The Struggle for Artistic Independence: Giuseppe Verdi's Fight Against Capitalist Exploitation

As I was immersed in Mary Jane Phillips-Matz's scrupulously detailed and thorough biography of Giuseppe Verdi, a plethora of enlightening insights came to light. I learned of the maestro's somber temperament, strained relationships with fellow artists, and his arduous and almost fruitless connection with his homeland. These revelations have greatly enriched my understanding of Verdi's life and work.

I delved deeper into Verdi's life and it became evident that he was constantly engaged in a struggle to maintain control over his artistic pursuits, particularly in regards to the notorious La Scala. In 1868, Verdi was given a unique opportunity: the chance to produce one of his own works at the theater with complete autonomy over every aspect of the production. In this essay, we will explore this pivotal moment in Verdi's life, examining the intricate interplay between artistic independence and institutional power that defines his legacy.

Verdi's prolonged quest for artistic independence can be seen through a Marxist lens as a representation of the broader conflict between artists and those who hold economic and political power in society. Ultimately, this highlights the struggle of the working class against capitalist exploitation, which serves as the foundation of a repressive system that stifles the creative spirit of artists and subjects them to the caprices of the ruling class.

Through a Marxist lens, Verdi's demand for artistic control and autonomy in his productions is emblematic of the struggle between artists and those who hold economic and political power in society. As a composer in his time, Verdi's demand for "15,000" lira and full author's rights was unprecedented, as few had the power to dictate terms to a production company. Additionally, his refusal to allow the impresario of La Scala to be involved in any way and his rejection of being seen as a commodity highlight his struggle against capitalist exploitation. Verdi's decision to produce his opera in St. Petersburg, where he had complete control over his work, exemplifies his desire to resist the capitalistic demands of the Italian opera company and highlights the broader conflict between artists and the ruling class.

Verdi's struggle for control over the production process can be seen as a reflection of the broader class struggle between the working class and capitalist exploitation, using a Marxist lens. Verdi did not want to have anything to do with the impresario of La Scala and stressed the importance of finding singers who were suited to their roles while designing and producing La Forza del Destino. Verdi's refusal to have anything to do with the impresario of La Scala and his desire to have control over the production process reflects the struggle of the working class to have control over their labor and to be able to make decisions about their work without interference from capitalists. Verdi's insistence on finding singers who were suited to their roles highlights the importance of skilled labor and the need for workers to have control over their own labor process. This contrasts with capitalist modes of production, where workers are treated as interchangeable cogs in a machine and are not valued for their individual skills and abilities. Verdi's struggle can therefore be seen as a larger struggle for the recognition of skilled labor and the importance of workers' control over their own labor processes.

Verdi's artistic struggles exemplify the conflict between artistic creativity and capitalism in his life. While capitalism can provide artists with financial success, it can also limit artistic freedom and prioritize profitability over expression. Marxist theory highlights the importance of artistic control and collective ownership of production and distribution to promote art's intrinsic value. Verdi's challenge to revive La Forza Del Destino at La Scala illustrates the delicate balance between creating something new and commercially viable. He strives for full artistic control, but understands that opera is a product that must be profitable. Verdi's ability to balance commercial success and artistic integrity demonstrates his mastery as a composer and artist.

In conclusion, Mary Jane Phillips-Matz's biography of Giuseppe Verdi has shed light on the complexities of the composer's life and work. Verdi's struggle for artistic independence, particularly his demand for complete control over his productions, can be seen through a Marxist lens as a reflection of the broader class struggle between the working class and capitalist exploitation. His insistence on finding singers who were suited to their roles, his rejection of being seen as a commodity, and his desire to resist the capitalistic demands of Italian opera companies exemplify the importance of skilled labor and workers' control over their own labor processes. Verdi's ability to balance commercial success and artistic integrity serves as a testament to his mastery as a composer and artist. Ultimately, Verdi's legacy stands as a reminder of the delicate balance between artistic creativity and capitalism, and the importance of artistic control and collective ownership of production and distribution to promote art's intrinsic value.