Verdi did not attain to fame without meeting with opposition. It was claimed that he was over-noisy, a charge not wholly without foundation, notably in his "I Due Foscari" which succeeded "Ernani," and in which the predominance of the brass wind instruments, a novelty then, was almost overpowering. Then, too, it was charged that his music, if it should be sung much, would ruin the voices of the singers, so addicted was he to write for them in their highest register. It was not until "Rigoletto" appeared that his instrumentation showed any marked care, or that he seemed to be impressed by the variety of effects that could be produced by a judicious use of the wood wind. In Gilda's air, _Caro nomo_, the scoring is delightful in its grace, delicacy and charmingly contrasted coloring. In the last act of this opera, too, is the famous quartet, in which are so felicitously mingled impassioned love, mirth, suspense and vengefulness,--the best thing in its kind that had appeared since the sextet in "Lucia" and the trio in "Lucrezia Borgia," and which was soon to be followed by the more popular but less artistic _Miserere_ in "Il Trovatore." It is true that he had written the stirring and effective _Carlo Magno_ finale to one of the acts of his "Ernani," and that it attained to immense popular favor; but the "Rigoletto" quartet is the most brilliant and most musicianly of all his efforts in its kind. "Rigoletto," which was composed in forty days, has outlived the sixteen operas that preceded it, and its wealth of melody and its powerful dramatic effects, cause it to be listened to still with much of the pleasure and interest that attended its first production forty-two years ago. It is one of the works in which the composer will live.