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Updated: June 18, 2025
So strong is this resemblance, that we burst forth all together in the strains of the "Anvil Chorus"; and the accompaniment is beaten with tenfold more regularity and effect than on the stage, in the glare of the footlights, by "Il Trovatore's" gypsy-comrades. I doubt if Verdi's music was ever so rendered before, amid such surroundings.
Babalatchi's hand grasped the handle with the energy of despair, and as he turned, the deep gloom on his countenance changed into an expression of hopeless resignation. Through the open shutter the notes of Verdi's music floated out on the great silence over the river and forest.
Verdi's "Ernani," "Rigoletto," and "Trovatore," with Donnizetti's "Lucia" or "Favorita" or "Lucrezia," and Auber's "Massaniello," or Rossini's "William Tell" and "Gazza Ladra," were among my special enjoyments. I heard Alboni every time she sang in New York and vicinity also Grisi, the tenor Mario, and the baritone Badiali, the finest in the world. This musical passion follow'd my theatrical one.
He was a devoted friend and admirer of Verdi's, to whom he paid a glowing tribute in his book entitled "Reminiscenze Artistiche." He died some fifteen or sixteen years ago, and some of his last verses were translations of Tennyson's poems.
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.
His music has nothing to do with theories, it is the voice of nature speaking in the idiom of art. In him Verdi's vigour often degenerated into mere brutality, but his work is by no means without power, though he has little claim to distinction of style.
I have a repertoire of about one hundred and twenty rôles, in most of which I have sung many times in Italy. Some I wish might be brought out at the Metropolitan. Verdi's Don Carlos, for instance, has a beautiful baritone part; it is really one of the fine operas, though it might be considered a bit old-fashioned to-day. Still I think it would be a success here.
Crowds gathered in the streets shouting, "Viva Verdi," implying at the same time, by the use of the letters in Verdi's name, the sentiment, "Viva Vittorio Emmanuele Re Di Italia." A way out of his difficulties, however, was finally suggested by the impresario at Rome, who arranged with the censorship to have the work brought out at the Teatro Apollo as "Un Ballo in Maschera."
In those days there was a lovely lane called Marguerite Gautier, with a dovecote pointed out as the very "rustic dwelling" so pathetically sung in Verdi's tuneful score and tenderly described in the original Dumas text.
Save for the features of its score which differentiate it from the music of Verdi's other operas and the works of his predecessors and contemporaries, "Aida" is a companion of all the operas for which Meyerbeer set a model when he wrote his works for the Academie Nationale in Paris the great pageant operas like "Le Prophete," "Lohengrin," and Goldmark's "Queen of Sheba."
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