Singing Verdi: tradition, come scritto, and creativity

This article addresses two issues related to the vocal performance practices of Verdi’s operas: on one hand, the interpretation of Verdi’s written text based on literal, come scritto approaches; on the other, the widespread use reliance on practices today considered “traditional,” crystallized mostly in the central part of the twentieth century also under the influence of the wide availability of recorded performances. Based on the author’s experience working at the Festival Verdi of the Teatro Regio di Parma and the Accademia Verdiana of the same theater, the article explores the theme of the mediation between Verdi’s written text and its performative realization. It focuses in particular on the use of critical editions (and, in their absence, easily accessible primary and secondary sources) as starting points for an informed understanding of Verdi’s notation, where the rigor of come scritto and the legacy of consolidated traditions leave room for historically informed creativity (for example in the repetitions of cabalettas and other lyrical sections and in the performance of cadenzas, appoggiaturas and other ornamentation).<br/>The hope, based on a work experience that is often positive (yet not without difficulties and obstacles) alongside singers and conductors, is that the study may give rise to an increasingly lively exchange between musicologists and performers with the aim of implementing practices that restore the value of creativity to the performance of Verdi’s music.