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 and curriculum—First musical instruction—An apt pupil
CLERK, STUDENT, AND PROFESSOR
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 La Scala—Death of Provesi, and assumption of his Busseto duties by Verdi Page 16
COURTSHIP, MARRIAGE, AND FIRST OPERATIC SUCCESS
Verdi is engaged class="csummary"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—Opposition from the critics—Mr. Lumley gives Nabucco in London—Its performance and reception Page 27
SUCCESS, AND INTRODUCTION INTO ENGLAND
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 Page 49