FIRST PERIOD WORKS
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—Jerusalem in Paris—I Masnadieri first given at Her Majesty's Theatre—Jenny Lind in its cast—Plot of the opera—The work a failure everywhere—The critics on I Masnadieri— Mr. Lumley offers Verdi the conductorship at Her Majesty's Theatre—Il Corsaro—La Battaglia di Legnano—Luisa Miller— Mr. Chorley on Luisa Miller—Its libretto—Reception of the work in Naples, London, and Paris Page 70
RIGOLETTO TO AÏDA—SECOND PERIOD OPERAS
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 libretto and argument—The first performance at Venice a fiasco—Judgment reversed—Brilliant success of the opera in London—Piccolomini's impersonation of Violetta—Mr. Lumley's testimony—The Press and La Traviata—Athenæum and The Times criticism of La Traviata—Les Vêpres Siciliennes—Prima donna runs away—Reception of the opera in Paris and London—Verdi in Germany—The Times criticism—Simon Boccanegra a failure—Un Ballo in Maschera—Trouble with the authorities—Production and success of Un Ballo in Maschera—Its reception in London—The Times on the opera—La Forza del Destino unsuccessful Page 104
REQUIEM MASS AND OTHER COMPOSITIONS
Verdi as a sacred music composer—Share in the "Rossini" mass—Failure of a patch-work effort—Missa de 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—National temperament involved—Thematic method inconsistent with Italian national life Page 150