The brainlessness of Verdi’s music previous to the time when Aïda was composed should not close our eyes to the promise and potency of that same early music. It is the music of a passionate Italian temperament—music hastily conceived, still more speedily jotted down, and tumbled anyhow on the stage. Musical Italy before 1880 was devoted to the voice. Give it a plank, a dramatic situation, an aria, and success pursued the composer. As for the dramatic unities, the orchestral commentary, the welding of action, story, and music—why, they could all go hang. Melody, irrelevant, fatuous, trivial melody, and again melody, was the shibboleth. The wonder is that an orchestra was ever employed—except that it made more noise than a piano player; that costumes were ever worn—only because they looked braver, gayer, in the flare of the footlights than street attire. And most wonderful of all was the expense of a theatre, for to those melomaniacs anything but a tune was a deterrent factor. The singer and the song sung composed an opera. All the rest was sheer waste of material—or Teutonic madness. Verdi’s acquaintance with Arrigo Boïto was the turning-point in his career. He knew Boïto’s far better than he knew Wagner’s scores. If he was affected at all by Wagnerism, it was by way of Boïto and not at first hand. I am not prepared to deny that Verdi ever listened to the Ring, to Tristan, or to Die Meistersinger in its entirety sung by competent throats; yet I sincerely doubt it. The Italian’s early music is full of Rossini, Donizetti, Bellini, and Meyerbeer. He could not, being of a receptive nature, have escaped Wagner had he known him thoroughly. He was a very suspicious, proud old man,—as proud of I Due Foscari as of Aïda,—and almost to the day of his death deprecated Wagner’s influence on modern opera. To see, then, as do many wise men of music, Wagner peering sardonically from behind the lively and exciting bars of Verdi’s later scores, is to claim a clairvoyance to which I dare not pretend.