Leg Pain From Alcohol

piskokrut @ 2008-12-18T17:43:00

"A whole new way, wide, without re-gard to conveniences of any kind" Verdi
words that are all but a program, especially "without regard to conveniences of any kind," 21 therefore very suitable to formal treatment suffered by Le Roi s'amusee which sortм Rigoletto. They also do not know-not related to the drama of Hugo, but a person beloved by Verdi, which he took in those with more serious-consideration, so as to instruct Cammara-no to draw a book. It was the story of King Lear ¬ Hi, accom-panied and prescribing a specific program for the re-laying (a "forest") made by Verdi himself, that the Neapolitan writer inviт February 28, 1850, in the moment-to where he was most intensely thinking about Hugo. Reread the title of this paragraph and there is to approach the extract of a letter to the librettist Murano, 8 May 1850: Le Roi
Oh s'amuseи the larger subject and perhaps the most great drama of modern times-ni. Tribolet и setting worthy of Shakespeare! .22
The letter was written two months after the other, but we know a letter to Tito Ricordi of 13 April 1850 in which it offers to Philip Danziger, director of the theater in Trieste, "a new work that the Sudd. ° Master [Green] is composing for me on subjects taken from a tragedy of Skaspeare [sic] ".23 From here on we lose track of Learsino that Verdi himself did not but the information ' Carcano friend to have shelved the project in June the same year: The hours Roi s'amuseaveva definitely pre-so over. But it was
ciт really happened? It is worth rereading in this regard, the opinion of Julian Budden that, good English, Serbian constant attention to the long and complex relationship between Shakespeare and Verdi: Le Roi
s'amusenon was a novelty for the Greens, the 'More than once he had taken into con-

Confederation considered suitable for work, but it was only when he had to temporarily abandon the King Learco it inna-morт. И too fanciful to suppose that the new blaze of enthusiasm for the play by Victor Hugo to have originated from the same-so creative impulse that had driven Green to grapple with Shakespeare? The radius of lu ¬ there had penetrated the hidden depths of King Lear is not only aimed at и illuminate Le Roi s'amuse? Both plays concern the paternity. The court jester и hallmark of both. [...] Rigolettopo-grains also be considered a King Lear
mancato.24
hypothesis does not seem at all too im-image, even at several clues make proverт the Contracting States and to expose them, without any preten-tion reflections that are not following other suggestions for further ap-depth.
И first major Cammarano, already busy with Shakespearean libretto, had also been given the task of reducing the piиce d the Hugo, not just the Phoenix commissionт a new opera to Verdi (it was only in March that the work was shot in Piave). I think that ciт confirmed as the composer felt the full affinity of the subjects ('worthy of Shakespeare !!!», Triboletи creation of course). Add, as Budden note that not only the court jester distinguishes both plays, but the same court room, full of cynicism and ambition, и background unforeseen divisible in which the protagonists operate. Reflecting on the tragedy of paternity, I think that Gilda has the status as an only child, the characteristics of Cordelia, Lear's third daughter, and that nature can not escape the laws of love, but those branches where-conceived as absolute king, why go against his father. No-re-read the words that Cordelia, in the opening scene, openly refuses to cover up its own principles and feelings, as Goneril and Regan have just had to keep their third-ot of ereditа, pre-and declares their derogations, as natural law, the pa-ritа duties of the love between parent and

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to those who sposerа:
Obey you, love you, honor you and Most. Why Have My Sisters Husbands if They Say They love you all? When I Shall haply That wed lord Whose hand must take my plight
[Shall carry Half my love with HIM, half my care and
[duty. Sure, I Shall Never Marry like my sisters, To love my father all.25
Rigoletto, for his part, loves Gilda's an absolute love which does not allow, as well as Lear, which at the time of di-sillusione is cтlto the rage for not being flattered as s'attendeva, and re ¬ fold in Kent, who dares to take the side of Cordelia:
I loved her most, and thought to Set my rest On her kind nursery. [To Cordelia] Hence, [and Avoid my sight! 26
How much weight will then have the organs of sight in Lear: they do not see the eyes of the King, to synesthesia, as the words of the two daughters more hidden (the rebellion), and are not even able to recognize Kent, who after his service to readmit expelled. Still holding his eyes-it parallel concerns the poor Glouce ¬ ster, who was also guilty of not being able to distinguish the absolute lealtа the firstborn from the malignant-to Edgard ambition of ba-Stardo Edmund, inventor of avrа plot that resulted in the bloody scene where he will be gouged to force the eyes of orbit. "Out, vile jelly" ["Come on, coward ice-na"] says the executioner Cornwall: the acce-cally и real but has the obvious metaphorical scope that binds him to the principal action, where the other parent, blinded morally, could not be distinguished from the sinceritа-l'adulazione.
does not see the flickering reflection of this complex interplay in the refusal by Rigoletto to accept the reality? In-l'essere himself deprived of the Faculty to see a band take him by the courtiers, who form a predictable trick? In

not understand, or do not want to re-accept the emotional reality of the Guild, it incomprehensible that trascinerа both into the abyss?
"If a madman и noble or commoner? Lear answers: И a king; и a king! "
'Crazy' within Verdi's intention to imagine their Lear 27 is the Fool in Shakespeare: I find it striking that the musician had inserted between the main parties on their Fool in Lear that accompanies many vicissitudes of the play, and that he had imagined for Lear, reduc-tion in sent to Cammarano, con-cluded a duet between father and daughter set in prison, the scene is missing in Shakespeare. What is particularly striking the phrase "regardless of who comes Lear raises the dead body of Cordelia" 28 These are signs of how to ripen in his mind a special place for two places par excellence of the dramatic re-schooner: the father who lost the only good au -authentication, and a buffoon who is high ranking.
Given this constellation, the Duke of Mantua shows an absolute lack of substance. Of more: seems almost a kind of ghost who haunts the minds of Rigoletto. The relationship between lord and master is almost reversed, compared to Shakespeare
where Lear speaks with a curious affection and inti-mo without regard to dignity, as if the words of the Fool had his hallucination and [...]; и true that the Fool serves almost as a second personality voiced by re.29
Rigoletto, however, contains both sй ilcomi-co is the tragic, while its counterpart is just brilliant. The mediazio-tion of Hugo himself, in the reception of Shake speare ¬, it seems to me decisive, especially when he says that
Shakespeare, c'est DRAMs, et le drame, here a fond sous souffle mкme the grotesque et le sublime, the terrible et le Bouffon the tragйdie et comйdie, the drame est le ca-

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те е * Ч '
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extremely flat; 1 (Г Я
"" N ТТ о н * ^ ТТ
ractиre propre de la de la troisiиme йpoque poйsie, de la littйrature actuelle.30
Not only the puppet is moving ever-powerful, musically and drammaticamen-you, as one expects it, sings ballads and silly songs. He even has the same reactions of his buffoon, but revealed afterwards. Rigolet-to, at the end of the first act, back on his feet and mumbles and between sй sй: "(... for Riedo!-chй?)," struck by the motto of maledizio-ne. At the beginning of the next of the Duke-clear: She was stolen
!
And when, or heaven? it 'a few seconds, before my race even presage the shadow inside was pushing me! ... And
и significant that this scene is replaced tuisse the dram-but directly from the original (for the foreseeable ban-censorship), in which Blanche goes into the ca ¬ mere Re: Verdi and Piave are, therefore, that push to return to the house of the fool. The Duke, however, should not fati-ca to find his "beloved", given the de-devotion of his henchmen, and avrа well as to comfort the crying of his beloved terribly.
Ways, Vic, Cb
Rigoletto и therefore more than the reverse side of a Fool, I think crazy cheи a king, yet to make words from mu- the reduction of the ver-diana Lear: Ven ¬ devises a plan against a gentleman called inconsistent, a level of dignity is gained by paying the example-5 (a)

crime, sweat and blood, and if the curse killed him, but not remove all the trans-screened process that led him to re-exclaims: "O how great I am indeed here," surrounded by fragments of a storm that malintende.