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| 1 | |
Critics were often scandalized by the subject matter of Verdi's operas because they |
| | A) | symbolized a free and unified Italy |
| | B) | commemorated the Suez canal, which was not even in Europe |
| | C) | were based on Shakespearean plays |
| | D) | seemed to condone rape, suicide, and free love |
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| 2 | |
Which of the following operas is not by Verdi? |
| | A) | La Traviata |
| | B) | Cavalleria rusticana |
| | C) | Il Trovatore |
| | D) | Otello |
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| 3 | |
Verdi's great comic masterpiece, written when he was seventy-nine, is |
| | A) | Il Trovatore |
| | B) | Otello |
| | C) | Falstaff |
| | D) | Aïda |
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| 4 | |
Verdi studied music in _________, the city where Italy's most important opera house, La Scala, is located. |
| | A) | Rome |
| | B) | Florence |
| | C) | Venice |
| | D) | Milan |
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| 5 | |
Rigoletto, the title character in Giuseppe Verdi's opera, is |
| | A) | a hunchback |
| | B) | the father of Gilda |
| | C) | a court jester to the duke of Mantua |
| | D) | all of the above |
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| 6 | |
Verdi's first great success, an opera with strong political overtones, was |
| | A) | Oberto |
| | B) | Aïda |
| | C) | Nabucco |
| | D) | La Traviata |
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| 7 | |
Verdi mainly composed his operas |
| | A) | for the Italian musical elite |
| | B) | to glorify the singers |
| | C) | to promote Italian unification |
| | D) | to entertain a mass public |
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| 8 | |
The famous aria La donna è mobile is taken from Verdi's opera |
| | A) | Rigoletto |
| | B) | Aïda |
| | C) | Falstaff |
| | D) | Il Trovatore |
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| 9 | |
The soul of a Verdi opera is |
| | A) | extensive thematic development |
| | B) | expressive vocal melody |
| | C) | the situation comedy |
| | D) | atmospheric orchestral parts |
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| 10 | |
Verdi's later operas differ from his earlier ones in that they have |
| | A) | less difference between aria and recitative |
| | B) | greater musical continuity |
| | C) | more imaginative orchestrations |
| | D) | all of the above |
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