His Biography with Especial Reference to his English Experiences By Frederick J. Crowest Author of "The Great Tone Poets," etc. john milne 12 norfolk street, strand london mdcccxcvii To MADAME ADELINA PATTI NICOLINI EMPRESS OF SONG Whose Transcendent Vocal and Histrionic Powers HAVE Contributed so largely to an adequate appreciation of the genius of VERDI This Monograph of the Master is by Expressed Permission DEDICATED CHAPTER I. BIRTH, PARENTAGE, AND CHILD-LIFE Verdi's birth and birth-place—Di

This work is an attempt to tell, in a popular key, the story of Verdi's remarkable career. A connected chronological account of this composer's life is needed; and a plain unvarnished narrative will best coincide with the temperament and habit of one who, throughout a long life, has been singularly abhorrent of pomp and vanity. In the literature concerning Verdi, the great man's English experiences have been studiously neglected. We learn about Verdi in Italy, also in France; but scarcely anythi

Verdi's birth and birth-place—Dispute as to his township—Baptismal certificate—His parentage—The parents' circumstances—The osteria kept by them—A regular market-man—A mixed business—Verdi's early surroundings and influences—Verdi not a musical wonder or show-child—His natural child-life—Enchanted with street organ—Quiet manner as a child—Acolyte at Roncole Church—Enraptured with the organ music—Is bought a spinet—Practises incessantly—Gratuitous spinet repairs—To school at Busseto—Slender board

Verdi goes into the world—Office-boy in Barezzi's establishment—Congenial surroundings—An exceptional employer—Verdi becomes a pupil of Provesi—A painstaking copyist—Verdi wanted for a priest—Latin elements—Appointed organist of Roncole—A record salary—Barezzi's encouragement of Verdi's tastes—Father Seletti and Verdi's organ-playing—Provesi's status and friendship towards Verdi—Milan training for Verdi—Refused at the Conservatoire —Experience and training needed—Study under Vincenzo Lavigna of

Verdi is engaged to Margarita Barezzi—His marriage—Seeks a wider field in Milan—An emergency conductor—Conductor of the Milan Philharmonic Society—His first opera, Oberto, Conte di San Bonifacio —Terms for production—Its success—A triple commission—A woman's sacrifice—Clouds—Death of his wife and children— Un Giorno di Regno produced—A failure—Verdi disgusted with music—Destroys Merelli contract—The Nabucco libretto forced on Verdi—Induced to set the book—Production of Nabucco with success—Oppos

Verdi's position assured—Selected to compose an opera d'obbligo —The terms— I Lombardi alla Prima Crociata —Its dramatis personæ and argument—Reception at La Scala—A new triumph for Verdi— I Lombardi in London, 1846— Ernani —Political effect of Ernani —Official interference—Verdi first introduced into England—Mr. Lumley's production of Ernani at Her Majesty's Theatre—The reception of the opera—Criticism on Ernani — Athenæum and Ernani . Now, at the age of twenty-nine years, was Verdi's future pr

I Due Foscari —Its argument—Failure of the opera in Rome, Paris, and London— Giovanna d'Arco' —A moderate success— Alzira — Attila —More political enthusiasm— Attila given at Her Majesty's Theatre by Mr. Lumley—Its cool reception— The Times and Athenæum critics on Attila —Exceptional activity of Verdi— Macbeth — Jérusalem in Paris— I Masnadieri first given at Her Majesty's Theatre—Jenny Lind in its caste —Plot of the opera—The work a failure everywhere—The critics on I Masnadieri —Mr. Lumley off

Turning-point in Verdi's career—The libretto of Rigoletto —Production of Rigoletto in Venice, London, and Paris—Great success of the opera— Athenæum and The Times on Rigoletto —" La Donna è mobile "—A Second period style— Il Trovatore written for Rome—The libretto—Its reception at the Apollo Theatre—The work produced at the Royal Italian Opera, Covent Garden—Its cast and Graziani's singing therein—Lightning study of the Azucena rôle — Athenæum and The Times on Il Trovatore — La Traviata —The lib

Verdi as a sacred music composer—Share in the "Rossini" Mass—Failure of a patchwork effort— Missa da Requiem produced—Splendid reception—Performed at the Royal Albert Hall—Structure of the work—Von Bülow's opinion—Divided opinions on its style and merit—Its character—Modern Italian Church style—Northern versus Southern Church music—Verdi's early compositions—E minor Quartet for Strings— L'Inno delle Nazioni —Its performance at Her Majesty's Theatre—Verdi's slender share in orchestral music—Natio

A matured style—Methusaleh of Opera—The last link— Aïda —A higher art plane—Ismail Pacha commissions Aïda —Its libretto—Production at Cairo—The argument—Patti as Aïda—Athenæum criticism of Aïda — Otello —Scene in Milan—The initial cast—Its production and reception in London and Paris— Athenæum review of Otello —Its story—Vocal and instrumental qualities— Falstaff —A surprise defeated—Boito— Falstaff produced at La Scala—In France— Falstaff at Covent Garden—The comedy and its music— Athenæum opin

A born politician—Attempt to draw Verdi—The revolutionary ring of Verdi's music—Signor Basevi on this feature—National and political honours and distinctions—An inactive senator—England's neglect—The composer's nature and character—Bluntness of speech—A dissatisfied auditor—Verdi's alleged parsimony—Verdi and the curate—The gossips and his fortune—Life at St. Agata villa—An "eighty-two" word-portrait—Verdi's old-age vigour—Love of flowers—His hobby at the Genoa palazzo —Independence of character

Verdi's popularity—An important personality in music—Most successful composer of the nineteenth century—Verdi's opportuneness—Keynote of future struck in Nabucco —Its characteristics—Distinguishing features of Verdi's music—Stereotyped pattern operas—Change of style imminent in Luisa Miller —Altered second period style of Rigoletto —This maintained in Il Trovatore — La Traviata forebodings—Basevi's charge of an altered style therein— La Traviata and débûtantes —True Verdi style in Les Vêpres Sic

Origin of Opera—Melody in music—The first opera, Dafne —Monteverde's advances—Early opera orchestration—Gluck's reformed style in Orfeo and Alceste —A complete structure—Verdi's starting point—Wagner's methods—Verdi's early operas— Don Carlos and an altered style—Its reception—A Third, or matured period method—Its characteristics— Aïda , Otello , and Falstaff —Verdi's disciples—Opera as a social need past and present—Its reasonable decline—Verdi's ultimate position—His lasting works. To perfectl

Its scantiness—Restricted scope for the writer and historian—English ideas of Italian opera—English books on Verdi—German historians' measure—Recent English press notices—Foreign journalistic criticism—Italian writings. The Verdi bibliography, particularly that in English, is not extensive, a result doubtless arising from the fact that the master has confined himself solely to one branch of the composer's art, namely, opera. Although, therefore, the composer of Il Trovatore has enjoyed a much wi