Melodramma as historical consciousness and musical movements
in Luchino Visconti’s Senso and Il Gattopardo
Italian opera in 19th century was profitable investiment of revolutionary theories between groups of Risorgimento’s ideologists. Verdi’s music played a leading role on the national unity’s eve. In 20th century it still was a cliché laying dormant a long time in joint imagination which came back as a troubled subject in two films which Luchino Visconti shot when the second world war memory was still vivid: Senso (1954) and Il Gattopardo (1963). In Senso, Verdi’s music is a sound icon of sentimental and patriotic emphasis which dissolves into Bruckner’s Seventh Symphony anxious and decadent themes. In Il Gattopardo, Verdi’ operas quotations become part of the Nino Rota’s soundtrack and are played three times with different results.