In the light of subsequent events such criticism is not perspicuous. If Verdi had no "contrapuntal knowledge" and "lacked dramatic colouring" power at the age of thirty-two, after learning his art, when and where did he acquire all that tremendous wealth in these departments as seen in _Aïda_, _Otello_, and _Falstaff_, and even in earlier operas? Is it not probable that Verdi knew more about the matter than the critics, and understood better than they what the public wanted, what it could swallow, and composed accordingly? Was the musical taste in this country such, for instance, fifty years ago, that opera-frequenters would have relished even _Otello_? Verdi was probably right in giving a sick patient a pill, not a horse-ball.
In 1847 a spell of unusual industry overtook Verdi. Opera after opera came with remarkable rapidity. _Macbeth_ was produced at Florence in March 1847, and immediately proved a success. It was Verdi's first effort with a Shakesperian subject. The Florentines were unanimous in their approval of the music, the interpretation of which was considerably aided by an admirable Lady Macbeth--Signora Barbieri-Nini. The score was taken to Milan, and pleased so much that the Milanese, among other doings, represented Verdi practically as having crushed all other Italian composers; while poor Rossini in particular was, dragon-like, under the foot of his great rival! Subsequently, the work was given in Venice, where it met with a reception which Verdi himself could scarcely have expected. It was just before the Revolution of 1848, and when Palma, as Macduff, sang the air:--
"_La Patria tradita Piangendo c'invita_";
it so excited the Venetians that they joined in to the full of their voices and showed such other manifestations of uncontrollable feelings, that not only the police, but the military had to be called in.
The composer was now due with an opera for Mr. Lumley; a work to be written expressly for England, and _I Masnadieri_ was the result. That persevering and to-be-pitied _impresario's_ version of the affair runs thus:--
"Of the expected new operas to be produced on the stage of Her Majesty's Theatre, that of Verdi alone remained available. For many years I had been in correspondence with the young Italian composer, for the purpose of obtaining from him a work destined for the London boards. An opera on the subject of "King Lear" had already been promised by Verdi, the principal part being intended for Signor Lablache. But, on that occasion, the serious illness of the composer had prevented the execution of the design. Verdi now offered his _I Masnadieri_, composed upon the subject of Schiller's well-known play, _Die Raüber_, and with this proposal I was obliged to close. On Thursday, 2nd July 1847, _I Masnadieri_ (after wearying rehearsals, conducted by the composer himself), was brought out, with a cast that included Lablache, Gardoni, Coletti, Bouche, and, above all, Jenny Lind, who was to appear for the second time only in her career, in a thoroughly original part composed expressly for her. The house was filled to overflowing on the night of the first representation. The opera was given with every appearance of a triumphant success; the composer and all the singers receiving the highest honours--indeed, all the artists distinguished themselves in their several parts. Jenny Lind acted admirably, and sang the airs allotted to her exquisitely. But yet the _Masnadieri_ could not be considered a success. That by its production I had adopted the right course was unquestionable. I had induced an Italian composer, whose reputation stood on the highest pinnacle of continental fame, to compose an opera expressly for my theatre, as well as to superintend its production. More I could not have done to gratify the patrons of Italian music, who desired to hear new works. It may be stated in confirmation of the judgment of the London audience, that _I Masnadieri_ was never successful on any Italian stage. The libretto was even worse constructed than is usually the case with adaptations of foreign dramas to the purpose of Italian opera. To Her Majesty's Theatre the work was singularly ill-suited. The interest which ought to have been centred in Mademoiselle Lind was thrown on Gardoni; whilst Lablache, as the imprisoned father, had to do about the only thing he could not do to perfection--having to represent a man nearly starved to death."[25]