[Illustration: <sc>_Rigoletto_</sc> (1851) Quartetto Atto III
Fac-simile musical manuscript written by Verdi.]
We have said that Verdi was the logical outgrowth of Donizetti. It would be more exact to say that, up to the time that "Aïda" appeared, he continued to follow in the same path as that trodden by the composer of "Lucia." The latter, after all, had a certain originality, inasmuch as his operas were, in many distinctive ways, different from those of any of his predecessors; though it may, with some show of justice, be claimed that the "I Puritani" of Bellini provided him with his model. The difference between Bellini and Donizetti, however, is far greater than is that between Donizetti and Verdi, though there is a marked family resemblance between all three, as far as conventional forms are concerned. Until quite recently, however, these forms were the monotonous characteristics of Italian opera. In saying this we do not mean that the operas of this school are not in harmony with the views that have of late prevailed regarding the absurdity of this form or the propriety of that form of opera: in other words, that Italian opera, with its _cabballettas_, duets, quartets, and its _scenas_, consisting of a recitative, an andante, and a brilliant allegro, its adherence to flowing melody and to tunefulness generally is wrong in principle, as opposed to that form of opera or music-drama advocated by Wagner and his followers, which, it is claimed, is more natural and more logical. When the characters in a drama, instead of speaking, resort to singing in order to express themselves, whether they do it according to the methods of Wagner or the methods of Verdi, the absurdity is equally great. Ortrud giving vent to her hate in song is no less untrue to nature than is Azucena. There is no more truth, no more logic, in the "endless melodies" of Wagner than there is in the regularly formed and terminable melodies of Verdi. The opera music of Wagner, when performed by an orchestra without the assistance of voices, says no more than does the music of Verdi given under the same conditions, except that the latter is more intelligible as music pure and simple. We do not intend to draw any comparison between the respective qualities of the music of these composers, but we insist that no one who hears the music of either master for the first time, as mere instrumental music, can tell what it is intended to express on the stage. Hence it is folly to urge that the opera music of any school expresses more than that of another. It is folly to speak of nature in connection with the emotions of love, hate, hope, despair, joy and woe, when sung by actors to the accompaniment of an orchestra. The only logic that can enter into so illogical a process is that which, having conceded that song may take the place of speech, concedes all the rest. The opera composer should not be judged by any other canon of art than that which he has followed in writing his work; and when Wagner's Tristan sings his love according to the composer's idea of musical and dramatic propriety, he is no less ridiculous, _per se_, than is Verdi's Ernani in the like situation. The composer who creates the precise impression that he strives to create by the music he places in the mouths of his characters is the composer who has made all that can be made of his art, whether he be Wagner or Verdi. It is not the way in which it is done, but it is the result achieved, that is to be considered. That the two masters will express the same sentiment by methods directly contrary is nothing to the point. The effect is all that is of importance, and it is in the power of nobody to prove that the one method is right and the other wrong, or to impress greater propriety on the one than on the other, except arbitrarily and irresponsibly.