42;ofLuisa Miller,94,98;ofI Due Foscari,70;ofRigoletto,105;ofForza del Destino,148;ofAïda,170-172.Lind, Jenny,75;inMasnadieri,84,86,87,88,91.Loewe, Signora, inErnani,59.Lombardi,45,46;dramatis personæof, etc.,51;produced at the Milan Theatre,54;compared withNabucco,56;produced in Paris,58;197,204;political influence of,206.London,Aïdain,170;Otelloin,180,182;Falstaffin,194,196.Lord Chamberlain andLa Traviata,133,136.Lorredano, James,71.---- Peter,70.Lotti, the growth of opera,277.Lotti's church music,161.Lucca and Verdi,92;purchasesIl Corsaro,93.Luisa Miller, libretto of,94;produced at Naples, London, and Paris,96;opinions on,96, 99-99-103;at Her Majesty's,97;at the Théâtre Italien, Paris,103;place in Verdi's development,229,230.Lumley, Mr., onNabucco,40;revivesNino,46;producesI Lombardi,56;onErnani,60;onDue Foscari,74;producesAttila,78;producesMasnadieri,84;his faith in Verdi,92;onLuisa Miller,97;onLa Traviata, 129-129-135;264.Macbeth,81;produced at Florence, Milan, and Venice,83;at Florence,211.Mackenzie's, Sir A.C., lectures onFalstaff,298.Maini, Signor, and Verdi'sRequiem,153.Maledizione, La, 105 (seeRigoletto).Malibran,68.Mancinelli, Signor, inFalstaff,194.Manzoni and the Rossini mass,152,212.Mapleson andLa Traviata,291.Marcello's church music,161.Marchetti,287.Margarita,27.Marimon, Mlle., inMasnadieri,92.Marini, Mme., andOberto,31.Mario, Signor, inI Lombardi,56;inDue Foscari,74;inRigoletto,107;inFalstaff,192.Mascagni,287.Masini, Signor, and Verdi'sRequiem,154.Masnadieri,81;written for England,84;at Her Majesty's,84-86;story of,86;a failure,88,92;opinions on,88-91.Mass, Verdi'sRequiem,151-161.Matthew, J.E.,297.Maurel, M., inOtello,179,180;inFalstaff,187,191,194;À propos de la mise-en-scène du drame lyrique"Otello,"298.Mazzucato, Signor, and the Rossini mass,152.---- Gianandrea,297.Medini, Signor, and Verdi'sRequiem,154;inAïda,169.Melody in music,274.Mendelssohn and Verdi'sRequiem,157;hisoratorii,159;266.Mercadante,49,68;jealous of Verdi,116;227,267.Merelli, Bartolomeo, andOberto,30;engages Verdi to write three operas,32;tears Verdi's agreement up,34;producesNabucco,35,38;his generosity,39;agreement with Verdi for theopera d'obbligo,50.Messe Solennelle, Rossini's, and Verdi'sRequiemmass,158.Meyerbeer,124,163,239,245,259,263,264,267,281,284,285.Milan, excitement in, overOtello,177;Falstaffin,196,198.----Conservatoire,23.---- Philharmonic Society, Verdi conductor of,30.Milanese, and the production ofI Lombardi,54.Mirate, inRigoletto,106.Mireille, Gounod's,90.Missa da Requiem, Verdi's,152.Monaldi,300.Monday Popular Concerts, Verdi at,162.Mongini, Signor, inVêpres Siciliennes,140;inAïda,169."Monte de Pieta" of Busseto,23,26.Montenegro, Mme., inDue Foscari,75.Monteverde and the growth of opera,276,280.Montezumagiven at La Scala,177.Moriani, inErnani,63.Mozart and Verdi'sRequiem,157;mass,159;200,202,226,252,253.Music, characteristics of Verdi's,7;inNabucco,38,42,54;inTrovatore,115,262;ofLa Traviata,137;inFalstaff,196,252;inAïda,242;inOtello,248;Italian school of,273.Musical Times,299.Muzio, letter from Verdi to,128;168.Nabucco, produced at La Scala,35;its success,36,38;in rehearsal of,37;purchased by Ricordi,39;in London,39-41;146,147;libretto of,42;English opinions of,40-47;musical points in,48;compared withI Lombardi,56;withRigoletto,108,109;political influence of,206.Nabucodonosor,37.Naumann'sHistory of Music,297.Nautier-Didiée, Mme., inForza del Destino,148."Nebuchadnezzar,"34.Ney, Jenny, inTrovatore,118,120.Nicolini, Signor, inAïda,172.Nilsson,235.Nino, Re d'Assyria, 40 (seeNabucco).Noufflard's, George,"Otello" de Verdi,298.Oberto, conte di S. Bonifacio,28;produced in La Scala Theatre,31;sold to Ricordi,32.Obin, M., inVêpres Siciliennes,140.Olghina, Olga, inFalstaff,194."Omnibus" box, the,288.Opera during the past three-quarters of the century,224;decline of,289;origin and development of,273;the first,275;the second,276;growth of,275-279.Opera d'obbligo, Verdi chosen to compose,50.Opera-house, vitality of the,288.Orchestra in the first opera,275;inOrfeo,277.Orchestration inAïda,284.Orfeo, Monteverde's,276.---- Gluck's,278.Organist of Roncole, Verdi becomes,20.Otello,82,168;produced at Milan,178;in London,180,182;orchestration in,185,197;in Paris,210;place in Verdi's development,233,239,241,247-250,251,286;and operatic development,285;a masterpiece,291.Otellopolis,177.Otello-Verdi mania,179.Pacini,49.Palazzo Doria,219.Palestrina,274.Palestrina's church music,161.Palma, inMacbeth,83,207.Pantaleoni, Romilda, Signora, inOtello,179.Paris, scenes and costumes forAïdafrom,168;Aïdaproduced in,170;Otelloat,182;Falstaffat,193,196,204.Paroli, Signor, inOtello,179,180.Parry's, Dr.,Studies of the Great Composers,297.Pasqua, Signora, inFalstaff,191.Pasta,120.Paternoster, Verdi's,162.Patti, Mme. Adelina, inLuisa Miller,103;inAïda,172;235;inLa Traviata,291.Pedrotti,287.Pellegalli-Rosetti, Signor, inFalstaff,191,194.Penco, Signora, inTrovatore,115.Peri and the first opera,275,280.Perosio,300.Perugino,200.Pessina, Signor, inFalstaff,194.Petrovich, Mlle., inOtello,179.Piave, Verdi's librettist,58,70,93,105,126,143,148,213.Piccolomini, Mlle., inLuisa Miller,97,99;inLa Traviata,129,130,131,132,135,136,235.Piccini,57,60,68;and the growth of opera,278.Pini-Corsi, Signor, inFalstaff,191,194.Pinsuti,101,287.Police andI Lombardi,55;andErnani,59.Political influences of Verdi,203.Polonini, Signor, inRigoletto,107.Ponchielli,287.Poniatowski, Prince, and Verdi,210.Porporo and the growth of opera,277.Pougin'sAnecdotic History of Verdi,296,297.Pozzoni-Anastasi, Mme., inAïda,169.Provesi, Giovanni, organist,18,21,22;his prophesy23;his death,26.Pugnatta, the cobbler,13.Quartet in E minor by Verdi,162.Raineri, Mme., andOberto,31.Ravogli, Giulia, inFalstaff,194.Recitative, origin of,275.Requiemmass, Verdi's,151-161;lasting nature of,292.Ricordi, music publisher, buysOberto,31;letter from Verdi onNabucco,36;purchasesNabucco,39;Sassaroli's challenge,177;at dinner with Verdi,190;215.Rigoletto,95,146,147;libretto of,105;produced in Venice, London, and Paris,106;musical characteristics,108;opinions on,108-113,133,135,197;place in Verdi's development,231;revival of,260;diverse opinions on,268;continued popularity of,290,292.Rinuccini and the first opera,275.Ritter'sHistory of Music,297.Roi s'amuse, Le,105.Rolla's advice to Verdi,25.Ronconi andOberto,31;andNabucco,35,47;inRigoletto,107.Roosevelt'sLife of Verdi,205,297.Rossini,54,65,83,123,124,150,151,152,158,161;and Verdi,206,225,226,227,259,267;and the growth of opera,278,282.Rubini,120.Salvi, Signor, andOberto,31.San Carlo Theatre, Naples,93,95.Sanchioli, inNabucco,40.San Marco at Milan,152.Sarti,80.Sassaroli, Vincenzo, andAïda,177,300.Saunier, Mlle., inVêpres Siciliennes,140.Sbriscia, Mme., inBallo in Maschera,145.Scala, La, Theatre (see La Scala).Scarlatti and the growth of opera,277.Scenes ofI Lombardi,51.Schiller'sDie Raüber,84;Kabale und Liebe,98.Schumann,226.Scotti, Mme., inBallo in Maschera,145.Scribe andLes Vêpres Siciliennes,139.Seletti, priest,19,21.Selva, Signor, inErnani,59.Sicilian Vespers(seeVêpres Siciliennes).Simon Boccanegra, produced at the Fenice theatre,143;at Naples,143.Solera's libretto ofNabucco,34,42;ofI Lombardi,50;ofAttila,77.Spezia, Mlle., inNino,46.Spinet, Verdi's,12.Spohr'soratorii,159;281.Spontini,80;and the growth of opera,278.St. Agata, Verdi's residence,217,219,221.Stabat Mater, Rossini's, and Verdi'sRequiemmass,158,161,162.Stanford, Dr. Villiers,38;onFalstaff,299.Stehle, Adelina, inFalstaff,191.Steller, Signor, inAïda,169.Stiffelio,103.Stila fugata,159.Stolz, Mme., and Verdi'sRequiem,153, 154Story ofNabucco,42;ofI Lombardi,51-54;ofI Due Foscari,70-74;ofAttila,76;ofMasnadieri,86;ofLuisa Miller,94;ofTrovatore,113;ofLa Traviata,127;ofAïda,170.Streatfeild's, R.A.,Masters of Italian Music,297.Street organs and Verdi,9,224.Strepponi andOberto,31;andNabucco,35;consulted by Verdi,50;marriage with Verdi,218.Tagliafico, Signor, inRigoletto,107.Taglioni,290.Tamagno, Signor, inTrovatore,126;inOtello,179,180;261.Tamberlik, inTrovatore,119,120;