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 as polloi: on page 260 it appears in Greek letters as πολλοί. 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.

Chapter III
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".
Chapter V
Page 88:"Volasti alma beati" should be "Volasti, alma beata".
Chapter VIII
Page 175 "Morir! si pura e bella" should be "Morir! sì pura e bella".
Chapter IX
Page 207 "Avrai tu L'universo vesti L'Italia me!" should be "Avrai tu l'universo resti l'Italia me!".
Chapter X
Page 229"Il Corsari" should be "Il Corsaro".
Chapter XI
Page 284"aria d'entratà" should "aria d'entrata".