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250 to appreciate the tragic action of the last act. Yet the failure at Venice did not prevent the opera from being received enthusiastically elsewhere. In connection with the Traviata we may add that at its first performance in French, at Paris, Oct. 27, 1864, the heroine was Miss Christine Nilsson,—her first appearance before the public.

Next to the 'Traviata' Verdi wrote 'I Vespri Siciliani,' which appeared in Paris on June 13, 1855. It is strange that writing for the French stage an Italian composer should have chosen for his subject a massacre of the French by the Sicilians. Messrs. Scribe and Duveyrier may be complimented upon their poetry, but not upon their common sense in offering such a drama to an Italian composer, who writing for the first time for the Grand Opéra, could hardly refuse a libretto imposed on him by the then omnipotent Scribe. However, the music was appreciated to its value by the French public, who overlooking the inopportunity of the argument, welcomed heartily the work of the Italian maestro. In Italy—where the opera was reproduced with a different libretto, and under the title of 'Giovanna di Guzman,' the Austrian police not allowing a poem glorifying the revolt of Sicily against oppressors—it did not actually fail, but its many beauties have never been fully appreciated.

'Simon Boccanegra'—by Piave, expressly composed by Verdi for La Fenice and produced March 12, 1857—was a total failure, though the prologue and last act may be ranked amongst his most powerful inspirations. The failure was owing to the dull and confused libretto, and to a very bad interpretation. Both book and music were afterwards altered—the former by Arrigo Boito—and the opera was revived with success in Milan on April 12 [App. p.811 "March 24"], 1881.

'Un ballo in Maschera,' though written for the San Carlo of Naples, was produced at the Teatro Apollo of Borne. Its original title was 'Gustavo III'; but during the rehearsals occurred the attempt of Orsini against Napoleon III (Jan. 13, 1858), and the performance of an opera with so suggestive a title was interdicted. Verdi received a peremptory order from the police to adapt his music to different words, and upon his refusal the manager of San Carlo brought an action against him for 200,000 francs damages. When this was known, together with the fact that he had refused to ask permission to produce his work as it was, there was very nearly a revolution in Naples. Crowds assembled under his window, and accompanied him through the streets, shouting 'Viva Verdi,' i.e. 'Viva Vittorio Emanuele Re Di Italia.'

In this crisis M. Jasovacci, the enterprising impresario of Rome, called on Verdi, and taking the responsibility of arranging everything with the Roman police, entered into a contract to produce the work at Rome. Richard, Governor of Boston, was substituted for Gustavo III; the opera was re-christened 'Il [App. p.811 "Un"] ballo in Maschera,' was brought out (Feb. 17, 1859), and Verdi achieved one of his greatest successes. This was his last opera for the Italian stage. The next three were written for St. Petersburg, Paris, and Cairo.

'La Forza del Destino'—the plot borrowed by Piave from 'Don Alvar,' a Spanish drama by the Duke of Rivas—was performed with moderate success on Nov. 10, 1862, at St. Petersburg. Seven years later Verdi had the libretto modified by Ghislanzoni, and after various alterations in the music, the opera was again brought before the public.

'Don Carlos,' the words by Méry and Du Locle, was enthusiastically received at the Opera in Paris, March 11, 1867. Verdi has since (1883) introduced some changes in the score, materially shortening the opera.

His latest operatic work is 'Aida,' which was produced at Cairo Dec. 27 [App. p.811 "Dec. 24"], 1871. During the last thirteen years Verdi has given nothing but his Requiem, produced at Milan on the occasion of the anniversary of the death of Manzoni, May 22, 1874; in 1880 a 'Pater Noster' for 5 voices, and an 'Ave Maria' for soprano solo. Artists and amateurs are anxiously waiting for 'Othello,' to a libretto by Arrigo Boito; but it would appear that the composer is not satisfied with his work, since there are as yet no intimations of its production.

Amongst Verdi's minor works are the 'Inno delle Nazioni,' performed at Her Majesty's Theatre in [App. p.811 "May 24"] 1862, and a string quartet in E minor, written at Naples in 1873, and performed at the Monday Popular Concerts, London, Jan. 21, 1878. A complete list of all his compositions will be found at the end of this article.

Of Verdi as a man, as we have already hinted, little or nothing can be said.

From the earliest moment of his career, his dislike of the turmoil of the world has never varied. Decorations, orders, titles have been heaped upon him at home and abroad, but he is still annoyed if addressed otherwise than 'Signor Verdi.' In 1860 he was returned as member of the Italian parliament for Busseto, and at the personal wish of Count Cavour took the oath, but very soon sent in his resignation. In 1875 the king elected him a senator, and Verdi went to Rome to take the oath, but never attended a single sitting. Some years after the loss of his wife and children he married Mme. Strepponi, but from this second marriage there is no family. He lives with his wife all the year round at his villa of S. Agata, near Busseto, excepting only the winter months which he spends in Genoa. Passing by the villa every one may see that our representation of his turn of mind is quite true. It stands far from the high road, concealed almost entirely by large trees. Adjoining it is a large and beautiful garden, and this again is surrounded by the farm. Verdi himself looks after the farming operations, and an Englishman will find there all the best agricultural implements and machines of modern invention.

Verdi's life at S. Agata is not dissimilar from that of other landed proprietors in the district. He gets up at five o'clock, and takes, according