Yet again was the work a failure. The English operatic public, however, did not want a new opera just then. What it sorely needed was Jenny Lind!
_Giovanna d'Arco_, produced at La Scala Theatre, Milan, on the 15th February 1845, and in which Erminia Frezzolini appeared, "in all the brilliancy of her radiant youth, of her patrician beauty, of her incomparable voice, and of her marvellous talent,"[20] followed _I Due Foscari_. It was a temporary success, owing to the admirable exertions of the Tuscan cantatrice, whose personal and musical charms considerably aided the exalted part of the heroine. She inspired not a little fervour, something akin probably to that remarkable enthusiasm prompted by the woman-soldier of France, whose imperishable doings saved the throne of Charles VII.
The opera contained several fine numbers, but although the Milanese received it kindly, nay, went out of their way to _fête_ its composer, it never really "took." Some of Verdi's best writing is to be found in _Joan of Arc_, yet it was not born under a lucky star. Its overture was rescued, and this Verdi (Handel-like) affixed to his operas _Les Vêpres Siciliennes_ and _Aroldo_.
_Alzira_, produced with indifferent success at the San Carlo Theatre at Naples on the 12th August 1845, succeeded _Giovanna d'Arco_, and then came _Attila_. This was Verdi's most successful work since _Ernani_. The management of the Fenice had bargained with Verdi for another opera, and _Attila_ was the result.
The scene of the opera is placed principally at Aquileja, a Roman colony on the Adriatic, which from its grandeur was honoured by the ancients by the appellation of "Roma Secunda." Attila, having overcome and desolated this great city, amidst his rejoicings is surprised by a band of Aquilejan virgins led by Odabella, daughter of the Lord of Aquileja, who has been killed in the battle. She defies Attila, who, struck by her beauty, asks what boon he can bestow upon her. She claims his sword, intending to avenge her father's death--to behave, in fact, as Judith did to Holofernes. But she falters, and returns to the barbarian camp, the object of Attila's admiration. Her lover, Foresto, and Ezio, the leader of the defeated Romans, reappear, and plan the poisoning of Attila, for which purpose the services of Odabella are sought. She, however, has consented to share Attila's throne, but hardly are the nuptial rites celebrated than she is upbraided by Foresto and Ezio. Then a revulsion of feeling overcomes her; she thinks of her father, her lover, and her country, and in a fit of despairing anger she stabs Attila to the heart.