CHAPTER XXXIII
THE OPERA ASIDE FROM WAGNER
203. Verdi and the Italians.—Throughout the middle of the
century native opera in Italy had little significant to offer except
the striking career of Verdi. In general, her fertile opera-writers
were quite content to supply what the annual seasons everywhere
demanded in the old, familiar style, aiming simply at
luscious or humorous vocal effects and theatrically thrilling episodes
with the minimum of choral or orchestral richness, and
without thoughtful dramatic treatment of either characters or
plot. The literary quality of librettos remained neglected.
Popular impression depended upon captivation by star-singers,
and was liable to be upset by trivial and unreasonable causes.
What was called 'learning' was resented, with any energetic
deviation from traditions. Italy had but slight knowledge of
the splendid movements in musical art elsewhere in progress.
For piano salon music and for songs there was a constant
demand, but not for any serious form of orchestral or chamber
music. Church music, of course, was indispensable, but it was
largely controlled by operatic standards, and, except in a few
places, had lost all memory of the old polyphonic ideality.
Furthermore, all Italy was stirring with eagerness for release
from foreign dominion, especially that of Austria, and was
groping toward the national unity that has now come to pass.
Into this situation was projected before 1840 the sturdy figure of the young Verdi, a man of the people, Italian to the core, a dramatic enthusiast and a great melodist, yet a student, susceptible to suggestions from all sources, a real master of the voice and ultimately of orchestration, in artistic endeavor endowed with an elastic endurance seldom equaled. His long life made him a link between the age of Rossini and that of fully developed Wagnerism, and his genius was so resourceful and plastic that in his works is illustrated much of the tremendous transition between these two extremes. He not only brought lustre
