The aim of this paper is to examine the ‘regulatory intervention’ of Verdi’s fathers using several examples: Oberto Conte di San Bonifacio, protagonist of the composer’s first opera; the Doge Francesco Foscari of I due foscari (1844); Giorgio Germont, representative par excellence of the onstage exercise of autorité paternelle in La Traviata (1853); Amonasro, the king of Ethiopia from Aida (1871); and, last but not least, the troubled political leader Simon Boccanegra in the remake of the opera dated 1881.
Paternal Justice in Giuseppe Verdi’s Operas
Riberi Mario
2018-01-01
Abstract
The aim of this paper is to examine the ‘regulatory intervention’ of Verdi’s fathers using several examples: Oberto Conte di San Bonifacio, protagonist of the composer’s first opera; the Doge Francesco Foscari of I due foscari (1844); Giorgio Germont, representative par excellence of the onstage exercise of autorité paternelle in La Traviata (1853); Amonasro, the king of Ethiopia from Aida (1871); and, last but not least, the troubled political leader Simon Boccanegra in the remake of the opera dated 1881.
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