and fateful!)
Such very simple words inevitably misted the eyes of the audience. For Italians, suppressed by foreign occupiers, the message was …show more content…
A battle over o new opera began when Verdi decided to base the work on the play Le Roi s`amuse by Victor Hugo. This had been a sensitive issue for the French authorities. He knew he would be facing the same predicament that Hugo had encountered, but the controversial drama appealed to him, and Verdi never was one to give in to a system he believed was irrational and unfair. Originally titled La maledizione (The curse), the opera was contracted to open in Venice in 1851. The title of the work was later changed to the name of the court jester,
In some areas, the Austrian censor was in control; in the most other states and duchies there were localized systems. A royal committee was set up in Naples in 1807 to supervise all aspects of theatrical production, while at the Vatican Pius VII appointed a censorship board of six cavalieri and a prelate.
2.3.1 Austrian Censorship
Austrian influence of Italian political life was assured by the return of the Kingdom of Lombardy- Venetia and the central Duchies to Austrian control in 1814.
In 1842, the year of Nabucco a terrific explosion was imminent. The Austrians did censor the text of the “Immenso Jeovah” chorus, the censors were not happy at this description of captive people breaking its chains. The modification substitutes the "ridente" for pianto".
Ex: 2.2: Nabucco, No13 ("Finale Ultimo"), draft for mm 136-39.
The censors totally overlooked what turned out to Verdi’s most potent cry for freedom. The verse;
"Oh mia patria sì bella e perduta!
O membranza sì cara e fatal!"
(Oh, my homeland, so lovely and lost!
Oh, remembrance so dear and fateful!)
Such very simple words inevitably misted the eyes of the audience. For Italians, suppressed by foreign occupiers, the message was …show more content…
A battle over o new opera began when Verdi decided to base the work on the play Le Roi s`amuse by Victor Hugo. This had been a sensitive issue for the French authorities. He knew he would be facing the same predicament that Hugo had encountered, but the controversial drama appealed to him, and Verdi never was one to give in to a system he believed was irrational and unfair. Originally titled La maledizione (The curse), the opera was contracted to open in Venice in 1851. The title of the work was later changed to the name of the court jester,