The music of Zelmira was greatly admired by connoisseurs, but made no impression on the public, and though Madame Colbran-Rossini's performance is said to have been admirable, it must be remembered that she had already passed the zenith of her powers. Born in Madrid, in 1785, she appears to have retired from the stage, as far as Italy was concerned, in 1823, after the production of Semiramide. At least, I find no account of her having sung anywhere after the season of 1824, in London, though her name appears in the list of the celebrated company assembled the same year by Barbaja, at Vienna. Mademoiselle Colbran figures among the sopranos with Mesdames Mainvielle-Fodor, Féron, Esther Mombelli,[85] Dardanelli, Sontag, Unger, Giuditta, Grisi, and Grimbaun. The contraltos of this unrivalled troupe were Mesdames Cesare-Cantarelli and Eckerlin; the tenors, Davide, Nozzari, Donzelli, Rubini, and Cicimarra; the basses, Lablache, Bassi, Ambroggi, Tamburini, and Bolticelli. Rossini had undertaken to write an opera entitled Ugo rè d'Italia, for the King's Theatre. The engagement had been made at the beginning of the season, in January, and the work was repeatedly announced for performance, when, at the end of May, it was said to be only half finished. He had, at this time, quarrelled with the management, and accepted the post of director at the Italian Opera of Paris. The end of Ugo rè d'Italia is said by Mr. Ebers to have been, that the score, as far as it was written, was deposited with Messrs. Ransom, the bankers. Messrs. Ransom, however, have informed me, that they never had a score of Rossini's in their possession.
After Rossini's departure from London, his Semiramide, produced at Venice only the year before, was brought out with Madame Pasta, in the principal character. The part of "Semiramide" had been played at the Fenice Theatre, by Madame Colbran; it was the last Rossini wrote for his wife, and Semiramide was the last opera he composed for Italy. When we meet with Rossini again, it will be at the Académie Royale of Paris, as the composer of the Siege of Corinth, Count Ory, and William Tell.
ROSSINI'S SINGERS.
The first great representative of "Semiramide" was Pasta, who has probably never been surpassed in that character. After performing it with admirable success in London, she resumed in it the year afterwards, 1825, at the Italian Opera of Paris. Madame Pasta had already gained great celebrity by her representation of "Tancredi" and of "Romeo," but in Semiramide, she seems, for the first time, to have exhibited her genius in all its fulness.[86]
The original "Arsace" was Madame Mariani, the first great "Arsace," Madame Pisaroni.
Since the first production of Semiramide, thirty years ago, all the most distinguished sopranos and contraltos of the day have loved to appear in that admirable work.
Among the "Semiramides," I may mention in particular Pasta, Grisi, Viardot-Garcia, and Cruvelli. Although not usually given to singers who particularly excel in the execution of light delicate music, the part of "Semiramide" was also sung with success by Madame Sontag (Paris, 1829), and Madame Bosio (St. Petersburgh, 1855).
Among the "Arsaces," may be cited Pisaroni, Brambilla, and Alboni.
Malibran, with her versatile comprehensive genius, appeared both as "Arsace" and as "Semiramide," and was equally fortunate in each of these very different impersonations.
I will now say a few words respecting those of the singers just named, whose names are more especially associated with Rossini's earliest successes in England.