In 1851 he began that series of operas which established his fame as the greatest of living Italian opera composers. A libretto founded on Victor Hugo's "Le Roi s'amuse" was prepared for Verdi, with the title "La Maledizione." The censorship objected to a king being presented in the light in which Francis I. is made to appear in the original story, especially when cursed by a court fool.
After much anger and much debating, the monarch was turned into a duke of Mantua and the title into "Rigoletto." Verdi retired to Busseto and labored vigorously at his score. It was completed in forty days, and was performed at La Fenice, March 11, 1851. Its success was enormous. The work was soon given in every opera house in Europe with the same results that attended it in Venice. The composer rested on his laurels for two years. Then "Il Trovatore" appeared at the Teatro Apollo, Rome, Jan. 19, 1853. Its triumph was immediate and brilliant, and this opera also made an instant tour of the civilized world. It was only some five weeks later when "La Traviata" was produced at the Fenice. This opera, however, fell flat and was an utter failure. The composer, who rated the work very highly, was in despair. The fault was not with his score but with the singers, especially with Signora Donatelli who sang and acted Violetta. She was an exceedingly fleshy woman, and when the doctor, in the third act, announced that the heroine was emaciated by consumption and had only a few hours to live, the audience burst into roars of laughter. The opera was damned for Venice. Nevertheless, elsewhere it experienced a better fate and met with an enthusiastic reception. These three operas may be pronounced the best as well as the last of the Italian opera school as developed through Rossini, Bellini and Donizetti.
Verdi's next work was "Les Vêpres Sicilliennes," written for the Paris Grand Opéra, and given for the first time there June 13, 1855. It is a brilliant work, but made no advance on its immediate predecessors from the same source. Then came "Simon Boccanegra," for La Fenice, produced March 12, 1857. It was an irretrievable failure, despite its fine and intensely dramatic last act. This was followed by "Un Ballo in Maschera," brought out at the Teatro Apollo, Rome, Feb. 17, 1859. There was again trouble with the police, who objected to the original title, "Gustavo III.," a monarch who was assassinated. The text was also deemed objectionable, and the composer was commanded to choose other words for his music. Verdi indignantly refused, and the manager of the San Carlo at Naples, for whom the work was written, brought an action against Verdi for damages to the extent of two hundred thousand francs. This affair almost excited a revolution in Naples. The populace assembled outside Verdi's house and cheered him and followed him through the streets, shouting "Viva Verdi!" his name, read acrostically, signifying "_V_ittorio _E_mmanuele _R_e _D_i _I_talia"; the cry, though apparently honoring the composer, carrying with it a revolutionary significance. However, the title was changed; a governor of Boston replaced Gustavo III., and the opera was one of Verdi's most decided popular successes. His next opera was composed for St. Petersburg, and was "La Forza del Destino." It was brought out with mild success Nov. 10, 1862. Then succeeded "Don Carlos," for the Grand Opéra in Paris, produced March 11, 1867, and enthusiastically received; but it added nothing to Verdi's fame. He was now fifty-four years old, and had written twenty-six operas. His fame was world-wide, and he was the greatest living Italian opera composer. Wealth and honors had followed glory, and the son of the poor innkeeper of Roncole was now one of whom his native land was proud.