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Updated: June 22, 2025
One of Verdi's poetic assistants was Francesco Piave, who supplied the verses for "La Traviata," "Ernani" and several other of his operas. A question having arisen some years ago, as to the origin of the libretto of "Aida," the author of it, M. du Locle, wrote to a Roman paper that the first idea of the poem belongs to the celebrated Egyptologist, Mariette Bey.
In the second act, as the nuptials are about to be solemnized, Ernani enters, disguised as a pilgrim, and believing Elvira false to him, throws off his disguise and demands to be given up to the King, which Silva refuses, as he cannot betray a guest. Discovering, however, that Elvira and Ernani are attached to each other, he determines on vengeance.
While receiving the congratulations of her friends upon her approaching marriage with Silva, Don Carlos, the King of Spain, enters her apartment, declares his passion for her, and tries to force her from the castle. She cries for help, and Ernani comes to her rescue and defies the king.
Then it was discovered he had a voice and he was told he could make a far greater success with that voice than he ever could playing the clarinet. He set to work at once to cultivate the voice in serious earnest and under good instruction. After a considerable time devoted to study, he made his début in Milan, in Verdi's Ernani. His success won an engagement at Covent Garden and for Monte Carlo.
To one who really admires Shakspere and Homer, a fashionable novel is tedious beyond endurance; just so, to one who can appreciate "Tristan" or "Euryanthe," Verdi's "Ernani" and Bellini's "Norma" are heavy as lead, soporific as opium. The difficulty of understanding subtle harmonies is perhaps the main reason why English-speaking people are so slow in appreciating and encouraging the opera.
After all, as some one said of the Scotch, you can do a good deal with a German if you catch him young. Mr. Arnswald does not appear to have been caught in time." She threw the paper from her and seated herself at the piano. For a moment her fingers strayed over the keys, and then, in answer to some evoking chord, she attacked the Ernani involami, than which few melodies are richer in appeal.
There are passages in "Ernani," "Rigoletto," "Traviata," "Trovatore," and "Aida," so strong and dignified, that it provokes a wonder that one with such capacity for greatness should often descend into such bathos.
Lamperti devoted himself assiduously to preparing the young German singer for her début, and at the end of 1847 she was enabled to appear at La Fenice, under the Italianized name of Cruvelli, in the part of Dona Sol in "Ernani." This was followed by a performance of Norma, and in both she made a strong impression of great powers, which only needed experience to shine with brilliant luster.
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