Abstract
For a brief period in his career, Verdi wrote operas about compromised or ‘fallen’ women, women condemned for their sexuality: not only Lina in Stiffelio and Violetta in La traviata, but also – if we take into account the way their men regard them – Lida in La battaglia di Legnano, Luisa in Luisa Miller and Leonora in Il trovatore. These women suffer or die. Gilda also dies, in Rigoletto, ultimately a victim of her sexual availability. This essay examines Verdi's contribution to ‘the undoing of women’ and relates it speculatively to his experience as Giuseppina Strepponi's lover around the same time.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
