Giuseppe Verdi_ENFJ·Gyeongjin.

Giuseppe Verdi_ENFJ

When the lineage of the Farnese family came to an end, the Duchy of Parma in Northern Italy passed to the Spanish monarchy.

 After the War of the Polish Succession (1733-1735), the Austrian Grand Duchy took control of the Duchy of Parma and the Grand Duchy of Tuscany.

In the War of the Austrian Succession (1740-1748), the Treaty of Aix-la-Chapelle allowed Spain’s Philip V to regain Parma. He then entrusted the Duchy of Parma to his third son, Philip I (1748-1765).

 Although Ferdinand I (1765-1802), Philip I’s eldest son, succeeded to the Duchy of Parma, Napoleon, through the Treaty of Aranjuez (1801) with Spain, acquired Louisiana and the Duchy of Parma.

Napoleon, after deposing Ferdinand I, installed Louis I as the King of Etruria.

In 1806, the secret society “Carbonari” was formed in Italy to promote liberal ideas.

Following Napoleon’s downfall, in 1814, the Duchy of Parma was ruled not by the Farnese family of Bourbon but by Marie Louise (1814-1847), the daughter of Francis II and Napoleon’s second wife, who became the Duchess of Parma.

Giuseppe Verdi (1813-1901), who was born in Le Roncol near Busseto in the Duchy of Parma, has daily pillar of Gyeongjin庚辰..

The fruit of Gyeonggeum庚金 is symbolized by the transition from the completion of Sinjain申子辰 moveme of the golden fruit (庚金) to the beginning of the triad movement of Sayuchuk巳酉丑.

When Imsu壬水 releases Shingeum辛金, the seed held by Sulto戌土, and changes the form of the object into a living tree, the radiated energy of Gye’s water癸水 breathes vitality.

He has an image of Gyeong’s metal庚金 going on a grand journey to bring about the fruits of Singeum辛金.

As Geumqi金氣 in the monthly branch commands the storage of fruition, he shines in the great cycle of fire火 that refines the abundant golden energy.

Verdi’s MBTI, as an ENFJ, reflects his leadership qualities in promoting ethical and cooperative behavior.

His primary function of external feeling (Fe) enabled him to seek harmony within groups based on his consideration for others, while his auxiliary function of internal intuition (Ni) allowed him to perceive thoughts as part of a larger pattern.

Verdi received music education from the master of a cappella, Ferdinando Provesi, in 1824.

Ferdinando Provesi (1770-1833), a native of Parma, was one of the greatest Italian opera composers of his time.

From the age of 13 to 18, Verdi composed various works such as marches, concertos, serenades, and cantatas.

With the help of music enthusiast Antonio Barezzi, Verdi matured musically and took on the role of music director in Busseto in 1837.

Verdi married Barezzi’s daughter, Margherita, in 1836, but they lost two children and eventually separated.

Verdi’s first opera, “Oberto,” which he worked hard on to soothe his sadness, premiered in Milan in 1839 and was a great success, being performed 14 times.

Verdi’s developed auxiliary function of internal intuition (Ni) enabled him to create intensely condensed melodies with an astonishingly classical feel in the powerful finale.

The summer season, symbolizing the division between life and death for trees, marks the beginning of growth for all living things.

Entering a phase of refining the metal energy, Verdi, following the success of “Oberto,” receives several offers from Bartolomeo Merelli, the impresario of La Scala, for various works.

In 1841, Verdi premieres “Nabucodonosor” in Milan’s La Scala, set to Temistocle Solera’s libretto.

Riding on the bold musical golden wings that challenge the traditions of Belcanto, the Hebrew slaves’ aspirations emerge through a unified desire for realism.

Verdi, drawing parallels between the tragic fate of the Jews taken captive by Babylon in 586 BC and the harsh reality under the Austrian Habsburg rule, rises as a bright star in the world of opera.

The abbreviation “Nabucco” from “Nabucodonosor” is a symbol of the oppression of the Austrian Empire, reflecting the historical figure of Nebuchadnezzar II from the Book of Daniel in the Old Testament.

In 1847, Verdi premiered the opera “Macbeth” in Florence, based on Shakespeare’s original work.

“Macbeth” (1606) is a work that reveals Shakespeare’s maturity in reflecting on human identity and illuminating the value of truth.

It criticizes the tragic consequences of ambition and excessive domination by the Habsburgs through powerful melodies in a high vocal range.

Inspired by Victor Hugo’s play “The King’s Amusement,” Verdi completed the opera “Rigoletto” in 1851, and it enjoyed a successful premiere at La Fenice in Venice.

Entering the autumn of his life, Verdi undergoes a qualitative transformation.

He counterbalances the tenor’s aria, which exposes the frivolous immorality and tyranny of the powerful, with the pure soprano and impassioned baritone, establishing a critical revolutionary tone.

Verdi’s “Gustavo III,” which dealt with political conspiracy and illicit love, was banned from performance.

Verdi, instead, adapted the story to “Un ballo in maschera (A Masked Ball)” in 1859, shifting the setting from Sweden’s King Gustav III to a fictional governor in Boston to circumvent censorship.

His auxiliary function, introverted intuition (Ni), delves into hidden meanings and essences, synthesizing them into an overarching context.

As Italy completed its unification by driving out the Austrian army and incorporating the Papal States into its territory in 1870, Verdi, entering the harsh winter of fate, prepares to withdraw.

Commissioned by the Egyptian government to commemorate the opening of the Suez Canal, Verdi creates “Aida,” transporting himself from the intense political reality to the distant ancient Egypt.

His auxiliary function, introverted intuition (Ni), which consolidates thoughts into a single pattern, silences the clamor of jingoistic nationalism with the celestial sound of brass instruments, embodying a holistic patriotism.

Following the departure of composer Rossini and poet Manzoni, Verdi infuses his “Requiem” with a sense of awe and reverence.

His tertiary function, extraverted sensing (Se), absorbs others’ emotions like a sponge.

By subduing the serene solemnity of the requiem mass with intense and majestic mature techniques, Verdi denies the fate of humanity.

Verdi reflects on the truth and dignity that humanity should pursue through his opera “Otello” (1887), premiered at the Teatro alla Scala in Milan.

Having shattered his envy of Wagner with dissonance and modern harmony, Verdi passes through the awakening of fate’s spring.

With a poignant awakening, Verdi, who condensed desperate anguish into art, is hailed as the “Shakespeare of Music.”