Verdi: Man and Musician / His Biography with Especial Reference to His English Experiences

by Frederick James Crowest

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.

[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-[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-[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];