From 1812 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 aurel-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 color 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 the chief of the new school. His music became more intense
and dramatic; by vigor, 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 afterward 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, beside lesser works, and attained the age 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
reorganization 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 Honor,
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 vigor' ous 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 mustache, whose black is sprinkled with gray; dark-gray
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.