Verdi: Man and Musician

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 co

o join the family circle, and so became acquainted with the eldest daughter, Margarita-a girl of beautiful disposition, with whom Verdi fell violently in love. The young lady returned his affection, and Sig

peratic success that would add to his slender income. The prospect of a large family, and no means to support it with, was a painful piece of math

, and with his stock-in-trade-a score of a musical melodrama entitled Oberto, Conte di S. Bonifacio-under his arm. This composition was his first attempt at a complete opera. Every pain had been taken with the score; and not only was each note V

tra, and Masini considerately informed Verdi that if he would play the bass part merely, even that would be sufficient! Verdi acquiesced, and, amid starings and titterings, made for the conductor's seat and score. "I shall never forget," Verdi has said, "the sort of sarcastic approval that crossed the faces of the knowing ones. My young, thin, and shabbily-attired person was little calculated, per

, when the impresario of La Scala sent for him unexpectedly. Signor Bartolomeo Merelli had heard from the singers who had been studying Oberto respecting the uncommon quality of its music, and the opinions of the vocalists Signora Strepponi and Signor Ronconi were not to be lightly regarded. The outcome of the interview was an agreement by which Verdi's opera was to be put upon the stage during the next season at Merelli's expense-Verdi in the meanwhile making certain alterations in the score, chiefly because of a change of artists from those for whom it was originally written. Merelli was to divide with Verdi any sum for which the score might be sold, in the event of the opera p

e Milan and Vienna opera-houses, approached Verdi respecting the composition of three operas-one every eight month

long illness, Verdi was greatly distressed at the thought of failing to meet his rent. Here, however, came man's blessed balm when desperate moments face him-in the womanly unselfishness of a brave wife. Seeing her husband's anxiety, Signora Verdi collected her trink

st his wife, son, and daughter. Verdi tells the terrible story as only the sufferer himself can. "My bambino (little boy) fell ill early in April (1840), and the doctors failing to discover the mischief, the poor little fellow got weaker and weaker, and passed away finally in the arms of his mother. She was heart-broken. Immediately our little daughter

named Un Giorno di Regno. This Verdi set to music. It was produced at La Scala Theatre on the 5th September following his wife's death, and was a failure. No wonder that Verdi desponded, and begged of Merelli that he would cancel the agreement, which he did, tearing the document to pieces. Verdi's resolute intention was never to

tous passage, "Fly, O thought, on golden wings," which so interested Verdi that he read on. Finally, the whole poem was in his mind, and so disturbed his rest that he dete

repponi and Signor Ronconi were to sing in Nabucco, and the work was to be produced during the Carnival time. Merelli declared he could not manage the scenery in the time; but Verdi would not hear

ch, and both Signora Strepponi

nder a lucky star. All that might have been against it proved in its favour. It is a wonder that Merelli did not send me and my opera to the devil, after the furious letter

ere not within the memory of the oldest habitué of La Scala. The Italians could not resist its peculiar "carrying-along" power. The work was unanimously declared the true ideal of what a tragic musical drama

riends, from the very beginning. It was a handful of car

tory, and ask

rtistes were singing as badly as they knew how, and the orchestra seemed bent only on drowning the noise of the workmen who were busy making alterations in the building. Presently the chorus began to sing, as carelessly as before, the 'Va, pensiero,' but before they had got through half a dozen bars the theatre was as still as a church. The m

ecause of the expense. Then a friend volunteered the extra cost. "No, no!" thundered in Verdi. "The chorus must be increased. It is indispensable. I will pay the extra singers myself." And he did! The success of Nabucco was remarkable.

e astonished ones. He had deferred a journey in order to hear Nabucco, and was so impressed by it, that nought but the expressions; "It's fine! Unc

or ￡102, of which, by the terms of the contract, Merelli the impres

he work had already become popular on the Continent, and had in some places created a furore. The English public, it should be stated, already knew Verdi through Ernani, which opera, as the reader will learn later on, had been performed in London the previous year, and had startled the susceptibilities of our critics. The object in presenting th

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d somewhat coarse, attracted and excited by her 'power, spirit, and fire,' but she failed to charm. As a 'declaiming, passionate vocalist' she created an effect; but the very qualities which had rendered her so popular with an Italian audience, acted somewhat repulsively upon English opera-goers. The lack of refinement in her style was not, in their eyes, redeemed by the merit of energy. The electric impulse that communicated itself to the Italians, fell comparatively powerless on the British temperament. Sanchioli, however, was in many respects the 'right woman in the right place' in this melodramatic opera. The other lady, Mademoiselle Corbari, though d

ofanes their temple, insults their faith, and finally falls a victim to the vengeance of Isis. He goes mad. His supposed daughter, Abigail, obtains possession of the kingdom, to the exclusion of his lawful heiress, Fenena, who is about to be sac

exquisite manner; the charming chorus, 'Va, pensiero,' flowing and plaintive; and the final prayer 'Terribil Iside,' sung without instrumental accompaniment. These morceaux require to be studied in detail for their beauties to be fully appreciated; but they nevertheless produce, at first hearing, an effect which pieces abounding, as they do, in imagination and remarkable excellence of construction, do not always obtain. They are more highly characteristic. The opening chorus, 'Gli arredi festivi giu cadono infranti,' is severe and characteristic, and altogether peculiar in its construction. The first aria o

e leading critics-inasmuch as it was with Nino that Verdi experience

entleman, also deceased, may be credited with the emanations respecting Verdi and his doings which appeared in its columns. Now, when Nabucco, in its Anglicised form as Nino, was produced here, the former critic wrote: "Our first hearing of the Nino has done nothing to change our judgment of the limited nature of Signor Verdi's resources.... Signor Verdi is 'nothing if not noisy,' and by perpetually putting his energies in one and the same direction, tempts us, out of contradiction, to long for the sweetest piece of sickliness which Paisiello put forth.... He

lodies has been great and world-wide, even those of such early operas as Ernani and I Lombardi are still with us-to wit, that lovely excerpt "Come poteva un angelo" from the latter work; while the orchestr

markable, but the rich instrumentation, and the effective massing of the voices do not fai

agement. It was during the 1857 season. Mademoiselle Spezia made a decided mark in the part

dramatic power, that the liveliest curiosity was excited by his first appearance."[9] Signor Corsi failed, however, to establish his claim to public favour either as a singer o

a vast change in operatic values, and, although the revival of Nabucco might not be called for now, it must not be forgotten that, when it first appeare

mpri, these manifested indisputable originality and learning. Other notable numbers proved to be the chorus "Lo vedesti," and the "Il maledetto non ha fratelli" movement; while the canone for five voices, "Suppressau gi'istanti," the scena, "O mia figlia" (which Fornasari was wont to render so feelingly), and the duet "Oh di qual onta aggravesi," are remarkable examples of

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