Taro (department) in the context of "Taro River"

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⭐ Core Definition: Taro (department)

Taro (French: [ta.ʁo]) was a department of the First French Empire in present-day Italy. It was named after the Taro River. It was formed in 1808, when the Duchy of Parma and Piacenza was annexed by France under the Treaty of Lunéville. Its capital was Parma.

The department was disbanded after the defeat of Napoleon in 1814. At the Congress of Vienna, the Duchy was restored and given to Marie Louise, Napoleon's wife. Its territory is now divided between the Italian provinces of Parma and Piacenza.

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Taro (department) in the context of Giuseppe Verdi

Giuseppe Fortunino Francesco Verdi (/ˈvɛərdi/ VAIR-dee, Italian: [dʒuˈzɛppe ˈverdi]; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto, a small town in the modern province of Parma (at the time a department of the French Empire), to a family of moderate means, receiving a musical education with the help of a local patron, Antonio Barezzi. Verdi came to dominate the Italian opera scene after the era of Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti, whose works significantly influenced him.

In his early operas, Verdi demonstrated sympathy with the Risorgimento movement which sought the unification of Italy. He also served briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi did not seek to ingratiate himself with popular movements. As he became professionally successful, he was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He found further fame with the three peaks of his 'middle period': Rigoletto (1851), Il trovatore and La traviata (both 1853). He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).

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