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Thus when Merelli, in despair, came apologetically to Ivan to suggest an alteration of the rhythm which made the whole beauty of the song Ivan rose from his place swearing, savagely, that not one other note in the score should be altered; but that Merelli and his whole troupe might go to perdition when and how they chose; after which he left the theatre, sought out Nicholas, flung his contract in that good man's face, and requested that he go at once to Merelli with word that the score be returned, with all its parts, and the entire transaction declared off.
This Merelli had first become interested in Verdi from overhearing the singer Signora Strepponi praising Verdi's first opera. This was before the failure of the comic opera and the annihilation of Verdi's family. When Merelli had at length decoyed Verdi back to composition, his next work, "Nabucco," was a decided success, the principal part being taken by this same Strepponi.
Waiting only till the fire was replenished and pipes drawing well, Nicholas observed, between puffs: "Well, I've had my final talk with Merelli; and I have brought with me, for signing, the contracts covering the production, to be made on New Year's night, of your opera, 'The Boyar."
The prima-donna and the first tenor simply scouted the idea of applying themselves to learn new rôles and in a Russian opera! Merelli must be out of his head to set about such a thing! Ivan, it is true, might have been encouraged had he heard the opinion of his work expressed by Merelli to his refractory singers.
This arranged, and one rehearsal at which technical difficulties loomed large before both men and conductor impatiently endured, all Ivan's mind was given up to considerations for the placing of his opera. Merelli, he knew well, was thirsting for it: would make it his feature of the next year's season. Should he insist, it would even be rushed through during the spring. But he was not in haste.
After the opera there was still a long and hilarious supper, given by Merelli, to be endured; and when, an hour or two before dawn, Ivan finally reached his rooms, he found upon his table a sealed envelope, unaddressed.
To young Verdi this seemed an excellent chance and he accepted at once. Rossi wrote a libretto, entitled "Proscritto," and work on the music was about to begin. In the spring of 1840, Merelli hurried from Vienna, saying he needed a comic opera for the autumn season, and wanted work begun on it at once. He produced three librettos, none of them very good.
But it is tragic enough that he should have been compelled to write a comic opera under the anguish that he felt at the loss of his two children and his wife, and that his reward should have been even then a dismal fiasco. He was dissuaded from his vow to write no more, and it was in a driving snow-storm that his friend Merelli decoyed him to a field, in which so much fame was awaiting him.
Nathalie, first: then Zaremba, Anton Rubinstein, Laroche his comrade of the Conservatoire, Ostrovsky his collaborator, Balakirev, Merelli, Joseph, finally, Irina, her soul still flaunting its rags before the gaze of the world, while her brother and those student companions of her honest days and Ivan's first success, labored in distant prison-mines, self-victims of unsuccessful treason: what of these?
However, as the days passed there would be here a line written down, there a melody until at last, almost unconsciously the opera of "Nabucco" came into being. The opera once finished, Verdi hastened to Merelli, and reminded him of his promise. The impressario was quite honorable about it, but would not agree to bring the opera out until Easter, for the season of 1841-42, was already arranged.
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