Many consider Verdi to be the greatest opera composer of all time. His music, however, has gone in and out of fashion during the century following his death. Italian opera composers a generation younger than Verdi, including Boito, Leoncavallo and (most significantly) Puccini, moved away from his predominantly conservative style in favor of more "progressive" compositional trends. But the second half of the twentieth century saw a renewed appreciation for his direct emotional expression, melodic genius, and dramatic flair.
Rigoletto if often cited as a pivotal opera in Verdi’s development. The title character is not a regal tenor, but a hunchbacked baritone. In spite of being central to the story, he does little in the way of beautiful singing; yet he nonetheless gains the audience’s sympathy through his attempts to maintain dignity in the face of tragedy and mockery. The would-be tenor-hero is the Duke of Mantua, but his callous treatment of women – seducing them quickly and without commitment, in the style of Don Juan – disqualifies him. Gilda, Rigoletto’s daughter, is in love with the Duke, although he has presented himself to her only in disguise. Upon learning what is going on, Rigoletto arranges for the Duke to be murdered, in order to gain revenge for the disgrace he has brought to him and his daughter. When Gilda later discovers who the Duke is and that his affections are by no means restricted to her, she permits herself to be killed in the Duke’s place. Her aria "Caro Nome," however, is from a happier time in the opera, as she reflects on the happiness of her love with the as-yet unidentified Duke.
Aida is noteworthy for its level of spectacle and exoticism. It was written on a commission from Egypt for an Italian theater there, and while it would receive its premiere in Milan, the Egyptian setting and epic subject matter prompt opera houses to "go all out" when producing the show. Amneris, the daughter of the King of Egypt, and Aida, her Ethiopian slave, are both in love with Radames, captain of the Egyptian guard. Radames is in love with Aida, but the King instead gives him the hand of his daughter as reward for his military victory. Amonasro, King of Ethiopia and Aida’s father, has been captured, but he persuades Aida to get Radames to reveal the route along which he plans to take his army for the next battle. When it is discovered that Radames has divulged such a secret, he is condemned to death for treason, but Aida sneaks into the dungeon so as to die with him. The march and ballet music heard here accompanies the Egyptian army’s triumphant return from their early victory, and it shows Verdi’s great gift for the theatrical, be it in drama or music.