alike as a
story and as a vehicle of theories, morals, or religion. "Parsifal,"
with its sacred allegory, its lofty nobility of tone, and its pure
mysticism, stands on a platform by itself, and is almost above
criticism, or praise, or blame. The libretto alone might have won
Wagner immortality, so original is it and perfect in intention; and
the music seems to be no longer a mere accessory to the effect, but
the very essence and fragrance of the great conception.

GIUSEPPE VERDI

(BORN 1813)

[Illustration: Verdi.]

Giuseppe Verdi, the last and most widely successful of the school of
Italian opera proper, was born at Roncole, near Busseto, October 9,
1813. At ten years he was organist of the small church in his native
village, the salary being raised after a year from L1 8_s._ 10_d._ to
L1 12_s._ per annum. At the age of sixteen he was provided with funds
to prosecute his studies at the Conservatorium at Milan; but at the
entrance examination he showed so little evidence of musical talent
that the authorities declined to enroll him. Nothing daunted, he
pursued his studies with ardor under Lavigna, from 1831 to 1833, when,
according to agreement, he returned to Busseto to take the place of
his old teacher Provesi, now deceased.

After five unhappy years in a town where he was little appreciated,
Verdi returned to Milan. His first opera, "Oberto," is chiefly
indebted to Bellini, and the next, "Un Giorno di Regno" (which
fulfilled its own title, as it was only once performed), has been
styled "Un Bazar de Reminiscences." Poor Verdi had just lost his wife
and two children within a few days of each other, so it is hardly to
be wondered at that a comic opera was not a very congenial work, nor
successfully accomplished.

"Nabucodonosor" (1842) was his first hit, and in the next year "I
Lombardi" was even more successful--partly owing to the revolutionary
feeling which in no small degree was to help him to his future high
position. Indeed, his name was a useful acrostic to the revolutionary
party, who shouted "Viva Verdi," when they meant "Viva Vittorio
Emanuele Re D' Italia." "Ernani," produced at Venice in 1844, also
scored a success, owing to the republican sentiment in the libretto,
which was adapted from Victor Hugo's "Hernani." Many works followed in
quick succession, each arousing the enthusiasm of the audiences,
chiefly when an opportunity was afforded them of expressing their
feelings against the Aust