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Di tanti palpiti e tante pene
Readers familiar with the history of opera, therefore aware that Alboni was a contralto, will wonder at her having appeared as Rosina, when that rôle is associated with prima donnas whose voices are extremely high and flexible. But the rôle was written for low voice. Giorgi-Righetti, the first Rosina, was a contralto. As it now is sung by high sopranos, the music of the rôle is transposed from the original to higher keys in order to give full scope for brilliant vocalization on high notes.
Many liberties have been taken by prima donnas in the way of vocal flourishes and a general decking out of the score of "Il Barbiere" with embellishments. The story goes that Patti once sang "Una voce poco fa," with her own frills added, to Rossini, in Paris.
"A very pretty song! Whose is it?" is said to have been the composer's cutting comment.
There is another anecdote about "Il Barbiere" which brings in Donizetti, who was asked if he believed that Rossini really had composed the opera in thirteen days.
"Why not? He's so lazy," is the reported reply.
If the story is true, Donizetti was a very forward young man. He was only nineteen when "Il Barbiere" was produced, and had not yet brought out his first opera.
The first performance in America of "The Barber of Seville" was in English at the Park Theatre, New York, May 3, 1819. (May 17th, cited by some authorities, was the date of the third performance, and is so announced in the advertisements.) Thomas Phillips was Almaviva and Miss Leesugg Rosina. "Report speaks in loud terms of the new opera called 'The Barber of Seville' which is announced for this evening. The music is said to be very splendid and is expected to be most effective." This primitive bit of "publicity," remarkable for its day, appeared in The Evening Post, New York, Monday, May 3, 1819. The second performance took place May 7th. Much music was interpolated. Phillips, as Almaviva, introduced "The Soldier's Bride," "Robin Adair," "Pomposo, or a Receipt for an Italian Song," and "the favourite duet with Miss Leesugg, of 'I love thee.'" (One wonders what was left of Rossini's score.) In 1821 he appeared again with Miss Holman as Rosina.