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Updated: June 8, 2025
"Il Ballo in Maschera," an opera in three acts, but usually performed in four, words by M. Somma, was first produced in Rome, Feb. 17, 1859. In preparing his work for the stage, Verdi encountered numerous obstacles.
For me, I only know Tom the ruffian in the Ballo in Maschera. That is all the Tom I know! They all looked at Margaret and laughed. She blushed a little, more out of annoyance than from any other reason. 'The maids wished to put me out, laughed Stromboli, 'but they could not, because I am big. So I read everything. If I tell you I read, what harm is there?
When seven o'clock struck, Eustace and I, who had been entertaining the children in their mothers' absence, heard the sound of steps upon the stairs. The guests arrived, bringing their own risotto with them. Welcome was short, if hearty. We sat down in carefully appointed order, and fell into such conversation as the quarter of San Vio and our several interests supplied. From time to time one of the matrons left the table and descended to the kitchen, when a finishing stroke was needed for roast pullet or stewed veal. The excuses they made their host for supposed failure in the dishes, lent a certain grace and comic charm to the commonplace of festivity. The entertainment was theirs as much as mine; and they all seemed to enjoy what took the form by degrees of curiously complicated hospitality. I do not think a well-ordered supper at any trattoria, such as at first suggested itself to my imagination, would have given any of us an equal pleasure or an equal sense of freedom. The three children had become the guests of the whole party. Little Attilio, propped upon an air-cushion, which puzzled him exceedingly, ate through his supper and drank his wine with solid satisfaction, opening the large brown eyes beneath those tufts of clustering fair hair which promise much beauty for him in his manhood. Francesco's boy, who is older and begins to know the world, sat with a semi-suppressed grin upon his face, as though the humour of the situation was not wholly hidden from him. Little Teresa, too, was happy, except when her mother, a severe Pomona, with enormous earrings and splendid fazzoletto of crimson and orange dyes, pounced down upon her for some supposed infraction of good manners creanza, as they vividly express it here. Only Luigi looked a trifle bored. But Luigi has been a soldier, and has now attained the supercilious superiority of young-manhood, which smokes its cigar of an evening in the piazza and knows the merits of the different cafés. The great business of the evening began when the eating was over, and the decanters filled with new wine of Mirano circulated freely. The four best singers of the party drew together; and the rest prepared themselves to make suggestions, hum tunes, and join with fitful effect in choruses. Antonio, who is a powerful young fellow, with bronzed cheeks and a perfect tempest of coal-black hair in flakes upon his forehead, has a most extraordinary soprano sound as a bell, strong as a trumpet, well trained, and true to the least shade in intonation. Piero, whose rugged Neptunian features, sea-wrinkled, tell of a rough water-life, boasts a bass of resonant, almost pathetic quality. Francesco has a mezzo voce, which might, by a stretch of politeness, be called baritone. Piero's comrade, whose name concerns us not, has another of these nondescript voices. They sat together with their glasses and cigars before them, sketching part-songs in outline, striking the keynote now higher and now lower till they saw their subject well in view. Then they burst into full singing, Antonio leading with a metal note that thrilled one's ears, but still was musical. Complicated contrapuntal pieces, such as we should call madrigals, with ever-recurring refrains of 'Venezia, gemma Triatica, sposa del mar, descending probably from ancient days, followed each other in quick succession. Barcaroles, serenades, love-songs, and invitations to the water were interwoven for relief. One of these romantic pieces had a beautiful burden, 'Dormi, o bella, o fingi di dormir, of which the melody was fully worthy. But the most successful of all the tunes were two with a sad motive. The one repeated incessantly 'Ohimé! mia madre morì; the other was a girl's love lament: 'Perchè tradirmi, perchè lasciarmi! prima d'amarmi non eri così! Even the children joined in these; and Catina, who took the solo part in the second, was inspired to a great dramatic effort. All these were purely popular songs. The people of Venice, however, are passionate for operas. Therefore we had duets and solos from 'Ernani, the 'Ballo in Maschera, and the 'Forza del Destino, and one comic chorus from 'Boccaccio, which seemed to make them wild with pleasure. To my mind, the best of these more formal pieces was a duet between Attila and Italia from some opera unknown to me, which Antonio and Piero performed with incomparable spirit. It was noticeable how, descending to the people, sung by them for love at sea, or on excursions to the villages round Mestre, these operatic reminiscences had lost something of their theatrical formality, and assumed instead the serious gravity, the quaint movement, and marked emphasis which belong to popular music in Northern and Central Italy. An antique character was communicated even to the recitative of Verdi by slight, almost indefinable, changes of rhythm and accent. There was no end to the singing. 'Siamo appassionati per il canto, frequently repeated, was proved true by the profusion and variety of songs produced from inexhaustible memories, lightly tried over, brilliantly performed, rapidly succeeding each other. Nor were gestures wanting lifted arms, hands stretched to hands, flashing eyes, hair tossed from the forehead unconscious and appropriate action which showed how the spirit of the music and words alike possessed the men. One by one the children fell asleep. Little Attilio and Teresa were tucked up beneath my Scotch shawl at two ends of a great sofa; and not even his father's clarion voice, in the character of Italia defying Attila to harm 'le mie superbe citt
"Attila" was his next great triumph; and then followed in rapid succession a large number of operas, among them: "I Masnadieri" , written for the English stage, with Jenny Lind, Lablache, and Gardoni in the cast; "Luisa Miller" ; "Stifellio" ; "Rigoletto" ; "Il Trovatore," Rome ; "La Traviata," Venice ; "I Vespri Siciliani," Paris ; "Simon Boccanegra," Venice ; "Un Ballo in Maschera," Rome ; "La Forza del Destino," St.
These conspirators, by proceeding to the last extremities, and thereby making her tremble for Mazarin's life, hastened the triumph of the happy Cardinal; and on the morrow of the last nocturnal ambush in which he was marked for destruction, Jules Mazarin became absolute master of the Queen's heart, and more powerful than Richelieu had ever been after the Day of Dupes. "Quitarse la maschera."
"Titiens is the most superb Leonora without a single exception that the Anglo-Italian stage has ever witnessed," wrote an admiring critic. Among other brilliant successes of the season was her performance for the first time of Amelia in Verdi's "Un Ballo in Maschera," which was a masterpiece of vocalization and dramatic fire.
We have a good dancer here called Roessler. He is a German, and dances right well. Apropos, every one is now in maschera, and one great convenience is, that if you fasten your mask on your hat you have the privilege of not taking off your hat when any one speaks to you; and you never address them by name, but always as "Servitore umilissimo, Signora Maschera." Cospetto di Bacco! that is fun!
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