The place of action was changed… Eventually, the composer and the librettist managed to achieve their goal. Verdi requested the assistance of the talented librettist Francesco Maria Piave, and they started to edit the text little by little so that not to enrage the censors and not destroy the multifaceted image of jester at the same time. Giuseppe Verdi clearly knew that the government censors wouldn’t let Teatro La Fenice stage the opera portraying a real monarch in a bad light. Oh, “Le Roi’s amuse” is the greatest subject and perhaps the greatest drama of modern times! Triboulet is a creation worthy of Shakespeare!Īlas, there was a problem – censorship. Impressed with Hugo’s character, Verdi exclaimed (1): In the play, Francis I wasn’t a very complicated person, he was no more than a deprived womanizer constantly looking for sensual pleasures, but the jester… As Hugo wrote in the preface to Le Roi s’amuse, Triboulet “hates the king because he is king hates the nobles because they are nobles and hates men because they don’t all have a hunchback (…) he corrupts the king and brutalizes him, urging him on to tyranny, ignorance and vice, dragging him through the gentlemen’s families, pointing out a woman to seduce, a sister to kidnap, a girl to dishonor”. Its key figures were Francis I and the court jester, the hunchback Triboulet. The play Le Roi s’amuse ( The King has Fun) by Victor Hugo caught his attention. Verdi himself could choose the subject for it: he was already respected enough to afford some creative freedom. In 1850, Teatro La Fenice commissioned Giuseppe Verdi to compose a new opera. Perhaps, you’ll soon be crying over this ridiculous “la ra”. Read my article about the opera Rigoletto and listen to its key fragments.
“La ra, la ra, la la, la ra, la ra,” – is it possible to express deep feelings with the aid of such primitive words?
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