Many composed in a style reminiscent of Verdi's final operas (particularly Otello), a style that was to influence the emerging verismo school of Italian opera and which led directly to the works of Giacomo Puccini. His works had almost completely monopolized the Italian operatic scene for most of the nineteenth century, and many lesser composers rushed to fill the void left by his death. When Verdi died in 1901 he was admired, revered, and acknowledged as probably the greatest composer Italy had ever produced. Both based on Shakespearean subjects, the results are widely regarded as Verdi's greatest triumphs, the tragedy "Otello" and the comedy "Falstaff", (based on "The Merry Wives of Windsor,"). In his last years, Verdi worked closely with Arrigo Boito, a poet and composer of operas himself, in the construction of the librettos, or texts, of what would become his final two operas. With the death of national Italian poet Alessandro Manzoni in 1874, Verdi responded with the composition of his "Messa da Requiem", which some critics still call "Verdi's greatest opera" because of its passionate and intensely dramatic writing.
"La donna è mobile" from "Rigoletto" and "Libiamo ne' lieti calici" from "La traviata" have become part of popular culture. Born into a poor family and thus denied the musical education considered mandatory for a successful artist, still he created works that are frequently performed around the world. Giuseppe Fortunino Francesco Verdi (October 9 or 10, 1813 – January 27, 1901) was the most influential composer of the nineteenth century Italian opera, who focused on the dramatic aspects of the genre rather than the showcase of singers' talents. Giuseppe Verdi, by Giovanni Boldini, 1886 (National Gallery of Modern Art, Rome).
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