Arizona republican. [volume] (Phoenix, Ariz.) 1890-1930, 1893-08-06
VERDPS GREAT WORK.
.Falstaf" Is Pronounced tho Com
posers Masterpiece.
One of the "Grand Old Men" Of Europe
In His Seventy-Ninth Year Now,
But as Bright and Capable
as Young Giant.

Our century has been kind to the
veterans in the various walks of life,
and poetry, science, politics, art and
music each boast their famous devotees
who have passed the septuagenarian
line. In the realm of music, the great
Italian maestro, Giuseppe Verdi, re-
Gently. and in his seventy-ninth year,
has given to the world an opera whose
brilliancy of conception, masterful
force, perfect technique and richness
of popular sentiment rise above those
of his former creations. 1t takes
place among the grand productions of
time. Hadyn won renown for the pro-
duction of his Creation" and the
Seasons" when little past 60, but
since then intellectual yigor at this
age has ceased to attract wonder.
Wagner gave the world his best con-
ception when GS: at 73 Verdi brought
out his first tragic opera, and at 10 pro-
| duces a comic opera which has won
universal plaudits.
The striking character of Verdi's
"Fastatf' is the originality of both
plan and execution. The aged artist,
| long since a master of the old school Of
musical expression, and a consistent
teacher of its methods, has broken
away from its lines, and with all the
trenchant style, poetic fire and concen-
| trated vigOr of Il man in the zenith of
| strength and activity leads the way
| into new paths, and raises higher the
| standard of musical Interpretation. At
an age when it is presumed a man
ceases to develop mentally or to be
capable of the assimilation Of new
! IDEAS and methods. Verdi has shown
| himself as alert intellectually and as
! quick to master new principles and
! popular sentiments as the most bril-
| liant OF the younger school, and he is
! the acknowledged head of the modern
Italian school "Falstaff" is n comedy
! in the full significance of the term.
| There are eleven parts in the opera,
! that of Sir John Falstaff being played
| at its initial performance in Milan by
| Victor Maurel. This character is the
central figure of the story and is upon
! the stage most of the time. The change
! of style in Verdi's works first was no
ticeable in Don Carlos" and contin-
| ued in Aida" tkc "Manzoni Re
! Cuicm," and "Otello," and finds its
elimination in his "Falstaff. Much
Of the change in the latter production is
! creditable TO Sig. Arrigo BOito, the noted
! librcttist, in whom Verdi found a
collaboration worthy his accomplish
mcnts, and one whose assistance gave
! inspiration to his efforts. Boito is thor
! oughly vcrsed in stagecraft, and his
! librctto an adaptation from Shakes
pearc, is rich in poetic sentiment,
! dramatic incident and lively action.
! The wurl; throughout is concise and
! admirably balanced. In "CtcllO," the
tragic opera, the librctto is occasional
" made subordinate TO the music, but
in "Falstatf' the music is made only to
embellish the poetry regardless of it's
own effect. The Orchestrat;Ol is ex-
cellent. the charming smoothness and
coloring producing delightful effect.
Musical history gives the first opera
heard in Europe as Daphne" per-
formed in 1894. 1t was ct once pro-
nounced an unnatural drama" and
was the object of much ridicule and
criticism from people who maintained
it absurd that the actors should sing
instead Of speaking their lines. At
that time it was bold experiment to
attempt to revive IN modern Europe
the Greek drama. hut the Greeks" as
they were called. held their way
courageously. and in fifty years the
opera was The favorite form of music in
! all European countries