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 CHAPTER XXXIII

THE OPERA ASIDE FROM WAGNER

203. Verdi and the Italians.—Throughout the middle of the century native opera in Italy had little significant to offer except the striking career of Verdi. In general, her fertile opera-writers were quite content to supply what the annual seasons everywhere demanded in the old, familiar style, aiming simply at luscious or humorous vocal effects and theatrically thrilling episodes with the minimum of choral or orchestral richness, and without thoughtful dramatic treatment of either characters or plot. The literary quality of librettos remained neglected. Popular impression depended upon captivation by star-singers, and was liable to be upset by trivial and unreasonable causes. What was called 'learning' was resented, with any energetic deviation from traditions. Italy had but slight knowledge of the splendid movements in musical art elsewhere in progress. For piano salon music and for songs there was a constant demand, but not for any serious form of orchestral or chamber music. Church music, of course, was indispensable, but it was largely controlled by operatic standards, and, except in a few places, had lost all memory of the old polyphonic ideality. Furthermore, all Italy was stirring with eagerness for release from foreign dominion, especially that of Austria, and was groping toward the national unity that has now come to pass.

Into this situation was projected before 1840 the sturdy figure of the young Verdi, a man of the people, Italian to the core, a dramatic enthusiast and a great melodist, yet a student, susceptible to suggestions from all sources, a real master of the voice and ultimately of orchestration, in artistic endeavor endowed with an elastic endurance seldom equaled. His long life made him a link between the age of Rossini and that of fully developed Wagnerism, and his genius was so resourceful and plastic that in his works is illustrated much of the tremendous transition between these two extremes. He not only brought lustre