inForza del Destino,148.Temple, Mme., inRigoletto,107.Teuton church music compared with Italian,160.---- and Italian in instrumental music,165.Times, musical critic of,44;onNino,46;onAtilla,81;onMasnadieri,91;onLuisa Miller,101;onRigoletto,110;onTrovatore,123;onVêpres Siciliennes,142;onUn Ballo in Maschera,145;298.Titiens, Mme., inVêpres Siciliennes,140,141;in Verdi's cantata,164;261.Traviata, La,95;and the Fenice Theatre,126;story of,127;a failure,128;at Her Majesty's,129;opinions on,131-138,146;at Venice,214;place in Verdi's development,233,252;a "sickly opera,"290.Troubadour, The, 121 (seeTrovatore).Trovatore,95;produced at Rome,113,115;in Naples,116;in Paris and London,118;opinions on,119-125;universal success,125,128;135,138,146,197;and the organ-grinder,215;place in Verdi's development,232,236,250,252,259;revival of,260,290,292.Varesi, baritone, inLa Traviata,128,214."Variety" entertainment and the opera,290.Vêpres Siciliennes,76,138;reception of,139;at Drury Lane,140;opinions on,140;a rehearsal in Paris,213;its manner,236;a departure,282.Verdi, birth,1;parents,4;early circumstances,6;characteristics of his music,7;and street organs,9;acolyte at the village church,10;indications of musical aptitude,11;his first musical instrument,12;sent to school,13;first musical training,14;goes into the world,15;office boy,18;and Provesi,19;organist of Roncole,20;esteem for Barezzi,21;conductor of the Busseto Philharmonic Society,22;seeks the MilanConservatoireand is rejected,24;under Lavigna,25;returns to Busseto and is in love,26;marries,28;first attempt at a complete opera,28;conducts in Haydn'sCreation,29;conductor of the Milan Philharmonic Society,30;hisObertoproduced on the stage,31;his wife's devotion,32;domestic bereavements,33;failure ofUn Giorni di Regno,34;onNabucco'ssuccess,36,38;his "best friends,"37;famous,38;diverse opinions on,40-47;alleged indebtedness to Wagner,46;his success assured,49;chosen to compose theopera d'obbligofor La Scala Theatredirection,50;another triumph,55;I Lombardi,55;Ernani,58;his reception in England,62;only Italian composer,65;I Due Foscari,70-75;Giovanna d'Arco,75;Alzira,76;Attila,76-82;Macbeth,83;I Masnadieri,84-92;leaves England,91;offered thebâtonat Her Majesty's,92;Il CorsaroandLa Battaglia di Legnano,93;Luisa Miller,94-103;his evil genius,96;StiffelioandIl Finto Stanislas,103;Rigoletto,105-113;Trovatore,113-126;La Traviata,126-138;letter on the failure ofLa Traviata,128;Les Vêpres Siciliennes,138-143;Simon Boccanegra,143;Un Ballo in Maschera,144;sued by the San Carlo Theatre, Naples,144;Forza del Destino,148,149;his Third style,149;a writer of sacred music,150;and the Rossini mass,151;on Manzoni,153;hisRequiemat San Marco, Milan,153;at La Scala Theatre, in Paris, and in London,154;as a conductor,155;hisRequiemas a contribution to church music,158-162;other compositions,162;the cantataL'Inno delle Nazioni,163;at Her Majesty's,164;Third period in his career,167;Aïda,167-177;OtelloandFalstaff,168;Montezuma,179;Otello,177-186;in Paris, on presentation ofOtello,182;Falstaff,187-202;congratulations from King Humbert,192;as a writer of comic music,201;a born politician,203;politics in his music,204-208;political significance of his name,205;member of the National Assembly of Parma,208;honours,208-211;external appearance and character,212-216;his fortune and residence,217;second marriage,218;habits,218-222;popularity,223;influence on opera,225;estimate and characteristics of his work, 228-255;adverse criticism of,256-271;his starting point,279;outside influence upon,281;and the growth of opera,282;inAïda,Otello, andFalstaff,283;a "Wagnerite,"284;his place in musical art,287;his imitators,287;his masterpieces,291;his fame,292;bibliography,293;literature about—why scanty,296.Verdians and anti-Verdians,57.Verdi-ites onLuisa Miller,97.Verdinian characteristics inErnani,63.Vespri Siciliani, I, 140 (seeVêpres Siciliennes).Vialetti, inLuisa Miller,99.Viardot, Mme., inTrovatore,118,120.Victor Emmanuel and Verdi,205,209.Vienna,Falstaffin,196.Vocal music, Italian tendency for,165.Wagner and Verdi,46,60,122;Der MeistersingerandFalstaff,189,199;and Verdi,181,182,198,199,202,228,235,240,241,242,244,245,249,251,253,254,264,267,275,279,280,284,285,287,298."Wagnerian,"284,286."Wagnerite,"284.Waldmann, Mme., and Verdi'sRequiem,153,154.Weber,263,264,267,281,285.Zilli, Emma, inFalstaff,191,194.