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When the University of Chicago Press and Casa Ricordi came out with Rigoletto, the first publication of the Works of Giuseppe Verdi, a new standard was set. Since then I have been encouraging conductors, singers, coaches, and stage directors to use these critical editions when preparing a Verdi opera. With the publication of the study scores, it is now easier to work from and travel with the music. These are the best scores from which to learn Verdi s music on any level and the only valid material for interpreting Verdi s music today. --Victor DeRenzi, artistic director and principal conductor, Sarasota Opera When the University of Chicago Press and Casa Ricordi came out with Rigoletto, the first publication of the Works of Giuseppe Verdi, a new standard was set. Since then I have been encouraging conductors, singers, coaches, and stage directors to use these critical editions when preparing a Verdi opera. With the publication of the study scores, it is now easier to work from and travel with the music. These are the best scores from which to learn Verdi's music on any level and the only valid material for interpreting Verdi's music today. --Victor DeRenzi, artistic director and principal conductor, Sarasota Opera You really find out what a critical edition is worth when you have conducted the same opera with and without it. I'm sure the many other conductors who have done that with Il trovatore have shared my experience of the difference: in hundreds of details--from the correction of outright errors to the provision of clarity where the old editions left us guessing--it allows the musicians to start their work from scores and parts that help them at every turn. It lets us concentrate on discovering and interpreting the essence of the opera and gives us the information we need if here and there we have questions. Everyone who loves Verdi should have this score, and everyone studying or performing Il trovatore should use it. --Will Crutchfield, director of opera, Caramoor International Music Festival You really find out what a critical edition is worth when you have conducted the same opera with and without it. I m sure the many other conductors who have done that with Il trovatore have shared my experience of the difference: in hundreds of details from the correction of outright errors to the provision of clarity where the old editions left us guessing it allows the musicians to start their work from scores and parts that help them at every turn. It lets us concentrate on discovering and interpreting the essence of the opera and gives us the information we need if here and there we have questions. Everyone who loves Verdi should have this score, and everyone studying or performingIl trovatoreshould use it. --Will Crutchfield, director of opera, Caramoor International Music Festival

When the University of Chicago Press and Casa Ricordi came out with Rigoletto, the first publication of the Works of Giuseppe Verdi, a new standard was set. Since then I have been encouraging conductors, singers, coaches, and stage directors to use these critical editions when preparing a Verdi opera. With the publication of the study scores, it is now easier to work from and travel with the music. These are the best scores from which to learn Verdi s music on any level and the only valid material for interpreting Verdi s music today. --Victor DeRenzi, artistic director and principal conductor, Sarasota Opera

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David Lawton is professor of opera studies, music history, and theory at Stony Brook University. For the Works of Giuseppe Verdi, he has also edited Macbeth.

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