"La Traviata," the last a lyric adaptation of Dumas _fils's_ "Dame
aux Camélias." These three operas have generally been considered his
masterpieces, though it is more than possible that the riper judgment of
the future will not sustain this claim. Their popularity was such that
Verdi's time was absorbed for several years in their production at
various opera-houses, utterly precluding new compositions. Of his later
operas may be mentioned "Les Vêpres Siciliennes," produced in Paris in
1855; "Un Ballo in Maschera," performed at Rome in 1859; "La Forza del
Destino," written for St. Petersburg, where it was sung in 1863; "Don
Carlos," produced in London in 1867; and "Aida" in Grand Cairo in
1872. When the latter work was finished, Verdi had composed twenty-nine
operas, beside lesser works, and attained the age of fifty-seven.

Verdi's energies have not been confined to music. An ardent patriot, he
has displayed the deepest interest in the affairs of his country, and
taken an active part in its tangled politics. After the war of 1859 he
was chosen a member of the Assembly of Parma, and was one of the most
influential advocates for the annexation to Sardinia. Italian unity
found in him a passionate advocate, and, when the occasion came, his
artistic talent and earnestness proved that they might have made a
vigorous mark in political oratory as well as in music.

The cry of "Viva Verdi" often resounded through Sardinia and Italy, and
it was one of the war-slogans of the Italian war of liberation. This
enigma is explained in the fact that the five letters of his name are
the initials of those of Vittorio Emanuele Rè D'Italia. His private
resources were liberally poured forth to help the national cause, and in
1861 he was chosen a deputy in Parliament from Parma. Ten years later he
was appointed by the Minister of Public Instruction to superintend the
reorganization of the National Musical Institute.