In January 1951, as part of the commemorative events for the fiftieth anniversary of Giuseppe Verdi’s death, a small group of devotees descended into the composer’s crypt in Milan. As they paused before the tomb, a member of the group, playing an out-of-tune piano, launched into the chorus ‘Va pensiero’, the number from Verdi’s Nabucco (1842) by then so firmly entwined with the history of Italy’s so-called Risorgimento. The marble lid of Verdi’s tomb was prised open to reveal the coffin, with its oval glass window positioned over the composer’s face. The group were, according to the press, presented with a ‘miracle’: Verdi’s exhumed body was unmarked by death, his features ‘intact like that of a saint’; some claimed that the Maestro ‘appeared incorruptible’. ‘A moment of awe and emotion’ stirred among those present. ‘Incorruptibility’ is the term applied in Catholicism to sacred bodies that show little sign of decay; it had long been a requirement for canonisation. The composer’s physical remnants, then, were confirmed as saintly relics. The composer’s body, however, was not the only thing dug up from the past in 1951. On 12 September of that year his 1846 opera Attila was also ‘exhumed’, in concert at Venice’s Teatro La Fenice. The opera was understood not just as a previously forgotten classic revived now for the ‘operatic museum’, but as a still-powerful medium for the broader cultural reappraisal of the nation’s past. Such commemorative activities formed part of a broader engagement with Italy’s past in the aftermath of Fascism and the Second World War. Within Verdi scholarship, the composer’s role in national unification was being reconstructed and myths re-inscribed; within Risorgimento scholarship, this was a period of rewriting the history of unification in light of more recent events. Verdi’s role in such historiographical narratives – in the ensuing fate of Liberal Italy, in Gramscian and Crocean readings of the nation’s past, or in recent Fascist appropriations – meant that the historical remembering stirred by Verdi and his music was undergoing renewed politicisation. Post-war crisis thus prompted

中文翻译：

---

挖掘阿提拉威尔第（Attila Verdi），《阿托拉·奥多贝拉》，第一幕，阿提拉

1951年1月，作为朱塞佩·威尔第（Giuseppe Verdi）逝世50周年纪念活动的一部分，一小群奉献者走进了米兰的作曲家地下室。当他们在墓前停下时，乐队成员弹奏过时的钢琴，进入合唱团“ Va pensiero”，这是当时威尔第的纳布科（1842）乐队与意大利音乐史的紧密联系。叫Risorgimento。威尔第（Verdi）墓的大理石盖被打开以露出棺材，其椭圆形玻璃窗位于作曲家的脸上。据媒体报道，这群人被赋予了一个“奇迹”：威尔第被发掘出的尸体没有死亡的痕迹，他的特征“像圣人一样完整”。一些人声称这位大师“看上去没有腐败”。在场的人们惊呼“敬畏和激动的时刻”。“廉洁”一词在天主教中用于显示几乎没有腐朽迹象的神圣机构。长期以来，这一直是规范化的要求。然后，确认了作曲家的遗体为圣物。然而，作曲家的身体并不是从1951年的过去挖出来的。在同年9月12日，他的1846年歌剧《阿提拉》（Attila）也被“挖出”，在威尼斯的凤凰剧院（Teatro La Fenice）举行了音乐会。歌剧不仅被理解为以前被遗忘的经典作品，如今已被“歌剧博物馆”重现，而且被认为是对国家过去进行更广泛文化重新评估的有力媒介。在法西斯主义和第二次世界大战之后，这种纪念活动是与意大利过去更广泛接触的一部分。在威尔第奖学金中，作曲家在民族统一中的作用正在重新构建，神话再次被铭记；在Risorgimento奖学金中，这是一个根据最近的事件重写统一历史的时期。威尔第在这种史学叙事中的作用-在随后的意大利自由主义命运，格拉姆斯和克罗塞对国家过去的解读中，或者在最近的法西斯拨款中-意味着威尔第及其音乐的历史记忆正在经历新的政治化。战后危机由此引发 或最近的法西斯拨款-意味着威尔第的历史记忆激起，他的音乐正经历着新的政治化。战后危机由此引发 或最近的法西斯拨款-意味着威尔第的历史记忆激起，他的音乐正经历着新的政治化。战后危机由此引发