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

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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

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

By Giuseppe Verdi / Libretto by Antonio Somma

Item: 36-A312502
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Un Ballo in Maschera: Act III, Aria: Eri tu che macchiavi: Serious Opera, Orchestra Accompaniment

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Description
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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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
UPC: 676737965495
SKU: 36-A312502
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 operatic voice of the 19th century, composing 28 operas that shaped the course of Italian music. His early career established him as a master of dramatic momentum and vocal writing; his later works deepened orchestral sophistication and psychological complexity. Verdi's creative arc spanned nearly six decades, during which he navigated political upheaval, censorship, and his own exacting standards to produce repertoire that remains central to opera houses worldwide.

Verdi's legacy in music education extends beyond his operas. His works are studied for their structural clarity, harmonic innovation, and the way they balance orchestral and vocal writing. Teachers turn to his scores to demonstrate how dramatic intention shapes musical choice, and singers encounter in his arias some of the most rewarding and challenging vocal literature ever written.

Why we love this

This aria showcases Verdi at his most direct: a baritone soloist anchored by a full orchestra in a moment of psychological turning point. The dramatic clarity is immediate, and the orchestral writing provides robust support without overshadowing the voice. It's a superb choice for concert programming when you want serious operatic substance without requiring full staging.

What to expect

Eri tu che macchiavi unfolds with controlled fury. The baritone line is declamatory and forceful, yet the orchestration beneath it breathes with a kind of anguished searching. You hear Verdi's gift for matching harmonic color to emotional truth: the sound world feels darker and more turbulent than the preceding act, reflecting Renato's movement from betrayal toward vengeance.

Who it's for

This aria suits mature baritones with solid operatic training and conductors programming concert opera or preparing singers for the role of Renato. It works equally well in university opera scenes, professional concert settings, or advanced high school programs with strong vocal and orchestral resources.

How to get the most out of it

  • Balance the baritone voice against the full orchestral accompaniment by ensuring the string section responds to dynamic nuance rather than treating the accompaniment as a fixed backdrop.
  • Pay attention to the harmonic shifts that underscore Renato's emotional shift; the orchestra reflects his inner conflict, so conductors should shape phrase endings with slight flexibility to highlight these moments.
  • Coordinate woodwind and brass entrances with precision, as the orchestration often doubles or shadows the baritone line to reinforce dramatic emphasis rather than create independent counterpoint.
  • Consider the historical context of the orchestration: Verdi's 1859 sound world differs from later Romantic practice, so resist over-romanticizing tempos or dynamics that might obscure the opera's mid-century dramatic urgency.

How to use it

Program this aria as a centerpiece for a concert exploring 19th-century operatic drama, pairing it with arias from other Verdi operas or contemporaries to illustrate his stylistic reach. It also serves as a showcase for advanced soloists within a mixed concert, offering dramatic weight and orchestral grandeur that appeals to both musicians and audiences unfamiliar with the full opera.

Skills your students will build

  • Balancing solo voice with full orchestral accompaniment
  • Sustaining dramatic intensity across a long melodic line
  • Navigating mid-19th-century Verdian vocal style and tessitura demands
  • Coordinating woodwind, brass, and string sections with clear dramatic intention
  • Reading and executing period-appropriate orchestration without modern Romantic excess

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