Gaetano Donizetti was born at Bergamo, Italy, Sept. 25, 1798. He studied music both at Bologna and Naples, and then entered the army rather than subject himself to the caprice of his father, who was determined that he should devote himself to church music. While his regiment was at Naples he wrote his first opera, "Enrico di Borgogna" (1818), which was soon followed by a second, "Il Falegname de Livonia." The success of the latter was so great that it not only freed him from military service but gained him the honor of being crowned. The first opera which spread his reputation through Europe was "Anna Bolena," produced at Milan in 1830, and written for Pasta and Rubini. Two years afterwards, "L' Elisir d' Amore" appeared, which he is said to have written in fifteen days. He wrote with great facility. "Il Furioso," "Parisina," "Torquato Tasso," "Lucrezia Borgia," and "Gemma di Vergi" rapidly followed one another. In 1835 he brought out "Marino Faliero," but its success was small. Ample compensation was made, however, when in the same year "Lucia" appeared and was received with acclamations of delight. He was invited to Paris as the successor of Rossini, and wrote his "Marino Faliero" for the Theatre des Italiens. In 1840 he revisited Paris and produced "Il Poliuto," "La Fille du Regiment," and "La Favorita." Leaving Paris he visited Rome, Milan, and Vienna, bringing out "Linda di Chamouni" in the latter city. Returning to Paris again, he produced "Don Pasquale" at the Théâtre des Italiens and "Don Sebastien" at the Académie, the latter proving a failure. His last opera, "Catarina Comaro," was brought out at Naples in 1844. This work also was a failure. It was evident that his capacity for work was over. He grew sad and melancholy, and during the last three years of his life was attacked by fits of abstraction which gradually intensified and ended in insanity and physical paralysis. He died at Bergamo, April 8, 1848.
THE DAUGHTER OF THE REGIMENT.
"The Daughter of the Regiment" ("La Fille du Regiment") opera comique in two acts, words by Bayard and St. Georges, was first produced at the Opera Comique, Paris, Feb. 11, 1840, with Mme. Anna Thillon in the rôle of Marie. Its first performance in English was at the Surrey Theatre, London, Dec. 21, 1847, under the title of "The Daughter of the Regiment," in which form it is best known in this country. In 1847 it was performed as an Italian opera in London, with added recitatives, and with Jenny Lind in the leading part.
The music of the opera is light and sparkling, the principal interest centring in the charming nature of the story and its humorous situations, which afford capital opportunities for comedy acting. The scene is laid in the Tyrol during its occupation by the French. Marie, the heroine, and the vivandière of the Twenty-first regiment of Napoleon's army, was adopted as the Daughter of the Regiment, because she was found on the field, after a battle, by Sergeant Sulpice. On her person was affixed a letter written by her father to the Marchioness of Berkenfeld, which has been carefully preserved by the Sergeant. At the beginning of the opera the little waif has grown into a sprightly young woman, full of mischief and spirit, as is shown by her opening song ("The Camp was my Birthplace"), in which she tells the story of her life, and by the duet with Sulpice, known the world over as "The Rataplan," which is of a very animated, stirring, and martial character, to the accompaniment of rattling drums and sonorous brasses. She is the special admiration of Tony, a Tyrolean peasant, who has saved her from falling over a precipice. The soldiers of the regiment are profuse in their gratitude to her deliverer, and celebrate her rescue with ample potations, during which Marie sings the Song of the Regiment ("All Men confess it"). Poor Tony, however, who was found strolling in the camp, is placed under arrest as a spy, though he succeeds in obtaining an interview with Marie and declares his love for her. The declaration is followed by a charming duet ("No longer can I doubt it"). Tony manages to clear up his record, and the soldiers decide that he may have Marie's hand if he will consent to join them. He blithely accepts the condition and dons the French cockade. Everything seems auspicious, when suddenly the Marchioness of Berkenfeld appears and dashes Tony's hopes to the ground. The Sergeant, as in honor bound, delivers the letter he has been preserving. After reading it she claims Marie as her niece, and demands that the regiment shall give up its daughter, while Tony is incontinently dismissed as an unsuitable person to be connected in any capacity with her noble family. Marie sings a touching adieu to her comrades ("Farewell, a long Farewell"), and the act closes with smothered imprecations on the Marchioness by the soldiers, and protestations of undying love by Tony.
The second act opens in the castle of Berkenfeld, where Marie is duly installed, though she does not take very kindly to her change of surroundings. The old Sergeant is with her. Grand company is expected, and the Marchioness desires Marie to rehearse a romance ("The Light of Early Days was breaking"), which she is to sing to them.
Before she finishes it she and the Sergeant break out into the rollicking Rataplan and go through with the military evolutions, to the horror of the Marchioness. While regret for the absent Tony keeps her in a sad mood, she is suddenly cheered up by the sound of drums and fifes, announcing the approach of soldiers. They are the gallant Twenty-first, with Tony, now a colonel, at their head. He applies once more for Marie's hand. The soldiers also put in a spirited choral appeal ("We have come, our Child to free"). The Marchioness again refuses. Tony proposes an elopement, to which Marie, in resentment at her aunt's cruelty, consents. To thwart their plans, the Marchioness reveals to Marie that early in life she had been secretly married to an officer of lower family position than her own, and that this officer was Marie's father. Unable to dispute the wishes of her mother, she renounces Tony in an agony of grief. At last Marie's sorrow arouses old associations in the mind of the Marchioness, and she consents to the union of Tony and Marie.
While the music of the opera is light, it is none the less very attractive, and the work is nearly always popular when performed by good artists, owing to the comedy strength of the three leading parts, Marie, Tony, and the Sergeant. The rôle of the heroine, small as it is, has always been a favorite one with such great artists as Jenny Lind, Patti, Sontag, and Albani, while in this country Miss Kellogg and Mrs. Richings-Bernard made great successes in the part. The latter singer, indeed, and her father, whose personation of the Sergeant was very remarkable, were among the first to perform the work in the United States.
LA FAVORITA.
"La Favorita," an opera in four acts, words by Royer and Waëtz, the subject taken from the French drama, "Le Comte de Commingues," was first produced at the Académie, Paris, Dec. 2, 1840, with Mme. Stolz as Leonora, Duprez as Fernando, and Baroelhst as Balthasar. Its success in England, where it was first produced Feb. 16, 1847, was made by Grisi and Mario. The scene of the opera is laid in Spain, and the first act opens in the convent of St. James, of Compostella, where the young novice, Fernando, is about to take monastic vows. Before the rites take place he is seized with a sudden passion for Leonora, a beautiful maiden who has been worshipping in the cloisters. He confesses his love to Balthasar, the superior, who orders him to leave the convent and go out into the world. Leonora, meanwhile, is beloved by Alphonso, king of Castile, who has provided her a secret retreat on the island of St. Leon. Though threatened by the pontiff with excommunication, he has resolved to repudiate his queen, in order that he may carry out his intention of marrying the beautiful Leonora. To her asylum a bevy of maidens conducts Fernando. He declares his passion for her and finds it reciprocated. He urges her to fly with him, but she declares it impossible, and giving him a commission in the army signed by the King, urges him to go to the wars and win honors for her sake.
In the second act Balthasar, in the name of the pontiff, visits their retreat and pronounces the papal anathema upon the guilty pair. The same curse is threatened to all the attendants unless Leonora is driven from the King, and the act closes with their vengeful menaces.