that three Maestri shared the conducting during rehearsals.  One day none of them were present at the appointed hour and Masini asked young Verdi to accompany from the full orchestral score, adding, “It will be sufficient if you merely play the bass.”  Verdi took his place at the piano without the slightest hesitation.  The slender, rather shabby looking stranger was not calculated to inspire much confidence.  However he soon warmed to his work, and after a while grew so excited that he played the accompaniment with the left hand while conducting vigorously with the right.  The rehearsal went off splendidly, and many came forward to greet the young conductor, among them were Counts Pompeo Belgiojoso and Remato Borromes.  After this proof of his ability, Verdi was appointed to conduct the public performance, which was such a success that it was repeated by general request, and was attended by the highest society.

Soon after this Count Borromes engaged Verdi to write a Cantata for chorus and orchestra, to honor the occasion of a marriage in the family.  Verdi did so but was never paid a sou for his work.  The next request was from Masini, who urged Verdi to compose an opera for the Teatro Filodramatico, where he was conductor.  He handed him a libretto, which with a few alterations here and there became “Oberto, Conte di San Bonifacio.”  Verdi accepted the offer at once, and being obliged to move to Busseto, where he had been appointed organist, remained there nearly three years, during which time the opera was completed.  On returning to Milan he found Masini no longer conductor, and lost all hope of seeing the new opera produced.  After long waiting however, the impressario sent for him, and promised to bring out the work the next season, if the composer would make a few changes.  Young and as yet unknown, Verdi was quite willing.  “Oberto” was produced with a fair amount of success, and repeated several times.  On the strength of this propitious beginning, the impressario, Merelli, made the young composer an excellent offer—­to write three operas, one every eight months, to be performed either in Milan or in Vienna, where he was impressario of both the principal theaters.  He promised to pay four thousand lire—­about six hundred and seventy dollars—­for each, and share the profits of the copyright.  To young Verdi this seemed an excellent chance and he accepted at once.  Rossi wrote a libretto, entitled “Proscritto,” and work on the music was about to begin.  In the spring of 1840, Merelli hurried from Vienna, saying he needed a comic opera for the autumn season, and wanted work begun on it at once.  He produced three librettos, none of them very good.  Verdi did not like them, but since there was no time to lose, chose the least offensive and set to work.

The Verdis were living in a small house near the Porta Ticinesa; the family consisted of the composer, his wife and two little sons.  Almost as soon as work was begun on the comic opera, Verdi fell ill and was confined to his bed several days.  He had quite forgotten that the rent money, which he always liked to have ready on the very day, was due, and he had not sufficient to pay.  It was too late to borrow it, but quite unknown to him the wife had taken some of her most valuable trinkets, had gone out and brought back the necessary amount.  This sweet act of devotion greatly touched her husband.