. Programme . eres. It appears that she didnot then have the fatal gift of beauty. She was thirty-five yearsold, blind of one eye, the mother of ten children, haughty and over-bearing. Verdi revised his opera Macbeth (1847) for performance at theTheatre-Lyrique, Paris (April 21, 1865). He was then invited tocompose a work for the Opera. The librettists took their subjectfrom Schillers dramatic poem, Don Carlos, Infant von Spanien,which was written in the time between August, 1784, and the be-ginning of 1787, published in April of the latter year, and producedon the stage of the National Theatr
. Programme . eres. It appears that she didnot then have the fatal gift of beauty. She was thirty-five yearsold, blind of one eye, the mother of ten children, haughty and over-bearing. Verdi revised his opera Macbeth (1847) for performance at theTheatre-Lyrique, Paris (April 21, 1865). He was then invited tocompose a work for the Opera. The librettists took their subjectfrom Schillers dramatic poem, Don Carlos, Infant von Spanien,which was written in the time between August, 1784, and the be-ginning of 1787, published in April of the latter year, and producedon the stage of the National Theatre at Mannheim, April 8, went to Paris in September, 1866, and lived at 67 Avenuedes Champs-Elysees. The report soon spread that he was sick andunable to work. The production was delayed. In January, 1867,Verdi received news of his fathers death. There was a lawsuit be-tween Emile Perrin, the manager of the Op^ra, and the bass, Belval,who thought that a r61e assigned to him by Verdi was not conspicu-. The comfort and long service you enjoy in wearingthe Boston Garter are the result of our fixed policy-Quality FirstGEORGE FROST COMPANY, takers, BOSTON 479 ous enough,* At last Don Carlos was produced. There was abrilliant audience. The success was not great. For the second per-formance Verdi authorized several important cuts. The generalverdict was that for an old-fashioned work the opera was not oldenough; for a new work it was not sufficiently new. There wastruth in this, for Verdi had not yet broken with old formulas, yetthere were experimental attempts at something new. Perhaps thelength of the libretto disturbed Verdi in his work,—the length andthe dullness. Yet there is musical characterization, and the figureof the Marquis de Posa stands out boldly in relief. The opera wasbrought out at Covent Garden, London, with Mmes. Lucca andFricci, and Messrs. Naudin, Graziani, Bagaggialo, and Petit (June4, 1868). In Italy the opera was first produced at Bologna withmarked
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