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It goes on to mention dance in Verdi's non-Paris compositions - Ernani (1844), Rigoletto (1851), La traviata (1853), Ballo (1859).

I don't remember Ernani very well, but in the other 3 cases, these are "realistic" dances on a social occasion -- not a balletic divertissement for the audience alone. Traviata comes closest to the latter, as there are two extended numbers as part of a party, each with a full stop for applause. (Rigoletto's dances pass quickly as background in the opening scene, and Ballo's serve as background to the intrigue of the masked ball that is its final scene.)

Other examples of Verdi providing important dance segments in non-Parisian works might include Macbeth, which even in its earlier version (which I have seen) pre-Paris-revision has a ballet movement in the incantation scene; and, much later, Aida with its ceremonial and slave incidentals, and the big Triumphal Scene ballet midway -- which, though later expanded for Paris (the only case, I think, where a Paris revision became a standard part of the definitive Italian score), was there in substantial form from the beginning. Aida is in some ways an Italian twist on the idea of French grand opera.

[This message has been edited by Jon (edited 05-05-2010).]