Un Ballo in Maschera: Act III, Aria: Eri tu che macchiavi Cover Image

Un Ballo in Maschera: Act III, Aria: Eri tu che macchiavi: Serious Opera, Orchestra Accompaniment

$10.00 USD

Un Ballo in Maschera: Act III, Aria: Eri tu che macchiavi: Serious Opera, Orchestra Accompaniment

Name: Un Ballo in Maschera: Act III, Aria: Eri tu che macchiavi: Serious Opera, Orchestra Accompaniment
Brand: Alfred Music
SKU: 36-A312501
Price: 10.00 USD
Availability: InStock

By Giuseppe Verdi / Libretto by Antonio Somma

Item: 36-A312501

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Un Ballo in Maschera (A Masked Ball) is an 1859 three act opera by Giuseppe Verdi (1813-1901) with a libretto by Antonio Somma. Initially based on Eugène Scribe's libretto for Daniel Auber's 1833 five act opera Gustave III, ou Le bal masqué about the assassination in 1792 of King Gustav III of Sweden who was shot while attending a masked ball, Verdi's version ran afoul of numerous censorship regulations in Naples, Rome, and France. As a result, the opera underwent a series of significant transformations and title changes, among which include the eventual change in setting from Stockholm, Sweden to Boston, Massachusetts during the colonial era. Taking over two years from commission to production, it became one of the most frustrating experiences of Verdi's career. The aria Eri tu che macchiavi quell'anima (You were the one who stained her soul) occurs near the beginning of the third act, where Renato decides to not kill his wife, whom he wrongly believes has been unfaithful, but instead kill Riccardo, whom he thinks is her lover. Instrumentation: 2.2.2.2: 4.2.3.1: Timp: Hp: Str (4-4-3-3-3 in set): Solo Bar.

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Series: Kalmus Opera Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-88-852720-6

ISBN13: 979-8-88-852720-7

UPC: 676737965273

SKU: 36-A312501

Instrumentation: 2.2.2.2: 4.2.3.1: Timp: Hp: Str (4-4-3-3-3 in set): Solo Bar

More about this title

About the Composer: Giuseppe Verdi

Giuseppe Verdi (1813-1901) stands as the defining voice of Italian opera in the 19th century. His career spanned nearly six decades, during which he transformed the operatic form from a vehicle for vocal display into a thoroughly integrated art form where music, drama, and orchestration served the story with equal weight. His operas remain the cornerstone of the repertoire worldwide, performed more frequently than those of any other composer.

Verdi's gift lay in crafting melodies of unforgettable immediacy while developing harmonic language and orchestral technique that grew increasingly sophisticated throughout his life. He fought fiercely against censorship, reshaped librettos to suit his artistic vision, and maintained rigorous standards for both singers and orchestras. His insistence on excellence and his deep understanding of the human voice made him a model for composers seeking to balance popular appeal with artistic integrity.

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Why we love this

This aria showcases Verdi's gift for direct emotional expression without sacrificing orchestral sophistication. The moment carries tremendous dramatic weight (Renato's decision to murder the wrong rival) yet remains deeply singable for a mature baritone, making it accessible for serious opera study without oversimplifying the score. Programming it allows orchestras to accompany a featured vocalist while maintaining the architectural integrity of a major operatic moment.

What to expect

The music unfolds with brooding introspection before building toward fierce resolve. Verdi creates an atmosphere of betrayal and rage, yet never loses sight of the human cost of Renato's decision. The orchestration swells and recedes in response to the baritone's emotional arc, creating a deeply personal moment within a grand operatic framework.

Who it's for

This aria suits orchestras with strong string sections and conductors seeking substantial operatic literature for a featured baritone soloist. It works well in concert settings, recital programs featuring operatic arias, or training scenarios where singers study Verdi's major roles. Opera companies preparing productions will find it essential study material for the Act III drama.

How to get the most out of it

Balance the soloist's line against the full orchestral textures by allowing the baritone's voice to project naturally; avoid over-accompanying in the opening phrases where the aria establishes its emotional foundation.
Shape the orchestral accompaniment to follow the baritone's phrasing and breath, treating the orchestra as a responsive partner rather than a metronomic backdrop.
Attend carefully to the string writing in particular, ensuring that the harmonic progressions support rather than obscure the vocal melody.
Coordinate the brass and timpani entries with precision, as these moments mark dramatic turning points in Renato's internal struggle.

How to use it

Feature this aria as a concert centerpiece where a skilled baritone can demonstrate command of Verdi's dramatic language. It pairs naturally with other 19th-century operatic scenes or excerpts from different Verdi works. Consider programming it within a thematic concert exploring operatic revenge narratives, or use it as a vehicle for baritone soloists in benefit concerts or recitals where operatic repertoire is featured.