The success of “Nabucco” was remarkable.  No such “first night” had been known in La Scala for many years.  “I had hoped for success,” said the composer, “but such a success—­never!”

The next day all Italy talked of Verdi.  Donizetti, whose wealth of melodious music swayed the Italians as it did later the English, was so impressed by it that he continually repeated, “It is fine, uncommonly fine.”

With the success of “Nabucco” Verdi’s career as a composer may be said to have begun.  In the following year “I Lombardi” was produced, followed by “Ernani.”  Then came in quick succession ten more operas, among them “Attila” and “Macbeth.”

In 1847, we find Verdi in London, where on July 2, at Her Majesty’s Theater, “I Masnadieri” was brought out, with a cast including Lablanche, Gardoni, Colletti, and above all Jenny Lind, in a part composed expressly for her.  All the artists distinguished themselves; Jenny Lind acted admirably and sang her airs exquisitely, but the opera was not a success.  No two critics could agree as to its merits.  Verdi left England in disgust and took his music to other cities.

The advantage to Verdi of his trips through Europe and to England is shown in “Rigoletto,” brought out in Vienna in 1851.  In this opera his true power manifests itself.  The music shows great advance in declamation, which lifts it above the ordinary Italian style of that time.  With this opera Verdi’s second period begins.  Two years later “Trovatore” was produced in Rome and had a tremendous success.  Each scene brought down thunders of applause, until the very walls resounded and outside people took up the cry, “Long live Verdi, Italy’s greatest composer!  Vive Verdi!” It was given in Paris in 1854, and in London the following year.  In 1855, “La Traviata” was produced in Vienna.  This work, so filled with delicate, beautiful music, nearly proved a failure, because the consumptive heroine, who expires on the stage, was sung by a prima donna of such extraordinary stoutness that the scene was received with shouts of laughter.  After a number of unsuccessful operas, “Un Ballo in Maschera” scored a success in Rome in 1859, and “La Forza del Destino,” written for Petrograd, had a recent revival in New York.

When Rossini passed away, November 13, 1868, Verdi suggested a requiem should be written jointly by the best Italian composers.  The work was completed, but was not satisfactory on account of the diversity of styles.  It was then proposed that Verdi write the entire work himself.  The death of Manzoni soon after this caused the composer to carry out the idea.  Thus the great “Manzoni Requiem” came into being.

In 1869, the Khedive of Egypt had a fine opera house built in Cairo, and commissioned Verdi to write an opera having an Egyptian subject, for the opening.  The ever popular “Aida” was then composed and brought out in 1871, with great success.  This proved to be the beginning of the master’s third period, for he turned from his earlier style which was purely lyric, to one with far more richness of orchestration.