| Luisa Miller |
| The opera Luisa Miller is considered to be the first work of late Verdi. The plot is a typical cloak and dagger drama. Verdi liked the story of dark colours and dramatic development, nevertheless he succeeded in conceiving Luisa as a novel, delicate heroine and treated her with psychological finesse. From this first delicate refinement of femininity, the great composer took wings and successively forged the figure of Violetta. Review: Dr. Fragala. Source Rescue operas customarily entail plots in which a character being held captive is rescued by another character, preferably in disguise. Beethoven’s Fidelio, whose heroine dresses up as a man to infiltrate a prison and find her husband, bears the trappings of a rescue opera. In Verdi’s Luisa Miller, the rescue occurred before a single note of the opera had even been written because the composer was forced to rescue the librettist. Verdi was a composer under contract to the city of Naples. With the composition of his La battaglia di Legnano Verdi felt that he had satisfied the terms of his contract. - More |
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| OPERA GOSSIP Avoiding The Evil Eye |
| At the premiere of Luisa Miller in Naples, Verdi tried to avoid a meeting with a musician who, although a very kind man was said to have the 'Evil Eye.' Verdi did everything to evade this man, Caprecelatro. Then, as Verdi was setting up the principals for the last act, Caprecelatro broke through the crowd and embraced him. At that moment a piece of the stage fittings immediately came crashing down, just missing killing Verdi. At least the opera went well. |
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| Roles Count Walter bass Rodolfo, his son tenor Federica, Duchess of Ostheim, Walter's niece mezzo-soprano Wurm, Walter's steward bass Miller, a retired soldier baritone Luisa, his daughter soprano Laura, a village girl mezzo-soprano A peasant tenor Damigelle di Federica, Paggi, Famigliari, Arcieri, Abitanti del villaggio |