Re Lear
Encyclopedia
Re Lear is an Italian
operatic libretto
in four acts written by Antonio Somma
for Giuseppe Verdi
, based on King Lear
, "the Shakespeare
play with which Verdi struggled for so many years, but without success" .
The Re Lear project is widely considered paradigmatic of Verdi's complex and enduring fascination with Shakespeare. Verdi commissioned the libretto first from Salvadore Cammarano, who died in 1852 before he could complete it, noting in an 1850 letter:
In his last letter to Cammarano, on June 19, 1852, Verdi wrote "Cheer up, Cammarano, we have to make this Re Lear which will be our masterpiece" and a detailed sketch survives.
Following Cammarano's death, Antonio Somma, who was later to be instrumental in anonymously writing the original libretto of Gustavo III
- which was to become Un ballo in maschera
- approached Verdi with other ideas. However, in his letter to Somma of 22 April 1853, Verdi laid out some of his reasons for disliking the subjects which Somma had proposed, noting his reservations about repeating subject areas which he had already tackled and observing that "I prefer Shakespeare to all dramatists, not excepting the Greeks". He asks the librettist to take a look at King Lear and asks him for his thoughts
In a further letter to Somma a month later (after having read the play again), Verdi details his concept of how the opera should be constructed. Specifically, he saw only Lear, Cordelia, the brothers Edgar and Edmund, and the Fool as principal characters while, as "Secondary roles: Goneril, Regan, Kent, etc. (and) the others, (would be) very subordinate roles"
As documented by their extensive correspondence and with Verdi's overall detailed supervision, two completed and still extant versions of the libretto, in 1853 and 1855 respectively were prepared.. Many of the subsequent letters from the composer (those of 29 June, 30 August, 9 September 1853), plus many others, continue into April 1856and constantly demonstrate Verdi's detailed oversight.
Subsequent corresponce with Somma up to 1859 focuses primarily on the problems which Verdi was having with the censors on Ballo in Maschera. But the Re Lear project kept haunting Verdi to the end of his life. In 1896, he offered his Lear material to Pietro Mascagni
who asked "Maestro, why didn't you put it into music?". According to Mascagni, "softly and slowly he replied 'the scene in which King Lear finds himself on the heath scared me'".
Italian language
Italian is a Romance language spoken mainly in Europe: Italy, Switzerland, San Marino, Vatican City, by minorities in Malta, Monaco, Croatia, Slovenia, France, Libya, Eritrea, and Somalia, and by immigrant communities in the Americas and Australia...
operatic libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
in four acts written by Antonio Somma
Antonio Somma
Antonio Somma was an Italian playwright who is most well known for writing the libretto of an opera which ultimately became Giuseppe Verdi's Un ballo in maschera in 1859...
for Giuseppe Verdi
Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century...
, based on King Lear
King Lear
King Lear is a tragedy by William Shakespeare. The title character descends into madness after foolishly disposing of his estate between two of his three daughters based on their flattery, bringing tragic consequences for all. The play is based on the legend of Leir of Britain, a mythological...
, "the Shakespeare
William Shakespeare
William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon"...
play with which Verdi struggled for so many years, but without success" .
The Re Lear project is widely considered paradigmatic of Verdi's complex and enduring fascination with Shakespeare. Verdi commissioned the libretto first from Salvadore Cammarano, who died in 1852 before he could complete it, noting in an 1850 letter:
- "At first sight, Lear is so broad, so intricated, that it seems impossible to get an opera out of it. However, after examining it carefully, it seems to me that the difficulties, while undoubtedly great, are not insuperable. You know that we need not turn Lear into a drama of the kind that has been customary up to now. We must treat it in a completely new fashion, broad, without any regard for convention." .
In his last letter to Cammarano, on June 19, 1852, Verdi wrote "Cheer up, Cammarano, we have to make this Re Lear which will be our masterpiece" and a detailed sketch survives.
Following Cammarano's death, Antonio Somma, who was later to be instrumental in anonymously writing the original libretto of Gustavo III
Gustavo III (Verdi)
Gustavo III is an opera by Giuseppe Verdi to a libretto begun in early 1857 by the Italian playwright Antonio Somma. Never performed during Verdi's lifetime, the opera was later revised and renamed Un ballo in maschera...
- which was to become Un ballo in maschera
Un ballo in maschera
Un ballo in maschera , is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. The libretto is loosely based on an 1833 play, Gustave III, by French playwright Eugène Scribe who wrote about the historical assassination of King Gustav III of Sweden...
- approached Verdi with other ideas. However, in his letter to Somma of 22 April 1853, Verdi laid out some of his reasons for disliking the subjects which Somma had proposed, noting his reservations about repeating subject areas which he had already tackled and observing that "I prefer Shakespeare to all dramatists, not excepting the Greeks". He asks the librettist to take a look at King Lear and asks him for his thoughts
In a further letter to Somma a month later (after having read the play again), Verdi details his concept of how the opera should be constructed. Specifically, he saw only Lear, Cordelia, the brothers Edgar and Edmund, and the Fool as principal characters while, as "Secondary roles: Goneril, Regan, Kent, etc. (and) the others, (would be) very subordinate roles"
As documented by their extensive correspondence and with Verdi's overall detailed supervision, two completed and still extant versions of the libretto, in 1853 and 1855 respectively were prepared.. Many of the subsequent letters from the composer (those of 29 June, 30 August, 9 September 1853), plus many others, continue into April 1856and constantly demonstrate Verdi's detailed oversight.
Subsequent corresponce with Somma up to 1859 focuses primarily on the problems which Verdi was having with the censors on Ballo in Maschera. But the Re Lear project kept haunting Verdi to the end of his life. In 1896, he offered his Lear material to Pietro Mascagni
Pietro Mascagni
Pietro Antonio Stefano Mascagni was an Italian composer most noted for his operas. His 1890 masterpiece Cavalleria rusticana caused one of the greatest sensations in opera history and single-handedly ushered in the Verismo movement in Italian dramatic music...
who asked "Maestro, why didn't you put it into music?". According to Mascagni, "softly and slowly he replied 'the scene in which King Lear finds himself on the heath scared me'".