Milan in order to study in the conservatory there. His own means did
not encourage any hope of realizing this step forward. However, Signor
Barezzi came to the front again and induced the Monte di Pietà, an
institution with a fund to assist promising young men without means in
the study of art or science, to award Verdi six hundred francs a year
for two years. To this Barezzi added the funds for music lessons, and
for board and lodging in Milan. Under these encouraging conditions
Verdi went on his way to Milan, where he arrived in due season, full of
hope and enthusiasm; and with this incident ended the least interesting
and the most painful period of the young composer's life: not that he
did not suffer afterward, for his first experience in Milan was a very
discouraging one; but he was never again to know the extreme misery of
poverty and obscurity that had colored his life up to that time.
When the young artist presented himself at the Milan conservatory to
pass the examination which was to test his fitness for entrance to that
institution, he was refused admission because, as was claimed, he gave
so little evidence of musical talent. This was a severe blow, and for
a moment caused the applicant to doubt his capacity for the art he had
adopted through the promptings of his instinct: but he soon recovered
from the shock, and on the advice of Signor Alessandro Rolla, conductor
of La Scala, offered himself as a pupil to the then celebrated composer
Lavigna, who, after due consideration, consented to give him lessons
in composition and orchestration; and it was from Lavigna that Verdi
received his first valuable and practical instruction in music. Verdi
was now eighteen, and for two years he devoted himself to the earnest
study of harmony, counterpoint, fugue and composition. In 1833, Provesi,
his earlier teacher in Busseto, died, and Verdi fulfilling a promise
he had made before leaving for Milan returned to Busseto to take the
place of Provesi. He went unwillingly, for he had higher aspirations
than to become an organist in a small town; but such were the conditions
that were made when his friends there subscribed money for his musical
education, and Verdi felt that it would be dishonorable to break his
word. It happened, however, that there was another candidate for the
place, a certain Giovanni Ferrari, an indifferent organist and a still
more indifferent musician, who, having influential friends in the church
was warmly supported by them. The result was that Verdi was defeated
and his rival elected. Verdi plodded along as best he could, and soon
fell in love with the oldest daughter of his patron, Barezzi. The young
composer was poor; the father of his beloved was rich: but Barezzi made
no opposition to the betrothal of the young people, and in 1836 the
lovers were made man and wife. Two years later Verdi again turned his
back on Busseto, where he was little appreciated and where an art career
was impossible. He went again to Milan with his wife and two children,
carrying with him the score of his first opera, "Oberto, Conte di San
Bonifacio," in the hope of having it performed. On reaching Milan he
found that his former teacher and devoted friend, Lavigna, was dead. He
experienced the usual difficulties in placing his earliest opera on the
stage. At one moment he was full of hope, and then he was cast down by
despair. He was bandied to and fro with his score under his arm, until
at last his opera was accepted for La Scala and was put into rehearsal.
Then, one of the principal artists was taken suddenly ill, and all chance
of a performance vanished. The anxieties, the alternations of feeling
he had experienced, caused the young composer to lose heart completely,
until one morning he was summoned to the theatre by the _impresario_,
who, informing him that having heard Ronconi speak very favorably of
"Oberto," he was willing to produce it under certain conditions. These
were agreed to eagerly, and on the evening of Nov. 17, 1839, "Oberto"
was performed for the first time. The work, which is little else than a
reflection of Bellini, was well received and was performed several times.
Among the changes he had been called on to make in the score before it
was finally accepted by the _impresario_, Signor Bartolomeo Merelli,
was the introduction of a quartet which was one of the most successful
pieces in the opera. Later, the composer achieved other and still greater
successes with opera quartets.
[Illustration: VERDI'S BIRTHPLACE IN RONCOLE.]
The favor with which "Oberto" had been received induced Merelli to
engage Verdi to write three operas, to be played either in Milan or
Vienna. Eight months' time was given in which to compose each opera, and
the price that Verdi was to receive for each was 4,000 livres ($670.00),
the profits of the copyright to be divided between composer and manager.
Verdi agreed to everything, and Merelli commissioned the poet Rossi to
write a libretto for the composer, "Il Proscritto" being the result.
Verdi did not like the book, and had scarcely reconciled himself to
set it to music when Merelli suddenly demanded a comic opera from him,
whereupon Verdi began to compose "Un Giorno di Regno." Then disaster
after disaster crowded on him. His two children died suddenly within a
few days of each other, and his wife also died after of inflammation of
the brain. Three coffins passed out of his house in three months, and
he was left without a family. In the midst of this appalling affliction
he was obliged to finish his comic opera. It was completed and was a
dead failure, only one performance having been accorded it. What could
be expected from a comic opera written under such terribly tragic
conditions? Naturally, Verdi lost heart, and for the moment discouraged
by the failure of his opera, resolved to compose no more. Merelli
remonstrated with him, but Verdi was inexorable; and, therefore, the
manager cancelled their contract. Later, Verdi and Merelli met again
by chance, and the latter, after vainly urging the composer to resume
his art, thrust a libretto on him and hastened away. It was the book
of "Nabucco." On reaching home Verdi angrily threw the libretto on his
writing-table, determined to have nothing to do with it; but his eye,
falling on the open page, was attracted by a certain line which he read,
and then he was impelled to read page after page and was much impressed
by the poem. The result was, that after many struggles with himself the
score was completed, and taken to the now triumphant Merelli. The parts
were copied out, and at the end of February, 1842, the first rehearsal
took place; and on March 9, twelve days later, the first performance was
given. The work was an overwhelming success. With this opera, and when he
was twenty-nine years old, Verdi's career as a composer began in earnest.
About one year later, or, to be more exact, on the evening of Feb.
11, 1843, "I Lombardi" was produced, and again success crowned the
composer's efforts. It was a great advance on its predecessor in point
of style and individuality, and is still performed. Commissions now began
to pour in on Verdi, and his name was becoming known beyond the borders
of his native land. Managers sought eagerly for scores from him, and the
_impresario_ of the Fenice Theatre in Venice obtained his next work,
which was "Ernani." It was first performed March 9, 1844, and excited
immense enthusiasm; and within the nine months after it appeared it was
performed in no less than fifteen opera houses, making later a tour
of the world, and remaining for many years one of the most popular of
modern operas. In November of the same year "I Due Foscari" was brought
out at the Argentina Theatre in Rome, and though it had a fair success,
it did not increase Verdi's reputation. He was now writing with great
rapidity, and in three months "Giovanna d'Arco" was played at La Scala.
It did not become popular and has fallen into oblivion, its overture
alone surviving. Six months after "Alzira" was produced at La Scala, and
again the composer failed to repeat the triumph he had won in "Ernani."
His next opera, "Attila," was written for the Fenice, and on the evening
of March 17, 1846, it excited a furore equal to that which attended his
"Ernani" at the same house. Then came "Macbeth" one year later, which was
a failure owing to the absence of a part for a tenor singer.
"Ernani" and "Attila" had given Verdi a European fame, and it was not
long before he received offers from managers from abroad. The first came
from Lumley, then lessee of Her Majesty's Theatre; and Verdi at once
accepted a proposition to compose an opera for England. "King Lear" was
suggested as a subject, but was rejected because its plot did not turn
on love. Schiller's "The Robbers" was at last decided on, and it was
performed under the title, "I Masnadieri," in London, July 22, 1847,
with Jenny Lind, Lablache and Gardoni in the cast. It was not a success
there, and met with no more favorable reception elsewhere. As Costa,
after the production of this opera, left Her Majesty's Theatre to join
Covent Garden, Lumley made Verdi a proposition to become his conductor
for three years at a very handsome salary. The offer was favorably
entertained by the composer, but there stood in the way a contract with
the publisher, Lucca, of Milan, by which Verdi had agreed to write two
operas for him. Efforts were made to buy Lucca off, but he held to his
bargain, and the result was that Verdi did not remain in London. He went
to Passy, and there composed "Il Corsaro" and "La Battaglia di Legnano"
for Lucca. The former was brought out at Trieste, Oct. 25, 1848, and was
a complete failure. The other opera was produced in Rome, Jan. 27, 1849,
with no more gratifying results. The composer, however, was not dismayed
by these disasters, but set to work at once on "Luisa Miller" for the
San Carlo of Naples, where, on Dec. 8, 1849, it was given for the first
time with a success that was as merited as it was overwhelming. His next
work, "Stifellio," first performed at Trieste, Nov. 16, 1850, culminated
in failure, and even when rewritten and revived as "Aroldo" seven years
later, achieved no very encouraging popularity. Verdi had now written
sixteen operas, all of which have fallen into oblivion except "Ernani,"
"I Lombardi" and, perhaps, "Luisa Miller." Despite the failure of most
of them, their composer had become a great favorite with the public,
owing to the appeal that much in the texts of his operas made to the
patriotism of his fellow-countrymen, then fretting under Austrian rule.
For example, the chorus in "I Lombardi," beginning _O Signore dal tetto
natio_, excited great enthusiasm because of the application the public
fastened on the words. It was the same with the chorus, _Si videsti
I Leon di Castiglia_, in "Ernani." The censorship was very severe in
that day, and so easily excited were the people by anything that bore
even the most remote reference to the spirit of revolution prevailing,
that the authorities would not allow a conspiracy to be acted on the
stage; and hence "Ernani" had to be changed before the police would give
consent to its performance. In "Attila," the aria, _Cara Patria già
madre e Regina_, afforded the people an opportunity to testify violently
to their animosity toward the Austrian government. The house was in an
uproar; the audience shouted and screamed; hats, canes, umbrellas, fans,
bonnets and flowers were hurled to and fro; the roaring of the public
drowned the tones of the singers and the orchestra, and the police found
the greatest difficulty in reducing the noise-makers to order. This all
reflected favorably on Verdi as far as the public was concerned, and he
became a popular idol of the time. With "Luisa Miller" ended what may be
considered the first period of his musical development.
In 1851 he began that series of operas which established his fame as
the greatest of living Italian opera composers. A libretto founded on
Victor Hugo's "Le Roi s'amuse" was prepared for Verdi, with the title
"La Maledizione." The censorship objected to a king being presented in
the light in which Francis I. is made to appear in the original story,
especially when cursed by a court fool.
[Illustration: GIUSEPPE VERDI.
From a portrait engraved by Deblois.]
After much anger and much debating, the monarch was turned into a duke
of Mantua and the title into "Rigoletto." Verdi retired to Busseto and
labored vigorously at his score. It was completed in forty days, and was
performed at La Fenice, March 11, 1851. Its success was enormous. The
work was soon given in every opera house in Europe with the same results
that attended it in Venice. The composer rested on his laurels for two
years. Then "Il Trovatore" appeared at the Teatro Apollo, Rome, Jan. 19,
1853. Its triumph was immediate and brilliant, and this opera also made
an instant tour of the civilized world. It was only some five weeks later
when "La Traviata" was produced at the Fenice. This opera, however, fell
flat and was an utter failure. The composer, who rated the work very
highly, was in despair. The fault was not with his score but with the
singers, especially with Signora Donatelli who sang and acted Violetta.
She was an exceedingly fleshy woman, and when the doctor, in the third
act, announced that the heroine was emaciated by consumption and had only
a few hours to live, the audience burst into roars of laughter. The opera
was damned for Venice. Nevertheless, elsewhere it experienced a better
fate and met with an enthusiastic reception. These three operas may be
pronounced the best as well as the last of the Italian opera school as
developed through Rossini, Bellini and Donizetti.
Verdi's next work was "Les Vêpres Sicilliennes," written for the Paris
Grand Opéra, and given for the first time there June 13, 1855. It is
a brilliant work, but made no advance on its immediate predecessors
from the same source. Then came "Simon Boccanegra," for La Fenice,
produced March 12, 1857. It was an irretrievable failure, despite its
fine and intensely dramatic last act. This was followed by "Un Ballo in
Maschera," brought out at the Teatro Apollo, Rome, Feb. 17, 1859. There
was again trouble with the police, who objected to the original title,
"Gustavo III.," a monarch who was assassinated. The text was also deemed
objectionable, and the composer was commanded to choose other words for
his music. Verdi indignantly refused, and the manager of the San Carlo
at Naples, for whom the work was written, brought an action against
Verdi for damages to the extent of two hundred thousand francs. This
affair almost excited a revolution in Naples. The populace assembled
outside Verdi's house and cheered him and followed him through the
streets, shouting "Viva Verdi!" his name, read acrostically, signifying
"_V_ittorio _E_mmanuele _R_e _D_i _I_talia"; the cry, though apparently
honoring the composer, carrying with it a revolutionary significance.
However, the title was changed; a governor of Boston replaced Gustavo
III., and the opera was one of Verdi's most decided popular successes.
His next opera was composed for St. Petersburg, and was "La Forza del
Destino." It was brought out with mild success Nov. 10, 1862. Then
succeeded "Don Carlos," for the Grand Opéra in Paris, produced March 11,
1867, and enthusiastically received; but it added nothing to Verdi's
fame. He was now fifty-four years old, and had written twenty-six operas.
His fame was world-wide, and he was the greatest living Italian opera
composer. Wealth and honors had followed glory, and the son of the poor
innkeeper of Roncole was now one of whom his native land was proud.
In the mean while Verdi was elected a foreign member of the Académie des
Beaux Arts in Paris, to take the place vacated by the death of Meyerbeer.
More than this; for, when the duchy of Parma resolved to annex itself
to the new kingdom of Italy and formed its first legislative assembly,
Verdi was elected deputy to this body by the district of Busseto. He
became a member of the Italian parliament upon the urgent solicitation
of Count Cavour, but at the end of two or three years sent in his
resignation. This, however, did not prevent King Victor Emmanuel making
him a senator in 1875; he had no taste for politics, and after having
taken the oath, he never again sat in that body. The honors that were
showered on him did not turn his head, and he was never more pleased than
when his friends, forgetting his titles, addressed him simply as Signor
Verdi. In 1862 he composed a cantata expressly for the inauguration of
the World's Fair in London. Four great musicians had been called on to
represent their country musically at this exposition. They were Auber for
France, Meyerbeer for Germany, Verdi for Italy, and Sterndale Bennett
for England. Verdi is the only one of these masters still living. His
work was an "Inno delle Nazioni," which was performed at Her Majesty's
Theatre, May 24, 1862. The hymn comprised an introduction, a chorus, and
a soprano solo sung by Mme. Tietjens. The _finale_, which is on a vast
scale, skilfully combined the English, French and Italian national airs.
After "Don Carlos," Verdi did not produce a new opera for four years,
and then appeared "Aïda," written for the opening of the Italian Theatre
in Cairo, in December, 1871, the most brilliant and most original work
he had composed up to that time, and, on the whole, the most impressive
evidence of his musical genius. His next achievement was his splendid
Requiem, written to commemorate the anniversary of the death of Manzoni
and produced at Milan, May 24, 1874, in the church of San Marco.
Its success in the church was immense, and elsewhere it was no less
enthusiastically received and admired. In April, 1881, a revised version
of "Simon Boccanegra" was given at Milan. The work was more successful
than it was in its original form, but it did not become popular. His
other works up to this time were a string quartet, written at Naples and
performed in the composer's own house, in April, 1873; a "Pater Noster"
for two sopranos, contralto, tenor and bass; and an "Ave Maria" for
soprano and strings. Both these last-named works were given for the first
time at La Scala, April 18, 1880. Verdi was now sixty years of age, and
could well afford to rest on his laurels. He had worked industriously
and had reached a time of life when the inventive faculties begin to
show signs of exhaustion. His growth in his art had been constant, and
his latest works were his masterpieces. His fecundity, however, was
not yet exhausted; for, after a silence of sixteen years, he produced
"Otello," another magnificent opera, at La Scala, Feb. 6, 1887; and
still later, when eighty years of age, he brought out "Falstaff," a work
full of youth, inspiration and beauty, and marvellous as the invention
of a composer who had reached fourscore years, though the opera calls
for no excuse for shortcomings on account of its writer's advanced age.
It is his latest effort, up to date, though there are reports that this
wonderful old man is busy in the composition of an opera founded on
Shakespeare's "King Lear."
[Illustration: VILLA SANT' AGATA.
The residence of Verdi near Busseto.]
In addition to the immense mass of music already mentioned, Verdi has
published for the voice six _romanzas_, two bass songs, a nocturne
for soprano, tenor, and bass, with flute obligato; an album of six
_romanzas_, and other lighter compositions. His youthful works that
remain unpublished include marches, symphonies, concertos and variations
for the pianoforte, duets, trios, church compositions, including a
"Stabat Mater," and cantatas. He also wrote choruses to Manzoni's
tragedies, and set music to many of the same author's poems. In 1862
he was one of the thirteen Italian composers who combined to write a
requiem as a tribute to the memory of Rossini. For this Verdi composed a
"Libera me," which so impressed Signor Mazzucato that he urged Verdi to
compose the whole work. Manzoni dying soon after, Verdi offered to write
a requiem in the poet's honor, and the last movement is the same "Libera
me" that was written for the Rossini memorial.
After mourning deeply the loss of the wife and children that had been
taken from him with such agonizing rapidity, Verdi married Signora
Strapponi, by whom, however, he has had no children. He resides on his
handsome estate near Busseto, except during the winter months which he
passes in Genoa. He has a beautiful garden and a large farm, to whose
cultivation he devotes himself with enthusiasm. He is very fond of his
animals, especially his horses. To young musicians he is especially
kind. His modesty is excessive, and he objects strongly to talk of
himself and his art triumphs. He lives quietly the life of a well-to-do
country gentleman, and is delighted to see his friends, if they are not
over-prone to discuss music. His disposition is charitable, and he gives
freely but unostentatiously to the needy. Some of the splendors of his
garden, which appear to be the mere caprice of a rich man with a taste
for the luxuries of life, were conceived and carried out for the purpose
of giving to poor working people out of employ, the means of earning a
livelihood. He gave ten thousand francs toward building a theatre at
Busseto, because the inhabitants desired one. It is a small but handsome
and elegant building, on the front of which is inscribed, in letters of
gold, the name of the great master, who years before, when a poor boy,
played the organ in the church of the neighboring village of Roncole for
the yearly pay of $7.20.
Verdi is described as "tall, agile, vigorous, endowed with an iron
constitution and an energy of character that promise lifelong virility."
His friend and _collaborateur_, Signor Ghislanzoni, says of him: "I have
known artists who, after having been recklessly prodigal of good humor
and affability in their youth, have become gloomy and almost irritable
under the burden of glory and honors. Verdi, on the contrary, seems to
have left behind him at each upward step in his career a part of that
hard, rough exterior that belonged to his earlier years." At eighty he is
still young, still vivacious.
* * * * *