CHAPTER XII

VERDI LITERATURE

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 wider popularity than other masters who might be named, and about whom volumes have been and will be written, the confined nature of Verdi's musical circuit has rendered him relatively much less attractive to the musical critic, historian, and biographer. This is the penalty, perhaps, which has to be paid by musicians who find themselves unable, or unwilling, to spend laborious days and nights in the conception and composition of profound orchestral creations of the symphony and concert-overture type, which, however admirable in the eyes and ears of those who listen to, analyse, and criticise them, have rarely proved profitable to those who composed them, save and beyond the posthumous honour which they may win for their wondrous workers. Notwithstanding the universal popularity which Verdi has enjoyed for fifty years, there is, from the one-sided nature of his work, the possibility of under-estimating his real worth as a master of music. With the tendency among all ranks of art-workers to endeavour to shine in many parts, it is quite exceptional to find one content to do his best, and succeed, with one phase of his art, as Verdi has done.

Italian opera was first brought into England in 1706, when _Arsinöe_ was produced at Drury Lane Theatre, and in order to give those who attended performances of it a chance of understanding it, it was rendered with English words! Yet the article has never wholly commended itself to the English people, who, especially in its early history here, were unable to enter into the spirit of the bombastic, exaggerated plots, and excessive love scenes. Thus it does not, and will not, command equal interest among reasoning musicians, compared particularly with that attaching to symphony or oratorio. Italian opera might well disappear from the face of the earth, so far as English people are concerned; but a similar remark could not be applied to any new oratorio or symphony. Opera _seria_ is not in vogue here, not even a national English opera, and Italian opera is just kept from collapse by another class than that which rushes with delight to performances of operas of _H.M.S. Pinafore_ and _The Grand Duke_ type. Consequent upon all this, critics have gone on chronicling and criticising Verdi's operatic successes (especially in his later operas) and failures, pausing but little to gauge any relative musical worth of the man as compared with other great masters. It is, of course, not possible for such a prolific indefatigable worker as Verdi was to go on occupying the world musically, if only in one direction, without exercising some sway over the minds and dispositions of listeners. It is the bearing of Verdi's operatic efforts upon art that has been neglected by the English press especially. The fact of Verdi having been so little amongst us affords, naturally, another explanation for the comparatively scant literature respecting both him and his works. Until the appearance of the present monograph, no work existed that brought the life and work of the famous Italian master up to date, or that attempted to place him critically and musically among the great exponents of his art. To that extent, at least, Verdi literature was wanting.

But to deal with the bibliography that does exist. Perhaps the best work in English is Pougin's _Anecdotic History of Verdi; his Life and Works_, which has been excellently translated from the French by James E. Matthew (1887). Another interesting book in our language concerning Verdi is Blanche Roosevelt's _Verdi: Milan and "Otello"_ (1887), which is a short life of the master, with letters written about Milan and the opera _Otello_. The brief article by Signor Gianandrea Mazzucato (in Grove's _Dictionary of Music and Musicians_) on Verdi is a valuable contribution to the subject, and is probably the best account of the _maestro_ contained in any dictionary. The last work it treats of, however, is _Aïda_, and although it touches _Otello_ somewhat prophetically, it is necessarily silent about that greater work _Falstaff_.

Ritter, in his _History of Music_ (1876), disposes of Verdi in less than eleven short lines; but a little more justice, in the way of space, is done to the famous Italian by Naumann in his large, comprehensive _History of Music_, since he devotes to Verdi nearly two whole pages out of over thirteen hundred!

_Masters of Italian Music_ (R.A. Streatfeild), contains an appreciative biography of Verdi, based upon Pougin's work, together with some sound criticism upon Italian opera in general, and Verdi's in particular. A further work in the English language referring to Verdi is Elson's _Realm of Music_, chap. xviii. of which deals with the "Evolution of Verdi"; while in Ferris's _Lives of the Celebrated Composers_ there is an intelligent comparison between the _Otello_ of Verdi and Rossini. Dr. Parry's _Studies of the Great Composers_ omits Verdi altogether, the reason for which does not appear.

French works bearing upon Verdi are--Bertrand (Gustave), _Les nationalités musicales_, _étudiées dans le drame lyrique ..._, _ Verdisme et Wagnerisme_; Fouque (Octave), _Histoire du Théâtre Ventadour_ (1829-79),--_Opéra Comique_,--_Théâtre de la Renaissance_,--_Théâtre Italien, Verdi_; Maurel (Victor), _À propos de la mise-en-scène du drame lyrique "Otello,"_ being _Étude précédée d'aperçus sur le théâtre chanté en 1887_; Noufflard (Georges), _"Otello" de Verdi et le drame lyrique_.

The above enumerated writings, and the criticisms which have appeared more or less regularly in the _Athenæum_, _Times_, and _Illustrated London News_, constitute the chief of what has been published in the English and French languages relating to Verdi. We should not omit to state, however, that lately, especially since the production of _Falstaff_, not a little has been said, if not written, of the illustrious Verdi and his works. Sir A.C. Mackenzie's lectures on _Falstaff_ were particularly interesting. Therein the talented Principal of the Royal Academy of Music paid a high tribute to the personal qualities of the _doyen_ of composers. In tracing the gradual development of Verdi's genius Sir A.C. Mackenzie asserted that the composer did not show any Wagnerian influence in his later works--a judgment with which competent judges will agree. The articles which Dr. Villiers Stanford contributed to the _Daily Graphic_ concerning _Falstaff_, its wonderful humorous music, and the man who made it, were worthy of the journal and its talented special correspondent; while Mr. Joseph Bennett's tried and trusty pen has also been descried in more than one masterly article concerning Verdi in the _Daily Telegraph_ and _Musical Times_. In the _Musical Recollections_ of Mr. Wilhelm Kuhe, _entrepreneur_ and _raconteur_, are numerous critical passages and remarks concerning Verdi and several of his operas.

Foreign journalism has always been busy about Verdi. Thus such publications of his native land as _La Perseveranza_, the _Supplemento Straordinario_ of the _Gazzetta Musicale_,[83] _La Scena_, _La Fanfulla_, and _Il Pensiero di Nizza_, with the Spanish journal, _Cronica di la Musica_, abound in criticisms and notes respecting the master. Much excellent critical matter relating to Verdi and his works will be found, too, in the French journals, _Le Ménestrel_, _La Nazione_, _La France Musicale_, _Journal des Debats_, and _Figaro_; while he has been far from neglected by the German press, in such papers as the _Neue Berliner Musik Zeitung_, and others.

The most important and valuable writings respecting Verdi, however, are, as might be expected, in the Italian language. Among these are--

_Sketches of the Life and Works of Giuseppe Verdi_ (Bermani), 1846; _Studies upon the Operas of Giuseppe Verdi_ (Basevi), 1859; _Biographical Notes on Giuseppe Verdi, followed by brief analyses of "Aïda" and the "Requiem Mass"_ (Perosio), 1875; _Critical Musical Essay on "Aïda"_ (Peña y Goñi), 1875; _Considerations on the actual State of Musical Art in Italy, and the artistic Importance of "Aïda" and the "Requiem Mass"_ (Sassaroli), 1876; _Verdi and his Operas_ (Monaldi), 1877.

[Footnote 83: 27th November 1889.]

INDEX

Adam, Adolphe, on _Ernani_, 69.

_Aïda_, and Wagner, 46, 82; 167; genesis of, 168; produced at Cairo, 169; an admitted masterpiece in Milan, Paris, and England, 170; _Athenæum_ on, 173-176, 197; first performance, 211; place of, 237, 238, 239; Verdi's view in composing, 241; orchestration of, 242; peculiarly Verdinian, 245-247; 249, 250, 251, 286.

---- and operatic development, 284, 286;

---- a masterpiece, 291.

Albani, 235.

Albert Hall, Verdi's _Requiem_ at, 154.

Alboni, Mme., in _Luisa Miller_, 97, 98, 99.

---- and _Trovatore_, 118 _n_.

_Alceste_, Gluck's, 278.

_Alzira_ produced at Naples, 76, 81, 96.

_Anato_ at the Lyceum, 47.

Angelini, Signor, in _Forza del Destino_, 148.

Anti-Verdians and Verdians, 57; and Verdi's music, 131.

Argentine Theatre, Rome, _Due Foscari_ at, 74.

Arimondi, Signor, in _Falstaff_, 191, 194.

Armandi, Signor, in _Falstaff_, 191, 194.

_Aroldo_, 76.

_Athenæum_, musical critic of, 44; on _Ernani_, 67-69; on _Attila_, 79; on _Masnadieri_, 90; on _Luisa Miller_, 100; on _Rigoletto_, 108; on _Trovatore_, 122; and _La Traviata_, 135, 142; on _Aïda_, 173, 180; on _Otello_, 180; on _Falstaff_, 196-200; and _Traviata_, 236; and _Aïda_, 243; and _Nabucco_, 244; 256, 265, 290, 291, 298.

_Attila_, produced at the Fenice, 76; well received, 77; in London, 78; opinions on, 79-82; political influence of, 206.

Auber, 124.

---- _Gustave III._, 145, 146, 163, 259, 281.

_Ave Maria_, Verdi's, 162.

Bach, 226.

Bach's _oratorii_, 159.

Bagasset, violinist, 9.

Baistrocchi, organist, 14.

Balderi, Signor, in _Trovatore_, 115.

Balfe, M.W., succeeds Costa at Her Majesty's, 93.

_Ballo in Maschera, Un_, 144; produced at Rome, 145; at the Lyceum, 145; opinion on, 145-148.

---- place of, 237.

Barbieri-Nini in _Macbeth_, 83.

Barbot, Mme., in _Forza del Destino_, 148.

Barezzi, Antonio, grocer, 5, 17, 21; helps Verdi to Milan, 23, 26; his eldest daughter, 27.

Basevi, critic, on Verdi, 207.

---- on _La Traviata_, 234, 300.

Basili, Francesco, and Verdi's rejection by the Milan _Conservatoire_, 24.

_Battaglia di Legnano, La_, produced at Rome, 93, 207.

Baucarde, Signor, in _Trovatore_, 115.

Beethoven mass, 159, 226, 232.

Beletti, in _Attila_, 79.

Bellini, 54, 82, 105, 122, 226, 227, 229, 241; and the growth of opera, 279.

Beneventano, in _Luisa Miller_, 99.

---- in _La Traviata_, 132.

Bennett, Mr. Joseph, 299.

---- Sterndale, 163.

Berlin, _Falstaff_ in, 196.

Berlioz, 243.

Bermani, 300.

Bertoni, 214.

Bertrand's, Gustave, _Verdisme et Wagnerisme_, 298.

Bey, Mariette, and _Aïda_, 168.

Bibliography (Verdi), 293-300.

Birth of Verdi, 1.

Birthplace of Verdi, 3.

Boito and _Simon Boccanegra_, 143.

---- and libretto of _Otello_, 178.

---- and _Otello_, 184; and _Falstaff_, 187, 188, 190, 287.

Bonnehée, M. in _Vêpres Siciliennes_, 140.

Borio, Mme. Rita, in _Ernani_, 63.

Bosio, in _Luisa Miller_, 103; in _Rigoletto_, 107.

Botelli, Signor, in _Ernani_, 63.

Bottesini, conductor in _Aïda_, 169.

Bouche, in _Masnadieri_, 84.

Boulo, M., in _Vêpres Siciliennes_, 140.

_Brigands, Les_, 92 (see _Masnadieri_).

Bülow, Dr. von, and Verdi's _Requiem_, 153, 156.

Buononcini and the growth of opera, 277.

Busseto Hospital and Verdi, 216.

Cairo, Italian theatre at, 168.

Caldara and the growth of opera, 277.

Caldara's church music, 161.

Calzolari, Signor, in _La Traviata_, 132.

Cammerano, M., 94, 113.

Campana, Fabio, 234.

Capecelatro, Verdi's evil genius, 96.

Capponi, Signor, and Verdi's _Requiem_ 153.

---- in _Aïda_, 172.

Carducci and Verdi, 215.

Casimir-Perier and Verdi, 210.

Castelli, in _Luisa Miller_, 99.

Cataneo, Signora, in _Otello_, 180.

Cavaletti, Stephen, 13.

Cavour and Verdi, 208.

Cerito, 290.

Certificate of Verdi's birth, 3.

Chorley, H.F., 44; on _Nabucco_, 45; on _Luisa Miller_, 102; _La Traviata_, 138; 176, 255, 263, 265, 266, 270.

Church music, 158.

Cocle, M.C. du, and _Aïda_, 168.

Coletti, Signor, in _Due Foscari_, 74; in _Masnadieri_, 84.

Coquelin, the elder, 187.

Corbari, Mlle., in _Nabucco_, 41.

_Corsaro, Il_, produced at Trieste, 93.

Corsi, in _Nino_, 47.

Cortesi, 287.

Costa, Signor, 92; in _Aïda_, 169.

---- Sir Michael and Verdi's cantata, 164.

Coulon, M., in _Vêpres Siciliennes_, 140.

Critics, musical, 256, 270.

Cruvelli, Sophie, in _Attila_, 78; in _Luisa Miller_, 103.

---- and _Les Vêpres Siciliennes_, 139, 141.

Cuzzani, in _Attila_, 79.

_Dafne_, the first opera, 275.

_Daily Graphic_ and _Falstaff_, 189-191, 299.

_Daily Telegraph_, 299.

Danton's bust of Verdi, 211.

Davison, J.W., 44, 270.

Debassini, Signor, in _Forza del Destino_, 148.

Decazes, Duke, and Verdi, 210.

Dejeau, Julienne, in _Ballo in Maschera_, 145.

Delair, Paul, 187.

Delna, Mlle., and _Falstaff_, 194.

Derivis, in _I Lombardi_, 55.

Development of Verdi, 228-255.

Didiée, Mlle., in _Rigoletto_, 107.

_Don Carlos_, place of, 237; its models, 282.

Donatelli, Signora, in _La Traviata_, 128.

Donizetti and _Nabucco_, 38, 49, 54, 65, 68, 82, 105, 122, 136, 226, 227, 229, 241, 267; and the growth of opera, 279, 282.

_Dramatis personæ_ of _I Lombardi_, 51.

Drury Lane, _Arsinöe_ at, 294.

_Due Foscari_, 70; produced at Rome, Paris, and London, 74, 108, 109; place in Verdi's development, 229.

Dumas's _Dame aux Camelias_ and _La Traviata_, 126, 135.

Elson's _Realm of Music_, 297.

England, Italian opera first introduced into, 294.

English, indifference of the, to Italian opera, 295.

_Ernani_, 39, 45, 46; produced, 58; in England, 60-69, 108, 146, 147, 197; political influence of, 206.

_Euridice_, second opera, 276.

Exhibition of 1862 and Verdi's cantata, 163.

Faccio, conductor in _Otello_, 178, 287.

Fagotti, Signor, in _Vêpres Siciliennes_, 140.

_Falstaff_, 82, 168; produced at La Scala, 187, 189; and Wagner's _Der Meistersinger_, 189, 199; in Paris, 193; in London, 194; most "taking" pieces in, 195; music in, 196; score of, 200; a rehearsal at Milan, 213; place in Verdi's development, 239, 241, 249, 250-255; and operatic development, 286; a masterpiece, 291; lectures on, 298.

_Faust_, Gounod's, 90.

Feitlinger, M., in _Aïda_, 172.

Fenice Theatre, _Ernani_ at, 58; _Rigoletto_ at, 105, 106.

Ferris's _Lives of the Celebrated Composers_, 297.

Festa, music master, 273.

Filippi, critic, 221.

_Finto Stanislas, Il_, 103.

Foreign journals and Verdi, 299.

Fornasara, Signor, in _Nabucco_, 41; in _I Lombardi_, 56; in _Ernani_, 63; in _Otello_, 179.

_Forza del Destino_, produced at St. Petersburg, Milan, and Paris, 148; shows Verdi's Third style, 149; place of, 237.

Foscari, Francisco, 70.

Fouque's, Octave, _Histoire du Théâtre_, 298.

Franco-German opera in England, 264.

Fraschini, Signor, in _Due Foscari_, 75; in _Ballo in Maschera_, 145.

French President and Verdi, 210.

Frezzolini, Erminia, in _I Lombardi_, 55; in _Giovanna d'Arco_, 75.

Fugue, Germans indebted to Italians for, 161.

Garbon, Signor, in _Falstaff_, 191.

Garden, Verdi's, 220.

Gardoni, in _I Lombardi_, 55; in _Attila_, 79 in _Masnadieri_, 84, 86, 88, 91; in _Luisa Miller_, 101.

Gasparini and the growth of opera, 277.

_Gazette Musicale_, 231.

Gazzaniga, Mme., in _Luisa Miller_, 96.

German opera in England, 263.

Germans indebted to Italians for the fugue, 161.

Ghislanzoni and _Aïda_, 168.

Gindale, Ernestina, in _Aïda_, 172.

_Giovanna d'Arco_, at La Scala, 75.

_Giovanna di Guzman_, 140.

Giraldoni, Signor, in _Ballo in Maschera_, 145.

Giuglini, Signor, in _Luisa Miller_, 98, 99; in Verdi's cantata, 164.

_Globe, The_, on Verdi, 219.

Gluck and Piccini feud, 57-60.

---- and the growth of opera, 278.

Goggi, Signora, in _Trovatore_, 115.

Goñi, Peña y, 300.

Gordigiani, Luigi, 234.

Gounod, 90.

_Graphic, Daily_, 38.

Graziani, Signor, in _Trovatore_ and _Ernani_, 119, 124; in _La Traviata_, 128; in _Forza del Destino_, 148; in _Aïda_, 172.

Grisi, in _I Lombardi_, 56; in _Due Foscari_, 74; 290.

Grossi, Signor, in _Trovatore_, 115.

---- Mme., in _Aïda_, 169.

Grove's _Dictionary of Music_, 297.

Guasco, Signor, in _I Lombardi_, 55; in _Ernani_, 59.

Guerrini, Virginia, in _Falstaff_, 191.

Gueymard, M., in _Vêpres Siciliennes_, 140.

Guicciardi, Signor, in _Trovatore_, 115.

_Gustave III._, 144 (see _Ballo in Maschera_).

Guttierez and _Trovatore_, 113.

Gye, Mr., produces _Anato_ at the Lyceum, 47; produces _Rigoletto_, 107.

Halévy, 281.

Handel's _oratorii_, 159.

Haydn, 226.

---- mass, 159.

Her Majesty's Theatre, _Nabucco_ at, 39; _I Lombardi_ at, 56; _Ernani_ at, 60; _Due Foscari_ at, 74; _Attila_ at, 78; _Masnadieri_ at, 84; _La Traviata_ at, 129, 291; Verdi's cantata at, 164.

Hugo, Victor, 105.

Hullah and musical education, 121.

Humbert, King, congratulates Verdi, 192.

_Illustrated London News_, 44; on _Ernani_, 63-67; on _Atilla_, 79; on _Masnadieri_, 88; on _Rigoletto_, 107, 108; on _Trovatore_, 124; on _Traviata_, 132; and _Vêpres Siciliennes_, 141; and _Simon Boccanegra_, 143; on Verdi's cantata, 164; 258, 268, 289, 298.

_Inno delle Nazioni_ cantata, 163.

Italian and Teuton in instrumental music, 165.

---- church music, 158.

---- opera, introduction of, to England, 294.

---- school of music, 273.

Italians and music, 8.

Jacovacci and _Un Ballo in Maschera_, 144.

_Jerusalem_, 58 (see _Lombardi_).

_Jerusalemme_, 58 (see _Lombardi_).

_Joan of Arc_, 76 (see _Giovanna d'Arco_).

Jommelli and the growth of opera, 277.

Journals, foreign, and Verdi, 299.

Khedive of Egypt and Verdi, 168, 169, 209.

Kitzu, Signora, in _Falstaff_, 194.

Kuhe's, Wilhelm, _Musical Recollections_, 299.

Lablache, Signor, in _Masnadieri_, 84, 86, 88.

La Scala Theatre, 25, 30, 34, 35; direction of, choose Verdi to compose the _opera d'obbligo_, 50; _Giovanna d'Arco_ at, 75; _Forza del Destino_ at, 148; Verdi's _Requiem_ at, 154; _Aïda_ in, 170; _Montezuma_ in, 177; _Otello_ in, 178; _Falstaff_ at, 187, 192.

Lasina, agreement with Verdi, 105.

Lavigna, Vincenzo, 25.

Libretto of _Nabucco_, 42; of _Luisa Miller_, 94, 98; of _I Due Foscari_, 70; of _Rigoletto_, 105; of _Forza del Destino_, 148; of _Aïda_, 170-172.

Lind, Jenny, 75; in _Masnadieri_, 84, 86, 87, 88, 91.

Loewe, Signora, in _Ernani_, 59.

_Lombardi_, 45, 46; _dramatis personæ_ of, etc., 51; produced at the Milan Theatre, 54; compared with _Nabucco_, 56; produced in Paris, 58; 197, 204; political influence of, 206.

London, _Aïda_ in, 170; _Otello_ in, 180, 182; _Falstaff_ in, 194, 196.

Lord Chamberlain and _La Traviata_, 133, 136.

Lorredano, James, 71.

---- Peter, 70.

Lotti, the growth of opera, 277.

Lotti's church music, 161.

Lucca and Verdi, 92; purchases _Il Corsaro_, 93.

_Luisa Miller_, libretto of, 94; produced at Naples, London, and Paris, 96; opinions on, 96, 99-103; at Her Majesty's, 97; at the Théâtre Italien, Paris, 103; place in Verdi's development, 229, 230.

Lumley, Mr., on _Nabucco_, 40; revives _Nino_, 46; produces _I Lombardi_, 56; on _Ernani_, 60; on _Due Foscari_, 74; produces _Attila_, 78; produces _Masnadieri_, 84; his faith in Verdi, 92; on _Luisa Miller_, 97; on _La Traviata_, 129-135; 264.

_Macbeth_, 81; produced at Florence, Milan, and Venice, 83; at Florence, 211.

Mackenzie's, Sir A.C., lectures on _Falstaff_, 298.

Maini, Signor, and Verdi's _Requiem_, 153.

_Maledizione, La_, 105 (see _Rigoletto_).

Malibran, 68.

Mancinelli, Signor, in _Falstaff_, 194.

Manzoni and the Rossini mass, 152, 212.

Mapleson and _La Traviata_, 291.

Marcello's church music, 161.

Marchetti, 287.

Margarita, 27.

Marimon, Mlle., in _Masnadieri_, 92.

Marini, Mme., and _Oberto_, 31.

Mario, Signor, in _I Lombardi_, 56; in _Due Foscari_, 74; in _Rigoletto_, 107; in _Falstaff_, 192.

Mascagni, 287.

Masini, Signor, and Verdi's _Requiem_, 154.

_Masnadieri_, 81; written for England, 84; at Her Majesty's, 84-86; story of, 86; a failure, 88, 92; opinions on, 88-91.

Mass, Verdi's _Requiem_, 151-161.

Matthew, J.E., 297.

Maurel, M., in _Otello_, 179, 180; in _Falstaff_, 187, 191, 194; _À propos de la mise-en-scène du drame lyrique_ "_Otello_," 298.

Mazzucato, Signor, and the Rossini mass, 152.

---- Gianandrea, 297.

Medini, Signor, and Verdi's _Requiem_, 154; in _Aïda_, 169.

Melody in music, 274.

Mendelssohn and Verdi's _Requiem_, 157; his _oratorii_, 159; 266.

Mercadante, 49, 68; jealous of Verdi, 116; 227, 267.

Merelli, Bartolomeo, and _Oberto_, 30; engages Verdi to write three operas, 32; tears Verdi's agreement up, 34; produces _Nabucco_, 35, 38; his generosity, 39; agreement with Verdi for the _opera d'obbligo_, 50.

_Messe Solennelle_, Rossini's, and Verdi's _Requiem_ mass, 158.

Meyerbeer, 124, 163, 239, 245, 259, 263, 264, 267, 281, 284, 285.

Milan, excitement in, over _Otello_, 177; _Falstaff_ in, 196, 198.

---- _Conservatoire_, 23.

---- Philharmonic Society, Verdi conductor of, 30.

Milanese, and the production of _I Lombardi_, 54.

Mirate, in _Rigoletto_, 106.

_Mireille_, Gounod's, 90.

_Missa da Requiem_, Verdi's, 152.

Monaldi, 300.

Monday Popular Concerts, Verdi at, 162.

Mongini, Signor, in _Vêpres Siciliennes_, 140; in _Aïda_, 169.

"Monte de Pieta" of Busseto, 23, 26.

Montenegro, Mme., in _Due Foscari_, 75.

Monteverde and the growth of opera, 276, 280.

_Montezuma_ given at La Scala, 177.

Moriani, in _Ernani_, 63.

Mozart and Verdi's _Requiem_, 157; mass, 159; 200, 202, 226, 252, 253.

Music, characteristics of Verdi's, 7; in _Nabucco_, 38, 42, 54; in _Trovatore_, 115, 262; of _La Traviata_, 137; in _Falstaff_, 196, 252; in _Aïda_, 242; in _Otello_, 248; Italian school of, 273.

_Musical Times_, 299.

Muzio, letter from Verdi to, 128; 168.

_Nabucco_, produced at La Scala, 35; its success, 36, 38; in rehearsal of, 37; purchased by Ricordi, 39; in London, 39-41; 146, 147; libretto of, 42; English opinions of, 40-47; musical points in, 48; compared with _I Lombardi_, 56; with _Rigoletto_, 108, 109; political influence of, 206.

_Nabucodonosor_, 37.

Naumann's _History of Music_, 297.

Nautier-Didiée, Mme., in _Forza del Destino_, 148.

"Nebuchadnezzar," 34.

Ney, Jenny, in _Trovatore_, 118, 120.

Nicolini, Signor, in _Aïda_, 172.

Nilsson, 235.

_Nino, Re d'Assyria_, 40 (see _Nabucco_).

Noufflard's, George, _"Otello" de Verdi_, 298.

_Oberto, conte di S. Bonifacio_, 28; produced in La Scala Theatre, 31; sold to Ricordi, 32.

Obin, M., in _Vêpres Siciliennes_, 140.

Olghina, Olga, in _Falstaff_, 194.

"Omnibus" box, the, 288.

Opera during the past three-quarters of the century, 224; decline of, 289; origin and development of, 273; the first, 275; the second, 276; growth of, 275-279.

_Opera d'obbligo_, Verdi chosen to compose, 50.

Opera-house, vitality of the, 288.

Orchestra in the first opera, 275; in _Orfeo_, 277.

Orchestration in _Aïda_, 284.

_Orfeo_, Monteverde's, 276. ---- Gluck's, 278.

Organist of Roncole, Verdi becomes, 20.

_Otello_, 82, 168; produced at Milan, 178; in London, 180, 182; orchestration in, 185, 197; in Paris, 210; place in Verdi's development, 233, 239, 241, 247-250, 251, 286; and operatic development, 285; a masterpiece, 291.

Otellopolis, 177.

_Otello_-Verdi mania, 179.

Pacini, 49.

Palazzo Doria, 219.

Palestrina, 274.

Palestrina's church music, 161.

Palma, in _Macbeth_, 83, 207.

Pantaleoni, Romilda, Signora, in _Otello_, 179.

Paris, scenes and costumes for _Aïda_ from, 168; _Aïda_ produced in, 170; _Otello_ at, 182; _Falstaff_ at, 193, 196, 204.

Paroli, Signor, in _Otello_, 179, 180.

Parry's, Dr., _Studies of the Great Composers_, 297.

Pasqua, Signora, in _Falstaff_, 191.

Pasta, 120.

_Paternoster_, Verdi's, 162.

Patti, Mme. Adelina, in _Luisa Miller_, 103; in _Aïda_, 172; 235; in _La Traviata_, 291.

Pedrotti, 287.

Pellegalli-Rosetti, Signor, in _Falstaff_, 191, 194.

Penco, Signora, in _Trovatore_, 115.

Peri and the first opera, 275, 280.

Perosio, 300.

Perugino, 200.

Pessina, Signor, in _Falstaff_, 194.

Petrovich, Mlle., in _Otello_, 179.

Piave, Verdi's librettist, 58, 70, 93, 105, 126, 143, 148, 213.

Piccolomini, Mlle., in _Luisa Miller_, 97, 99; in _La Traviata_, 129, 130, 131, 132, 135, 136, 235.

Piccini, 57, 60, 68; and the growth of opera, 278.

Pini-Corsi, Signor, in _Falstaff_, 191, 194.

Pinsuti, 101, 287.

Police and _I Lombardi_, 55; and _Ernani_, 59.

Political influences of Verdi, 203.

Polonini, Signor, in _Rigoletto_, 107.

Ponchielli, 287.

Poniatowski, Prince, and Verdi, 210.

Porporo and the growth of opera, 277.

Pougin's _Anecdotic History of Verdi_, 296, 297.

Pozzoni-Anastasi, Mme., in _Aïda_, 169.

Provesi, Giovanni, organist, 18, 21, 22; his prophesy 23; his death, 26.

Pugnatta, the cobbler, 13.

Quartet in E minor by Verdi, 162.

Raineri, Mme., and _Oberto_, 31.

Ravogli, Giulia, in _Falstaff_, 194.

Recitative, origin of, 275.

_Requiem_ mass, Verdi's, 151-161; lasting nature of, 292.

Ricordi, music publisher, buys _Oberto_, 31; letter from Verdi on _Nabucco_, 36; purchases _Nabucco_, 39; Sassaroli's challenge, 177; at dinner with Verdi, 190; 215.

_Rigoletto_, 95, 146, 147; libretto of, 105; produced in Venice, London, and Paris, 106; musical characteristics, 108; opinions on, 108-113, 133, 135, 197; place in Verdi's development, 231; revival of, 260; diverse opinions on, 268; continued popularity of, 290, 292.

Rinuccini and the first opera, 275.

Ritter's _History of Music_, 297.

_Roi s'amuse, Le_, 105.

Rolla's advice to Verdi, 25.

Ronconi and _Oberto_, 31; and _Nabucco_, 35, 47; in _Rigoletto_, 107.

Roosevelt's _Life of Verdi_, 205, 297.

Rossini, 54, 65, 83, 123, 124, 150, 151, 152, 158, 161; and Verdi, 206, 225, 226, 227, 259, 267; and the growth of opera, 278, 282.

Rubini, 120.

Salvi, Signor, and _Oberto_, 31.

San Carlo Theatre, Naples, 93, 95.

Sanchioli, in _Nabucco_, 40.

San Marco at Milan, 152.

Sarti, 80.

Sassaroli, Vincenzo, and _Aïda_, 177, 300.

Saunier, Mlle., in _Vêpres Siciliennes_, 140.

Sbriscia, Mme., in _Ballo in Maschera_, 145.

Scala, La, Theatre (see La Scala).

Scarlatti and the growth of opera, 277.

Scenes of _I Lombardi_, 51.

Schiller's _Die Raüber_, 84; _Kabale und Liebe_, 98.

Schumann, 226.

Scotti, Mme., in _Ballo in Maschera_, 145.

Scribe and _Les Vêpres Siciliennes_, 139.

Seletti, priest, 19, 21.

Selva, Signor, in _Ernani_, 59.

_Sicilian Vespers_ (see _Vêpres Siciliennes_).

_Simon Boccanegra_, produced at the Fenice theatre, 143; at Naples, 143.

Solera's libretto of _Nabucco_, 34, 42; of _I Lombardi_, 50; of _Attila_, 77.

Spezia, Mlle., in _Nino_, 46.

Spinet, Verdi's, 12.

Spohr's _oratorii_, 159; 281.

Spontini, 80; and the growth of opera, 278.

St. Agata, Verdi's residence, 217, 219, 221.

_Stabat Mater_, Rossini's, and Verdi's _Requiem_ mass, 158, 161, 162.

Stanford, Dr. Villiers, 38; on _Falstaff_, 299.

Stehle, Adelina, in _Falstaff_, 191.

Steller, Signor, in _Aïda_, 169.

_Stiffelio_, 103.

_Stila fugata_, 159.

Stolz, Mme., and Verdi's _Requiem_, 153, 154

Story of _Nabucco_, 42; of _I Lombardi_, 51-54; of _I Due Foscari_, 70-74; of _Attila_, 76; of _Masnadieri_, 86; of _Luisa Miller_, 94; of _Trovatore_, 113; of _La Traviata_, 127; of _Aïda_, 170.

Streatfeild's, R.A., _Masters of Italian Music_, 297.

Street organs and Verdi, 9, 224.

Strepponi and _Oberto_, 31; and _Nabucco_, 35; consulted by Verdi, 50; marriage with Verdi, 218.

Tagliafico, Signor, in _Rigoletto_, 107.

Taglioni, 290.

Tamagno, Signor, in _Trovatore_, 126; in _Otello_, 179, 180; 261.

Tamberlik, in _Trovatore_, 119, 120; in _Forza del Destino_, 148.

Temple, Mme., in _Rigoletto_, 107.

Teuton church music compared with Italian, 160.

---- and Italian in instrumental music, 165.

_Times_, musical critic of, 44; on _Nino_, 46; on _Atilla_, 81; on _Masnadieri_, 91; on _Luisa Miller_, 101; on _Rigoletto_, 110; on _Trovatore_, 123; on _Vêpres Siciliennes_, 142; on _Un Ballo in Maschera_, 145; 298.

Titiens, Mme., in _Vêpres Siciliennes_, 140, 141; in Verdi's cantata, 164; 261.

_Traviata, La_, 95; and the Fenice Theatre, 126; story of, 127; a failure, 128; at Her Majesty's, 129; opinions on, 131-138, 146; at Venice, 214; place in Verdi's development, 233, 252; a "sickly opera," 290.

_Troubadour, The_, 121 (see _Trovatore_).

_Trovatore_, 95; produced at Rome, 113, 115; in Naples, 116; in Paris and London, 118; opinions on, 119-125; universal success, 125, 128; 135, 138, 146, 197; and the organ-grinder, 215; place in Verdi's development, 232, 236, 250, 252, 259; revival of, 260, 290, 292.

Varesi, baritone, in _La Traviata_, 128, 214.

"Variety" entertainment and the opera, 290.

_Vêpres Siciliennes_, 76, 138; reception of, 139; at Drury Lane, 140; opinions on, 140; a rehearsal in Paris, 213; its manner, 236; a departure, 282.

Verdi, birth, 1; parents, 4; early circumstances, 6; characteristics of his music, 7; and street organs, 9; acolyte at the village church, 10; indications of musical aptitude, 11; his first musical instrument, 12; sent to school, 13; first musical training, 14; goes into the world, 15; office boy, 18; and Provesi, 19; organist of Roncole, 20; esteem for Barezzi, 21; conductor of the Busseto Philharmonic Society, 22; seeks the Milan _Conservatoire_ and is rejected, 24; under Lavigna, 25; returns to Busseto and is in love, 26; marries, 28; first attempt at a complete opera, 28; conducts in Haydn's _Creation_, 29; conductor of the Milan Philharmonic Society, 30; his _Oberto_ produced on the stage, 31; his wife's devotion, 32; domestic bereavements, 33; failure of _Un Giorni di Regno_, 34; on _Nabucco's_ success, 36, 38; his "best friends," 37; famous, 38; diverse opinions on, 40-47; alleged indebtedness to Wagner, 46; his success assured, 49; chosen to compose the _opera d'obbligo_ for La Scala Theatre direction, 50; another triumph, 55; _I Lombardi_, 55; _Ernani_, 58; his reception in England, 62; only Italian composer, 65; _I Due Foscari_, 70-75; _Giovanna d'Arco_, 75; _Alzira_, 76; _Attila_, 76-82; _Macbeth_, 83; _I Masnadieri_, 84-92; leaves England, 91; offered the _bâton_ at Her Majesty's, 92; _Il Corsaro_ and _La Battaglia di Legnano_, 93; _Luisa Miller_, 94-103; his evil genius, 96; _Stiffelio_ and _Il Finto Stanislas_, 103; _Rigoletto_, 105-113; _Trovatore_, 113-126; _La Traviata_, 126-138; letter on the failure of _La Traviata_, 128; _Les Vêpres Siciliennes_, 138-143; _Simon Boccanegra_, 143; _Un Ballo in Maschera_, 144; sued by the San Carlo Theatre, Naples, 144; _Forza del Destino_, 148, 149; his Third style, 149; a writer of sacred music, 150; and the Rossini mass, 151; on Manzoni, 153; his _Requiem_ at San Marco, Milan, 153; at La Scala Theatre, in Paris, and in London, 154; as a conductor, 155; his _Requiem_ as a contribution to church music, 158-162; other compositions, 162; the cantata _L'Inno delle Nazioni_, 163; at Her Majesty's, 164; Third period in his career, 167; _Aïda_, 167-177; _Otello_ and _Falstaff_, 168; _Montezuma_, 179; _Otello_, 177-186; in Paris, on presentation of _Otello_, 182; _Falstaff_, 187-202; congratulations from King Humbert, 192; as a writer of comic music, 201; a born politician, 203; politics in his music, 204-208; political significance of his name, 205; member of the National Assembly of Parma, 208; honours, 208-211; external appearance and character, 212-216; his fortune and residence, 217; second marriage, 218; habits, 218-222; popularity, 223; influence on opera, 225; estimate and characteristics of his work, 228-255; adverse criticism of, 256-271; his starting point, 279; outside influence upon, 281; and the growth of opera, 282; in _Aïda_, _Otello_, and _Falstaff_, 283; a "Wagnerite," 284; his place in musical art, 287; his imitators, 287; his masterpieces, 291; his fame, 292; bibliography, 293; literature about--why scanty, 296.

Verdians and anti-Verdians, 57.

Verdi-ites on _Luisa Miller_, 97.

Verdinian characteristics in _Ernani_, 63.

_Vespri Siciliani, I_, 140 (see _Vêpres Siciliennes_).

Vialetti, in _Luisa Miller_, 99.

Viardot, Mme., in _Trovatore_, 118, 120.

Victor Emmanuel and Verdi, 205, 209.

Vienna, _Falstaff_ in, 196.

Vocal music, Italian tendency for, 165.

Wagner and Verdi, 46, 60, 122; _Der Meistersinger_ and _Falstaff_, 189, 199; and Verdi, 181, 182, 198, 199, 202, 228, 235, 240, 241, 242, 244, 245, 249, 251, 253, 254, 264, 267, 275, 279, 280, 284, 285, 287, 298.

"Wagnerian," 284, 286.

"Wagnerite," 284.

Waldmann, Mme., and Verdi's _Requiem_, 153, 154.

Weber, 263, 264, 267, 281, 285.

Zilli, Emma, in _Falstaff_, 191, 194.

* * * * * *

Transcriber's note:

The Greek word 'polloi' (many) occurs twice: on pages 159 and 260. On both pages it is used to mean the large number of musically-uneducated people who enjoy opera. On page 159 polloi appears in italicised Latin letters: on page 260 it appears in Greek letters. It is not clear why 'polloi' should appear in two different forms but both of them have been kept as printed.

In Chapter III the singer of one of the female leads in the opera _Oberto_ is named as Madame Alfred Shaw. She is better known as Mary Shaw. Born Mary Postans, she married the painter Alfred Shaw in 1835.

In Chapter IX the Chorus of Hebrew Slaves is placed in the opera _I Lombardi_: it belongs, of course, to _Nabucco_.

Apart from the correction of one or two obvious typographical errors, the spelling is that of the original text.

Several Italian passages, most of them taken from opera librettos, were incorrectly typeset in the original text. These passages have not been corrected in the main text but they are listed below with the changes needed to correct them. The page numbers refer to the original text.

Page 43: "festivi giu cadono" should be "festivi giù cadono".

"Oh, dischinso e il firmamento" should be "Oh, dischuiso è il firmamento".

Page 48: "Deh! l'empri" should be "Deh! l'empio".

"Suppressaugi'istanti" should be "S'appressan gl'istanti".

"Oh di qual onta aggravesi" should be "Oh di qual onta aggravasi"

Page 88: "Volasti alma beati" should be "Volasti, alma beata"

Page 175: "Morir! si pura e bella" should be "Morir! sì pura e bella".

Page 207: "Avrai tu L'universo vesti L'Italia me!" should be "Avrai tu l'universo resti l'Italia me!".

Page 229: "Il Corsari" should be "Il Corsaro".

Page 284: "aria d'entratà" should "aria d'entrata".