The artists entrusted with the first rendering of this _chef d'œuvre_ were Signora Pasqua (Mrs. Quickly), Signorine Emma Zilli (Mrs. Ford), Virginia Guerrini (Mrs. Page), and Adelina Stehle ("Sweet Anne"); with Signori Garbin (Fenton), Pini-Corsi (Ford), Pellegalli-Rosetti (Bardolph), Arimondi (Pistol), Armandi (Caius), and M. Maurel (Falstaff). Signor Mascheroni conducted, and one after another the successive beauties of the work were poured forth amid a scene of excitement such as can only be witnessed in La Scala, and which was unprecedented even there. The interest of the audience was arrested from the first scene; but, as climax after climax was reached, the enthusiasm of the brilliant assemblage began to lose bounds, until, at the close of the opera, there was such a tumultuous applause, such calls for Verdi, as to be deafening. No fewer than thirty times was Verdi called on during the performance.
There was but one admission to make--Verdi, _doyen_ of composers, past-grandmaster of music, had crowned his artistic career with the finest, the most scholarly work that ever issued from his pen. Little wonder that the people almost carried him back to his hotel, that they cried for him from the crowded streets, that they called him, time after time, to the balcony of his apartment in order that he might receive their acclamations.
King Humbert sent the eminent composer the following telegram:--"The Queen and myself, being unable to attend the first performance of _Falstaff_, anticipate the applause about to greet this fresh proof of an inexhaustible genius, by sending you our best wishes and the expression of our great admiration. May you be preserved for many years to come, to the honour of art, to our affections, and to enjoy the recognition of Italy, which, even in her saddest days, found patriotic comfort in your triumphs."
From that day to this, interest in _Falstaff_ has never ceased, the point most dwelt upon being the remarkable freshness, the youth and gaiety, the fun and frolic, on every page of the music. Could it be old-age work? or, was it that with his decline in physical powers Verdi's mental capacity was reaching greater perfection, suggesting perhaps the splendid spectacle of an after condition when, it is to be hoped for all of us, the mental portion of these sorry frames of ours will be doing its perfect work undeterred, unhampered.