MUSIC VERDI: HIS LIFE AND WORKS

Press, Volume CII, Issue 30058, 16 February 1963, Page 3

MUSIC VERDI: HIS LIFE AND WORKS

[Reviewed by

G.R.L.]

Verdi: Hie Life And

By Francis Teye. Gollancx. Index. 495 pp.

The Man Verdi. By Frank Walker. Dent. Illustrated. Index. 528 pp.

The Wagnerites let some of the first shots go and Verdi seems to have been under fire ever since. While agreeing he was a good man of the theatre—though adding that he was not even in the first rank of that category—the pontifical Ernest Newman felt be had comparatively little of the genuine dramatist in ham and much of the credit he gave ham was often given grudgingly. Writing in 1933, Newman thought that Verdi in “Fal•taff” had a comparatively

easy task. Said Newman, “a composer of declining powers can somewhat easily achieve a masterpiece, or something near a masterpiece, in a genre that gives him the support of a great tradition, as Strauss has proved with the 'Rosenkavalier.' At that stage of his career Strauss had virtually written himself out as an original and significant thinker in music . . .” With that remark some might think that Strauss was not the only person who had written himself out as a musical thinker of any significance.

Bernard Shaw knew Verdi's genius, but except for the Manzoni Requiem, he had his doubts, and he not only attacked many of the musical qualities of Verdi’s ■works, but also took the composer to task over their technical aspects. In works such as “Il Trovatore,” Shaw thought Verdi was quite reckless about the effect of his works on their performers, and said that until Boito became his artistic conscience he wrote inhumanly for the voice and ferociously for the orchestra. However, the more resilient orchestras and singers still persevere with his works, and if, in 1901, Sihaw thought that Verdi’s works might pass out of fashion, art the present time they are lasting the distance better than Shaw's plays. Only in respect of taste have we some unanimity of opinion from both Verdfs critics and devotees, and even then there is considerable divergence of view about where his lapses occurred. There is no question that lack of taste disfigures some of his more notable works and with Verdi the descent from the sublime to the ridiculous can be sudden indeed. Verdi came of peasant stock. He remained a peasant all his life. The in-

stinctive artist with such a background walks on a tightrope.

it is regret Sable that we do not know more about Verdi’s relationship with Berlioz, another composer whose work is often distinguished by deplorable lapses in taste. Their relation® were friendly and Berlioz described Verdi as a “noble and honourable artist". while Verdi spoke of Berlioz as “one whom I love as a man and respect as an artist.” Verdi, however, thought that Berlioz did not know the meaning erf moderation, and was “deficient in that calm, that balance, which produces complete works of art. Even when he did praiseworthy things he exaggerated . . .” This is almost as good a musical example as we wiH get of the pot calling the kettle black.

Nevertheless, judgment on questions of artistic taste is a very tricky business, and if Francis Toye possibly was wrong when he said men of taste are always the most bitter opponents of genius, Arnold Bennett probably was right when be thought that good taste was better than bad taste, but bad taste was better than no taste ait all.

Verdi has always been in the musical news, but lately he has found for himself a place in the general news. His publishers, Casa Ricordi, are shortly losing the exclusive rights of many of his works, and as well, the publishers are having their artistic integrity attacked by the Australian conductor Denis Vaughan who asserts that the published scores are distortions of Verdi's work. This is not the first time that the House of Ricordi has been attacked in this way. and no doubt Mr Vaughan has had occasion to quote some of the composer’s own correspondence with the firm. In 1860, mistakes in the score of Un Ballo in Maschera, made him put the matter bluntly to Tito Ricordi:

I indicated all these mistakes to you, but I have reason to believe that nobody in your business has deemed to glance at this poor opera. As a new. work is concerned, it would be worth the trouble to do something about it, if not for its musical value, or for the good name of the composer, at least for the honour of your establishment. Similar complaints have been made to me many times, and I have never written to you: but now, feeling that things are going too far, I think well to tell you frankly that if you cannot or do not wish to occupy yourself with your and my affairs, you should find people either more able or more willing to do so.

Moreover, Verdi is “in” today. Ha has been a major influence on many anmok

contemporaries, particularly Benjamin Britten, and Britten is certainly "in.” This is a good time to know your Verdi.

Toye’s book was published in 1931 and thiis is a reprint of the original edition. It is divided into two 'parte, the first a biography and the second an analysis of all his operas. This is still the book for the reader who wants a general background without excessive detail. It ha® always been a good biography. Neville Cantos thought it was the best, but even Mr Cantos would agree that recent research, and notably Mr Walker’s, has shown that Toye makes some major errors. Nevertheless, even these flaws do not greatly affect the value of this book to the average reader, and the detailed synopis of each libretto is a great merit. To the expert however, Frank Walker’s book is indispensable—and likely to remain so —and as far as biographical detail is concerned. Toye’s book is just not in the same class. Verdi himself might disappear under the detail from time to time but even so Mr Walker’s book is a major work of musical scholarship. It may, on occasions be dull, and if it is a fault in a biography to presume that one’s reader already has some knowledge of the subject, then it is by no means flawless, but as a sound and balanced volume of careful research, it is likely to stand for many a day unrivalled in it® field.

Mr Walker has had access to much hitherto unpublished material and has succeeded in clearing the atmosphere of many of those myths and distortions which have enshrouded his subject. Some of his finds are interesting to say the least. Quite invaluable are the letters of AUessandro Lanari, the Florentine impresario. His

correspondence with Guisseppina Strepponi, to whom perhaps too large a part of the book is devoted, reveals, amongst other things, that before her association with Verdi, La Strepponi had, not one, but two illegitimate children. It is impossible, after reading the book, to resist the contention that the tenor Moriani was the father of both of them. The unhappy rift with the conductor, Mariani, is discussed in detail, and while mis-

understanding may have played a part in this break, Mr Walker’s research shows that Verdi bears the greater part of the blame for it. Even more interesting is the research into Verdi’s association with Teresa Stolz. Again we cannot be left in doubt that Verdi was in love with her, but how far the relationship went is still in doubt. If Mr Walker’s delving leaves this subject inconclusive, it was certainly exhaustive.

If all this is fascinating for the Verdi scholar, the general reader will be intrigued by some of the other personalities mentioned. Verdi’s early librettist, Solera, had an extraordinary career. From being a Secret Service Agent for Napoleon HI and Cavour, he is said to have reorganised the Egyptian police, and was ultimately reduced to the status of a water carrier at Leghorn. Only too aware of Verdi’s genius, Solera had more than his fair share of the problems it gave rise to and he often ventilated the difficulties of their collaboration and the ensuing quarrels.

”... and it was always Verdi’s fault for, modesty apart, he will never find a librettist like me as long as he lives. He’s a great composer, I don’t deny it, but as weak as a woman: so weak as to accept librettos from that ass of a Piave . . . and from that muddler Salvatore Cammarano, who for having written the libretto for “11 Trovatore” deserves a life sentence to the galleys, at least preceded by a taste of the pope’s end.”

If Solera was extraordinary, Anna Bishop, runaway wife of the composer of “Home Sweet Home,” and a colourful personality of the day, deserves a book to herself. A well known singer, she ultimately married Henry Bishop less than a month after the death of his first wife, and finally eloped with Nicholas Bochsa, a composer and harp player, who acted as general secretary for the Royal Academy 'of Music until it was discovered that he was wanted for forgeries committed in France. Apparently, . Bochsa had decamped with the box office receipts, and all the valuable funs deposited in the cloakroom, while a concert audience was expectantly awaiting his appearance on stage. The list of his compositions is frightening, and includes: “Caledonian Fantasae for the harp, with variation on * Scott’s wha hae wi Wallace bled,’ ’’ “My mother had a Maid called Barbara” and “Band March, in imitation of a military band at a distance.”

After the elopement, Madame Bishop took no further interest in Bishop beyond an occasional singing of “Home Sweet Home.” This was indeed piling Ossa upon Pelion. Extensive travels came her way, but Unfortunately for her, the enthusiasm with which she was received by the socialites and Royalty of the day was not matched by that of the composers. Verdi would not have her in a new opera, and Donizetti’s opinion of her was suednat if nothing else! “not La Bishop! Are you pulling my leg?” Verdi’s relationship with Boito completes Mr Walker’s book. This was one at the greatest associations in opera, and comparable only i with that of Richard Strauss ; and von Hoffmannsthal. It was a remarkable of self-abnegation tor a man i such as Boito to leave his : own music and work on another’s MmeMh but then

Boito wa® a remarkable man, and two incomparable masterpieces were the result After hearing “OteQo” or “Fatetaff,” Lord Chesterfield would certainly have had to revise his view that opera was a magic scene contrived to please the eyes and ears at the expense of the understanding.

Unfortunately, as Boito wrote after Verdi’s death, these works became the instrument® of his torture, and in Mr Walker s words. Boi to went forward into the new oeatury under the Atlas burden of his unfinished and Unfimshatole opera. Boito was a great artist, and must have been a greater man. He was at once a true servant and master of art, and asked no more than, Un be the faithful servant of Verdi and of that other boro on the Avon.” And his opinion of Verdi is still right on the marie. "That man was a prodigious artist! A genius! A genius of music and fceatre!”