History of the Opera from its Origin in Italy to the present Time / With Anecdotes of the Most Celebrated Composers and Vocalists of Europe

by H. Sutherland Edwards

Mosè was brought out in London, as an oratorio, in the beginning of 1822. Probably, dramatic action was absolutely necessary for its success; at all events, it failed as an oratorio. The same year it was produced as an opera at the King's Theatre; but with a complete transformation in the libretto, and under the title of Pietro l'Eremita. The opera attracted throughout the season, and no work of Rossini's was ever more successful on its first production in this country. The subscribers to the King's Theatre were in ecstacies with it, and one of the most distinguished supporters of the theatre, after assuring the manager that he deserved well of this country, offered to testify his gratitude by proposing him at White's!

MOSE IN EGITTO.

In the autumn of the same year Mosè was produced at the Italian Opera of Paris, and in 1827, a French version of it was brought out at the Académie. The Red Sea appears to have been a source of trouble everywhere. At the Académie, forty-five thousand francs were sunk in it, and to so little effect, or rather with such bad effect, that the machinists' and decorators' waves had to be suppressed after the first evening. In London the Red Sea became merely a river. The river, however, failed quite as egregiously as the larger body of water, and had to be drained off before the second performance took place.

Mosè is quite long enough and sufficiently complete in its original form. Several pieces, however, out of other operas, by Rossini, were added to it in the London version of the work. In Paris, in accordance with the absurd custom (if it be not even a law) at the Académie, Mosè could not be represented without the introduction of a ballet. The necessary dance music was taken from Ciro in Babilonia and Armida, and the opera was further strengthened as it was thought (weakened as it turned out), by the introduction of a new air for Mademoiselle Cinti, and several new choruses.

The Mosè of the Académie, with its four acts of music (one more than the original opera) was found far too long. It was admired, and for a little while applauded; but when it had once wearied the public, it was in vain that the directors reduced its dimensions. It became smaller and smaller, until it at last disappeared.

Zelmira, written originally for Vienna, and which is said to have contained Madame Colbran Rossini's best part, was produced at Naples in 1822. The composer and his favourite prima donna were married in the spring of the same year at Castelnaso, near Bologna.

"The recitatives of Zelmira" says Carpani, in his Le Rossinane ossia lettere musico-teatrali, "are the best and most dramatic that the Italian school has produced; their eloquence is equal to that of the most beautiful airs, and the spectator, equally charmed and surprised, listens to them from one end to the other. These recitatives are sustained by the orchestra; Otello, Mosè in Egitto, are written after the same system, but I will not attribute to Rossini the honour of a discovery which belongs to our neighbours. Although the French Opera is still barbarous from a vocal point of view, there are some points about it which may be advantageously borrowed. The introduction of accompanied recitative is of the greatest importance for our opera seria, which, in the hands of the Mayers, Paers, the Rossinis, has at last become dramatic."

Zelmira was brought out in London in 1824, under the direction of Rossini himself, and with Madame Colbran Rossini in the principal part. The reception of the composer, when he made his appearance in the orchestra, was most enthusiastic, and at the end of the opera, he was called on to the stage, which, in England, was, then, quite a novel compliment.

ROSSINI AND GEORGE IV.

At the same time, all possible attention was paid to Rossini, in private, by the most distinguished persons in the country. He was invited by George IV. to the Pavilion at Brighton, and the King gave orders that when his guest entered the music room, his private band should play the overture to the Barber of Seville. The overture being concluded, his Majesty asked Rossini what piece he would like to hear next. The composer named God save the King.