出版社:Ljubljana University Press, Faculty of Arts (Znanstvena založba Filozofske fakultete Univerze v Ljubljani)
摘要:It is very likely that Verdi rehearsed the vocal parts of his first opera Oberto (1839) as maestro concertatore. However, he had no influence on the first performance, since the performances were led by the first violinist or direttore d’orchestra. In the 1840s began, especially with Pietro Romani and Angelo Mariani, the emergence of the modern conductor, who combined the maestro concertatore and direttore d’orchestra in one single person. In Verdi’s opinion such a conductor was the best way to realize his scores. But to Verdi’s dismay it quickly turned out that the conductors of this new type, as Mariani and Toscanini, understood their conducting not only as realizing the will of the composer, but as a creative act in its own right which need not necessarily reflect the intentions of the composer.
其他摘要:Zelo verjetno je, da je Verdi vodil vaje – kot maestro concertatore – za péte dele svoje prve opere Oberto (1839). Vendar pa ni imel vpliva na prvo uprizoritev, saj je to vodil prvi violinist oz. direttore d’orchestra. V štiridesetih letih 19. stoletja, zlasti s Pietrom Romanijem in Angelom Marianijem, se je začel pojavljati pojem sodobnega dirigenta, ki je združil obe funkciji (maestro concertatore in direttore d’orchestra) v eni osebi. Verdi je menil, da je takšen dirigent najbolj primeren za postavljanje njegovih del. Toda Verdi je bil kaj kmalu razočaran, saj se je hitro izkazalo, da ta novi tip dirigenta, kot sta ga predstavljala Mariani in Toscanini, razume svoje dirigiranje ne samo kot izpolnitev volje skladatelja, ampak tudi kot samostojno kreativno dejanje, katerega nameni se ne skladajo nujno z nameni skladatelja.