From 1842 to 1851 Verdi's busy imagination produced a series of
operas, which disputed the palm of popularity with the foremost
composers of his time. "I Lombardi," brought out at La Scala in 1843;
"Ernani," at Venice in 1844; "I Due Foscari," at Rome in 1844;
"Giovanna D'Arco," at Milan, and "Alzira," at Naples in 1845;
"Attila," at Venice in 1846; and "Macbetto," at Florence in 1847,
were--all of them--successful works. The last created such a genuine
enthusiasm that he was crowned with a golden laurel-wreath and
escorted home from the theatre by an enormous crowd. "I Masnadieri"
was written for Jenny Lind, and performed first in London in 1847 with
that great singer, Gardoni, and Lablache, in the cast. His next
productions were "Il Corsaro," brought out at Trieste in 1848; "La
Battaglia di Legnano" at Rome in 1849; "Luisa Miller" at Naples in the
same year; and "Stiffelio" at Trieste in 1850. By this series of works
Verdi impressed himself powerfully on his age, but in them he
preserved faithfully the colour and style of the school in which he
had been trained. But he had now arrived at the commencement of his
transition period. A distinguished French critic marks this change in
the following summary:--"When Verdi began to write, the influences of
foreign literature and new theories on art had excited Italian
composers to seek a violent expression of the passions, and to leave
the interpretation of amiable and delicate sentiments for that of
sombre flights of the soul. A serious mind gifted with a rich
imagination, Verdi became chief of the new school. His music became
more intense and dramatic; by vigour, energy, _verve_, a certain
ruggedness and sharpness, by powerful effects of sound, he conquered
an immense popularity in Italy, where success had hitherto been
attained only by the charm, suavity, and abundance of the melodies
produced."
In "Rigoletto," produced in Venice in 1851, the full flowering of his
genius into the melodramatic style was signally shown. The opera story
adapted from Victor Hugo's "Le Roi s'amuse" is itself one of the most
dramatic of plots, and it seemed to have fired the composer into music
singularly vigorous, full of startling effects and novel treatment.
Two years afterwards were brought out at Rome and Venice respectively
two operas, stamped with the same salient qualities, "Il Trovatore"
and "La Traviata," the last a lyric adaptation of Dumas _fils's_ "Dame
aux Camélias." These three operas have generally been considered his
masterpieces, though it is more than possible that the riper judgment
of the future will not sustain this claim. Their popularity was such
that Verdi's time was absorbed for several years in their production
at various opera-houses, utterly precluding new compositions. Of his
later operas may be mentioned "Les Vêpres Siciliennes," produced in
Paris in 1855; "Un Ballo in Maschera," performed at Rome in 1859; "La
Forza del Destino," written for St. Petersburg, where it was sung in
1863; "Don Carlos," produced in London in 1867; and "Aida" in Grand
Cairo in 1872. When the latter work was finished, Verdi had composed
twenty-nine operas, besides lesser works, and attained the aged of
fifty-seven.
Verdi's energies have not been confined to music. An ardent patriot,
he has displayed the deepest interest in the affairs of his country,
and taken an active part in its tangled politics. After the war of
1859 he was chosen a member of the Assembly of Parma, and was one of
the most influential advocates for the annexation to Sardinia. Italian
unity found in him a passionate advocate, and, when the occasion came,
his artistic talent and earnestness proved that they might have made a
vigorous mark in political oratory as well as in music.
The cry of "Viva Verdi" often resounded through Sardinia and Italy,
and it was one of the war-slogans of the Italian war of liberation.
This enigma is explained in the fact that the five letters of his name
are the initials of those of Vittorio Emanuele Rè D'Italia. His
private resources were liberally poured forth to help the national
cause, and in 1861 he was chosen a deputy in Parliament from Parma.
Ten years later he was appointed by the Minister of Public Instruction
to superintend the reorganisation of the National Musical Institute.
The many decorations and titular distinctions lavished on him show the
high esteem in which he is held. He is a member of the Legion of
Honour, corresponding member of the French Academy of Fine Arts, grand
cross of the Prussian order of St. Stanislaus, of the order of the
Crown of Italy, and of the Egyptian order of Osmanli. He divides his
life between a beautiful residence at Genoa, where he overlooks the
waters of the sparkling Mediterranean, and a country villa near his
native Busseto, a house of quaint artistic architecture, approached by
a venerable, moss-grown stone bridge, at the foot of which are a large
park and artificial lake. When he takes his evening walks, the
peasantry, who are devotedly attached to him, unite in singing
choruses from his operas.
In Verdi's bedroom, where alone he composes, is a fine piano--of which
instrument, as well as of the violin, he is a master--a modest
library, and an oddly-shaped writing-desk. Pictures and statuettes, of
which he is very fond, are thickly strewn about the whole house. Verdi
is a man of vigorous and active habits, taking an ardent interest in
agriculture. But the larger part of his time is taken up in composing,
writing letters, and reading works on philosophy, politics, and
history. His personal appearance is very distinguished. A tall figure
with sturdy limbs and square shoulders, surmounted by a finely-shaped
head; abundant hair, beard, and moustache, whose black is sprinkled
with grey; dark-grey eyes, regular features, and an earnest, sometimes
intense, expression make him a noticeable-looking man. Much sought
after in the brilliant society of Florence, Rome, and Paris, our
composer spends most of his time in the elegant seclusion of home.