Only now begins the interest which the student of musical history finds in Verdi's life. Hitherto he had proved a good man, struggling with adversity and poverty, a successful composer ambitious to succeed to the vacant throne of Italian opera. But the keen insight into dramatic necessity which had gradually developed and had given such force to otherwise unimportant scenes in earlier operas, also showed him the insufficiency of the means hitherto at the disposal of Italian composers, and from time to time he had tried to learn the lessons taught in the French Grand Opera School, but with poor success. Now a longer interval seemed to promise a more careful, a more ambitious work, and when "Aïda" was produced at Cairo (1871), it was at once acknowledged that a revolution had taken place in Verdi's mind and method, which might produce still greater results. The influence of Wagner and the music-drama is distinctly to be felt.
But Verdi was apparently not yet satisfied. For sixteen years the successful composer maintained absolute silence in opera, when whispers of a great music-drama roused the expectation of musical Europe to an extraordinary pitch; nor were the highest expectations disappointed when "Otello" was produced at Milan in 1887. The surrender of Italian opera was complete, and Verdi took his right place at the head of the vigorous new school which has arisen in Italy, and which promises to regain for the "Land of Song" some of her ancient preeminence in music. A comic opera by Verdi, "Falstaff," was announced in 1892: it has well sustained his previous reputation.[Back to Contents]
DRAMATIC AND LYRIC ARTISTS
DAVID GARRICK
By Samuel Archer
(1716-1779)
This celebrated actor was the son of Peter Garrick, who had a captain's commission in the army, but who generally resided at Lichfield. He was born at Hereford, when his father was on a recruiting party there, and was baptized in the Church of All-Saints, in that city, on February 20, 1716. Young Garrick received part of his education at the grammar school there, but he did not apply himself to his books with much assiduity. He had conceived a very early passion for theatrical representation, from which nothing could turn him aside. When he was a little more than eleven years of age, he formed the project of getting a play acted by young gentlemen and ladies. After he had made some trial of his own and his companions' abilities, and prevailed upon the parents to give their consent, he pitched upon the "Recruiting Officer," for the play. He assembled his little company in a large room, the destined place of representation. There we may suppose our young boy distributed the several characters according to the merits of the performer. He prevailed on one of his sisters to play the part of the chambermaid. Sergeant Kite, a character of busy intrigue and bold humor, he chose for himself.
The play was acted in a manner so far above the expectation of the audience, that it gave general satisfaction, and was much applauded. The ease, vivacity, and humor of Kite are still remembered with pleasure at Lichfield. The first stage attempt of our English Roscius was in 1727.
Not long after, he was invited to Lisbon by an uncle, who was a considerable wine merchant in that city, but his stay there was very short, for he returned to Lichfield the year following. It is imagined that the gay disposition of the young gentleman was not very suitable to the old man's temper, which was, perhaps, too grave and austere to relish the vivacities of his nephew.
However, during his short stay at Lisbon, young Garrick made himself agreeable to all who knew him, particularly to the English merchants who resided there, with whom he often dined. After dinner they usually diverted themselves by placing him upon the table, and calling upon him to repeat verses and speeches from plays, which he did with great readiness, and much to the satisfaction of the hearers. Some Portuguese young gentlemen of the highest rank, who were of his own age, were also much delighted with his conversation.