Verdi's Influence on 20th Century Italian Politics

Smith 1

Daniel Smith

Dr. Rutschman

Music 343

30 May 2012

Verdi's Influence on 20th Century Italian Politics

Giuseppe Fortunino Francesco Verdi was born in a village in the province of

Parma in 1813, a date that was within close approximation to the beginning of the

political and social movement that would eventually unify Italy as a country and cease

Austrian dominance. Verdi's nationalistic birthright was well-sung through his countless

operas and compositions; for instance, the chorus "Va, pensiero, sull'ali dorate"

portrayed Jewish exiles longing for a homeland, which, in turn, provoked an Italian

longing for a country that should be their own. This passionately nationalistic culture 1

was fueled by an increasingly discontented populous, opposed to foreign rule; Verdi's

involvement in Il Risorgimento, or The Resurgence, was fairly evident, as per his

connection to Vittorio Emanuele. Additionally, Verdi was said to be a natural politician

and even held positions of political power in his latter years. Giuseppe Verdi was one of

the most influential nineteenth-century Italian composers, not only for his skilled

musicianship, but for his role as a fervent nationalist, politician, and reformer.

Following the Napoleonic Wars, Italy was divided into an assemblage of

kingdoms and duchies, under rule by various powers (namely Austria); just as an

Toye, Francis. (1946). Giuseppe Verdi, his life and works. New York: A.A. Knopf.1

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Austrian-Italian opposition towards Italian unification was underway, so was Giuseppe

Verdi's notable musical career. A large majority of Verdi's operas showcase some sort of

political symbolism or reference; his operas were ideal modes for conveying political

messages, as they appealed to both the elite and to the general public. Verdi's music

was considered "agitator's music," In reference to Verdi, "a fresh wind was blowing; his

characteristic genius provided just the new set of sails fitted to take full advantage of it." 2

Verdi's nationalism is rather evident in his music, as well is his intention for this

accomplishment of liberty. First, (as previously mentioned) in Nabucco, the chorus "Va,

pensiero, sull'ali dorate" (Fig. 1) recalls Jewish exiles from Judea. Libretto later in the

piece, such as "O mia patria, si bella e perduta" ("O my country, so lovely and so lost"),

stirred the emotions of Italian nationalists. This chorus was so significant that it's still 3

called Italy's unofficial national anthem.

Fig. 1

Toye, Francis. (1946). Giuseppe Verdi, his life and works. New York: A.A. Knopf.2

Crowest, Frederick. (1978). Politician and Citizen. Verdi, man and musician: his biography with special 3reference to his English experiences (pp. 203-211). New York: AMS Press.

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Next, in I Lombardi, the chorus "O Signore dal tetto natio" ("O Lord, Thou dids't call us"),

which depicts crusaders and pilgrims despairing that God abandoned them in the

desert, was sung in the streets of Venice and Milan; this was the first visible

demonstration against Austrian rule. Verdi's opera Attila, lit an even hotter fire for Italian

liberty; during the duet in the Prologue, Ezio proposes to Attila: "Avrai tu l'universo, Resti

l'Italia a me ("You can have the universe, but leave Italy to me"). Naturally, in an

audience-wide frenzy, people began shouting "A noi! L'Italia a noi!" In addition, in 4

Macbeth, the aria "La patria tradita" ("Our country betrayed") displays an urgency for

Scotland's liberation from tyranny that was so relevant to nineteenth-century Italians, the

Austrian Grenadiers were called in to respond to the huge uproar. Though many other 5

examples could be named, lastly, the opera Un ballo in maschera was based on the

murder of King Gustav III of Sweden. The murder of a monarch onstage (intentionally)

caused a large amount of fury on behalf of the censors of Naples and Rome, allowing

Verdi to prove that the liberation of Italy was imminently necessary.6

Giuseppe Verdi was and is recognized as an incredibly important person not

only musically, but politically, as well; the people of his time knew this better than

anyone. A few years before the Kingdom of Italy was established, the king of Sardinia,

Vittorio Emanuele, gave a speech to Parliament on 10 January 1859 in which he

declared that "we cannot remain insensitive to the cry of grief that has reached us from

so many parts of Italy," which turned out to be rather effective, as frantic rounds of


Balthazar, Scott. (2004). Verdi, Italian Romanticism, and the Risorgimento. The Cambridge companion 5to Verdi.

Wechsberg, Joseph. (1974). The Patriot. Verdi. New York: G.P. Putnam's Sons.6

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applause lined the parliamentary galleries full of European exiles. And with that, Verdi's 7

already prominent political standing progressed even further, when patriotic feelings

were further stirred at the premire of Un ballo in maschera on 17 February 1859. When

the passionately heated audience began shouting 'Viva Verdi.' it soon dawned upon

Italians that his name was an acrostic for Vittorio Emanuele Re D'Italia. Like wildfire, 8

'Viva Verdi' was being painted and scratched on walls, displayed on banners, and

shouted in the streets. This made Verdi a national figurehead alongside Vittorio 9

Emanuele and, in a way, a scapegoat for praise, as seen in Verdi: Man and Musician by

Frederick Crowest:

If the police interfered with the patriots, it was their beloved musician that had so moved them, and for whom they were shouting! "The streets," says a chronicler, referring to the time, "were filled with placards in white, red, and green, the Italian colours: VERDI, in such big letters that nothing else was visible on the posters."10

Verdi's efforts towards Il Risorgimento (The Resurgence) undeniably helped Italy begin

its unification; shortly after the deputies of the first Italian Parliament assembled in Turin

on 18 February 1861, the Parliament declared Vittorio Emanuele II King of Italy on 17

March 1861.11

Giuseppe Verdi was truly a patriot of the Italian unification; it's said that "he

considered politics as a means of achieving the liberation and unification of his

Martin, George. (1963). Un ballo in maschera. Verdi; his music, life and times. New York: Dodd, Mead.7

Southwell-Sander, Peter. (1978). Viva Italia!. Verdi: his life and times (pp. 85-101). Tunbridge Wells: 8Midas Books.

Phillips-Matz, Mary Jane. (1993). Autumn 1857-August 1859. Verdi: a biography (p. 395). Oxford: 9Oxford University Press.


Holt, Edgar (1971). The Making of Italy: 1815-1870 (p. 258) New York: Murray Printing Company.11

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homeland. After that had been done, he became openly disgusted by the dirty side of

power politics." However, interestingly enough, Verdi had a brief foray into holding 12

political offices. In 1861, Prime Minister Cavour elected Verdi as a member of the

Chamber of Deputies, but Verdi, being more of a patriot than a power-hungry politician,

resigned from the office four years later. In 1874, King Vittorio Emanuele II proclaimed

Verdi as Senator of the Kingdom. To be such an honored man and musician, it is 13

evident that Giuseppe Verdi was a man who had nothing but love for his country at

heart.

To think of how much Verdi influenced nineteenth-century Italian politics is mind-

boggling. Reflecting on modern-day society, it's impossibly rare for a composer to have

so much power and significance; however, Verdi managed to be a man who stood for

the greater good of his country, and touched countless people through his music and his

selfless passion and nationalistic pride. Viva Verdi!

Wechsberg, Joseph. (1974). The Patriot. Verdi (pp. 102-121). New York: G.P. Putnam's Sons.12

Phillips-Matz, Mary Jane. (1993). Autumn 1857-August 1859. Verdi: a biography (p. 395). Oxford: 13Oxford University Press.

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Verdi's Influence on 20th Century Italian Politics