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,
< a href="@public@vhost@g@html@files@46316@46316-h@46316-h-4.htm.html#Page_226" class="pginternal">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, 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, 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.