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The meaning of the bicentenary that solemnizes Verdi and Wagner two hundred years after their birth essentially derives from the emotion of facing two personalities extraordinary for their creative energy and inventive continuity. In all fields of art and culture, the late Nineteenth century image is conditioned by their presence. Born the very same year, they both looked for and created by themselves the accomplishments that musicians of the previous generation already possessed when they were barely twenty years old. They reached almost at the same time both the revelation of their personality (Der fliegende Hollander 1841, Nabucco 1842), and the fullness of their artistic means (Rigoletto 1851, Der Rheingold 1853), before attaining the acme of their trajectory with the astonishing operosity of their final years.While the analogy of this parallel course is impressive, the individuality of their creative patrimony is no less strong. This dissimilarity – more than on aesthetic or dramaturgic reasons, such as the distinction between naif and sentimental, or between “melodrama” and “musical drama” – rests on the different environments where it took root, each of them with its own alternative ideas of bourgeois society, of relationship with the public, the contemporary theatre and literature: that’s why it is important today to engage to enlighten the cultural and social contexts in which the genius of the two masters developed.

IL SIGNIFICATO DEL BICENTENARIO. COME UNA CONCLUSIONE