VERDI.
GUISEPPE VERDI, the successor at once of Bellini and of Donizetti, but
whose energetic style bears a far greater resemblance to that of
Donizetti in his later works (_Maria di Rohan_, for instance) than to
that of Bellini, was born near Parma, on the 9th of October, 1814. His
father was an innkeeper in a humble way of business, and Verdi's first
lessons in music were taken from the local organist. In 1833, thanks to
the assistance of a rich patron of art, he went to Milan, where for
three years he studied under Lavigna, musical conductor at the Scala
Theatre. It was not until 1839 that he succeeded in getting his first
opera, _Oberto, Conte di San Bonifazio_, produced. But the manager of
the Scala, where it was performed was so satisfied with its success that
he gave the young composer an order for three other works. Unfortunately
at this juncture Verdi lost a wife whom he had recently married and to
whom he was tenderly attached. He had just undertaken the uncongenial
and now hateful task of composing an _opera buffa_ entitled, _Un Giorno
di Regno_; and, as might have been expected, this work was somewhat
deficient in comedy. It failed; and so complete was the fiasco that the
director of La Scala felt himself justified in declining to receive from
Verdi the two other operas which he had agreed to take.
The unhappy composer had now to begin his career again; and as the first
step he passed a year without writing a note. He then set to work once
more and composed his well-known opera on the subject of Nebuchadnezzar,
called familiarly _Nabuco_. _Nabucodonosore_, produced in London, where
the biblical subject had been objected to by the censorship, under the
title of Nino, was the first work by which Verdi became famous out of
his own country; and the success of _Nabuco_ became in due time
European. _Nabuco_ (1842) was followed by _I Lombardi_ (1843), and
_Ernani_ (1844); and the three works by which Verdi established his
reputation in Italy were all given without much delay at Her Majesty's
Theatre. The first production, in fact, of Verdi's works dates from
immediately before the secession which led to the establishment of the
Royal Italian Opera. An opera on the subject of the _Two Foscari_ was
brought out at Rome in 1844, and some three or four years afterwards was
given at the Royal Italian Opera, with Ronconi in the principal part.
_Ernani_, however, at both our rival opera houses was for some time the
most admired and the most often played of the new composer's works.
At this time Verdi's music met with but little appreciation from
critics, who declared it to be noisy and commonplace, and who were
particularly offended by so much brass being employed in the
orchestration, and by so many of the choruses being written in unison.
The new composer was accused, moreover, of passing too abruptly from one
piece to another, of not sufficiently preparing his effects, and so on.
We have seen how Rossini was attacked when his operas were first
produced in England; and the Lord Mount-Edgcumbes of 1848, and indeed of
many years later, were thoroughly dissatisfied with Verdi, whom it was
the fashion to represent in the newspapers of the day as a sort of
melodramatic mountebank. Even as late as 1856, when the richly
melodious, and in many respects highly dramatic _Trovatore_ was given at
the Royal Italian Opera, the talent, or rather the genius of Verdi, was
still systematically denied. The style in which Verdi's operas were
habitually executed in London may have had something to do with the
charges pressed so energetically against him. Those, however, who have
heard Verdi conduct his own works are aware that though his scores may
contain parts for a considerable number of brass instruments, yet the
brassiness of the orchestra is kept down and a proper balance of
sonority maintained. Fully informed as to why Verdi's works ought not to
be admired, the public of London persisted in admiring them; and it may
be here mentioned that for some years Verdi was not much better treated
by the critical press of France than by that of England. M. Scudo,
writing in the _Revue des deux Mondes_ found in Verdi the same faults
already mentioned as those of which he was habitually accused in
England. _Il Trovatore_, however, did much towards converting M. Scudo;
and the success of that work, if not the work itself, did much to shake
the faith, or rather the unfaith, of those English critics and
connoisseurs who had previously disbelieved in Verdi. The production of
_Rigoletto_ at the Royal Italian Opera a year or two later, with Madame
Bosio (most charming of Gildas), Signor Mario, and Signor Ronconi in the
principal parts, made those who were still sceptical as to Verdi's high
merits appear somewhat ridiculous. _La Traviata_, with its questionable
story derived from the younger Dumas's novel and play of _La Dame aux
Camelias_, was a good deal blamed by reason of its libretto; and also on
account of the alleged triviality of the music, which, however, thanks
to the tone of genuine emotion in many of its strains, still lives, and
is now, indeed, more popular than ever.
Verdi's success in England was confirmed, and more than confirmed, by
the production at the Royal Italian Opera of _Un Ballo in Maschera_
(founded on the same subject as Auber's _Gustave III._), with an
execution which was above all remarkable for the style in which the part
of the Duke, vaguely described as "Il Duca," was played by Signor Mario,
and that of Renato, whose wife the Duke betrays, by Signor Graziani; and
for the last twelve or fifteen years it has been considered bad taste
not to admire Verdi's music. Indeed, since _Aida_, his latest, most
serious, most studied, and, in the true sense of the word, most dramatic
opera, it has become the fashion in some musical circles to place him
above all other Italian composers, to contrast the significance of his
melodies, the characterisation of his personages, and the forcible
construction of his scenes, with the careless, haphazard stringing
together of meaningless, if singable tunes, and of ingenious rather than
dramatic concerted pieces which mark the style or want of style of so
many Italian composers. It is only fair, however, to remember that
Verdi has not yet surpassed _William Tell_, that he has produced nothing
superior in the way of concerted finale to the celebrated one which
closes the second act of _Lucia_, and that he scarcely could have
treated the last act of _La Favorita_ more dramatically, or with a
greater abundance of melodic ideas than Donizetti--here by the way,
writing at times very much in Verdi's own manner.
In pursuing the story of Verdi's constantly increasing success among the
English we have departed from the general history of his career. It must
be mentioned, however, that many of Verdi's operas which gained great
favour in Italy have either never been given in England at all, or have
been performed in this country without exciting much enthusiasm. Nor was
any great impression made in England by the work which, under the title
of _Masnadieri_, Verdi wrote expressly for Her Majesty's Theatre in the
days of Jenny Lind, with Jenny Lind herself, Gardoni, and Lablache in
the principal parts. No one seems to have suggested that Verdi's _King
Lear_ should be performed in England; but from time to time there has
been some talk of producing his _Macbeth_, of which a French version was
brought out, not unsuccessfully, at the Theatre Lyrique of Paris, with
some additional music, and especially some new ballet scenes by the
composer.
It is scarcely worth while to recall Verdi's failures: but _Luisa
Miller_ and _La Forza del Destino_ must in fairness be reckoned among
the number. _Luisa Miller_ is based on the theme of Schiller's pathetic
but over-dolorous drama _Cabale und Liebe_. For the basis of _La Forza_
Verdi did not have recourse to Schiller as in the case of _Luisa Miller_
and _I Massdieri_, nor to Victor Hugo as in that of _Ernani_ and of
_Rigoletto_ (_Le Roi s'amuse_). His librettist borrowed the subject from
a most sanguinary melodrama by a Spanish author of some distinction,
though with such bloodthirsty tendencies that he brings almost every
character in his play to a violent end, while one of the leading
personages, after apparently meeting his death, is restored to life to
be killed again. In _La Forza del Destino_ the composer has so neglected
the concerted music that the work does not include one regularly
constructed concerted piece. It contains, however, some beautiful
melodies for the solo voice, including one in particular assigned to the
prima donna, which Verdi, from having inscribed it beneath one of his
best portraits, would seem to regard as characteristically his own. Of
Verdi's _Requiem_, composed in memory of Manzoni, little need be said
except that it is melodious, impressive, and often very
dramatic--dramatic, however, in the style of _Aida_ not of the less
thoroughly dramatic, but more stagey works of Verdi's youth.
Verdi, now (1880) in his sixty-seventh year, has by no means renounced
musical composition; and he is understood to be actively engaged on a
new _Othello_, of which Signor Boito, author and composer of
_Mefistofele_, has furnished the libretto, and which is to be brought
out as soon as completed under the title of _Iago_.
Unlike other composers, Verdi has played a certain political part,
which, however, seems in a great measure to have been forced upon him.
In the days before Italian unity it was discovered that the letters
composing his name might, in due order, be regarded as signifying
"Vittore Emanuele, Re d'Italia"; so that "Viva Verdi!" came to be
accepted as an aspiration for a united Italian kingdom with Victor
Emanuel on the throne. When _Macbeth_ was brought out, all sorts of
political allusions were discovered in the libretto; and nothing would
satisfy the electors of Verdi's native town but to make him a member of
the National Assembly of Parma. After the formation of the Italian
kingdom Verdi became a member of the Italian parliament; and in 1874 the
king made him a senator.
LIST OF ROSSINI'S WORKS
WITH THE DATE OF THEIR PRODUCTION IN PUBLIC.
1. Il Pianto d'Armonia. Cantata, 1808
2. Orchestral Symphony. 1809
3. Quartet for Stringed Instruments. 1809
4. La Cambiale di Matrimonio. Opera, 1810
5. L'Equivoco Stravagante. Opera, 1811
6. Didone Abbandonata. Cantata, 1811
7. Demetrio e Polibio. Opera, 1811
8. L'Inganno Felice. Opera, 1812
9. Ciro in Babilonia. Opera, 1812
10. La Scala di Seta. Opera, 1812
11. La Pietra del Paragone. Opera, 1812
12. L'Occasione fa il Ladro. Opera, 1812
13. Il Figlio per Azzardo. Opera, 1813
14. Tancredi. Opera, 1813
15. L'Italiana in Algeri. Opera, 1813
16. L'Aureliano in Palmira. Opera, 1814
17. Egle e Irene. Cantata (unpublished), 1814
18. Il Turco in Italia. Opera, 1814
19. Sigismondo. Opera, 1814
20. Elisabetta. Opera, 1815
21. Torvaldo e Dorliska. Opera, 1816
22. Il Barbiere di Seviglia. Opera, 1816
23. La Gazella. Opera, 1816
24. Otello. Opera, 1816
25. Teti e Peleo. Cantata, 1816
26. Cenerentola. Opera, 1817
27. La Gazza Ladra. Opera, 1817
28. Armida. Opera, 1817
29. Adelaida di Borgagna. Opera, 1818
30. Mose Opera, 1818
31. Adina. Opera (written for Lisbon), 1818
32. Ricciardo e Zoraide. Opera, 1818
33. Ermoine. Opera, 1819
34. Eduardo e Cristina. Opera, 1819
35. La Donna del Lago. Opera, 1819
36. Cantata in honour of the King of Naples. 1819
37. Bianca e Faliero. Opera, 1820
38. Maometto II. Opera, 1820
39. Cantata in honour of the Emperor of Austria. 1820
40. Matilda di Shubrun. Opera, 1821
41. La Riconoscenza. Cantata, 1821
42. Zelmira. Opera, 1822
43. Il vero Omaggio. Cantata, 1822
44. Semiramide. Opera, 1823
45. Il Viaggio a Reims. Opera, 1825
46. Le Siege de Corinthe. Opera, 1826
47. Moise. Opera, 1827
48. Le Comte Ory. Opera, 1828
49. Guillaume Tell. Opera, 1829
50. Les Soirees musicales. Douze morceaux de Chant, 1840
51. Quatre Ariettes Italiennes. 1841
52. Stabat Mater. 1842
53. La Foi, L'Esperance et la Charite. Trois Choeurs, 1843
54. Stances a Pie IX. 1847
55. Messe Solennelle. 1869
THE END.
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FOOTNOTES:
[1] _Cenni di una donna gia cantante sopra il maestro Rossini._
[2] _Theatres Lyriques de Paris_, "L'Opera, Italien," p. 317.
[3] M. Azevedo (_G. Rossini, sa Vie et ses OEuvres_, par A. Azevedo)
says that "Rossini, consulted as to the correctness of these figures,
thought there must be an error of 100 scudi. He was under the impression
that he had only received 300 scudi for the _Barber_."
[4] A poet of our time, finding himself described on a title-page as the
author of "words" which a composer had set to "music," suggested that,
with a view to uniformity, for "music," "crotchets and quavers" should
be substituted.
[5] In the Avvertimento al Pubblico the title of the comedy is given in
Italian, "_Il Barbiere di Sivigilia; ossia, L'Inutile Precauzione_."
[6] L'Ape Italiana. Paris 1836.
[7] Cenn di una donna gia contante sopra il maestro Rossini.
[8] M. de Saint-George, in a speech he delivered at Rossini's funeral.
[9] "Conversations with Rossini," by Ferdinand Hiller. _Musical World_,
1856.
[10] _Le Siege de Corinthe_ was the first opera--it was the thirty sixth
he had composed--that Rossini sold to a music publisher.
[11] _See also_ Rose Library.