"1st and 2nd Horns; very good. Horns and hautboys combine admirably. I say nothing against Rossini's horns.
"3rd and 4th Horns! How many horns does the man want? Quattro Corni, Corpo di Bacco! The greatest of our composers have always been contented with two. Shades of Pergolese, of Leo, of Jomelli! How they must shudder at the bare mention of such a thing. Four horns! Are we at a hunting party? Four horns! Enough to blow us to perdition."
The indignation and rage of the old musician went on increasing as he followed the gradual development of a crescendo until he arrived at the explosion of the fortissimo. Then Sigismondi uttered a cry of despair, struck the score violently with his fist, upset the table which the imprudent Donizetti had loaded with the nefarious productions of Rossini, raised his hands to heaven and rushed from the room, exclaiming, "a hundred and twenty-three trombones! A hundred and twenty-three trombones!"
Donizetti followed the performer and endeavoured to explain the mistake.
"Not 123 trombones, but 1st, 2nd, 3rd trombones," he gently observed. Sigismondi however, would not hear another word, and disappeared from the library crying "a hundred and twenty-three trombones," to the last.
Donizetti came back, lifted up the table, placed the scores upon it and examined them in peace. He then, in his turn, concealed them so that he might be able another time to find them whenever he pleased without clambering up walls or intriguing to get possession of ladders.
ANNA BOLENA.
The inquiring student of the Conservatory of Naples was born, in 1798, at Bergamo, and when he was seventeen years of age was put to study under Mayer, who, before the appearance of Rossini, shared with Paer the honour of being the most popular composer of the day. His first opera Enrico di Borgogna was produced at Venice in 1818, and obtained so much success that the composer was entrusted with another commission for the same city in the following year. After writing an opera for Mantua in 1819 Il Falegname di Livonia, Donizetti visited Rome, where his Zoraide di Granata procured him an exemption from the conscription and the honour of being carried in triumph and crowned at the Capitol. Hitherto he may be said to have owed his success chiefly to his skilful imitation of Rossini's style, and it was not until 1830, when Anna Bolena was produced at Milan (and when, curiously enough, Rossini had just written his last opera), that he exhibited any striking signs of original talent. This work, which is generally regarded as Donizetti's master-piece, or at least was some time ago (for of late years no one has had an opportunity of hearing it), was composed for Pasta and Rubini, and was first represented for Pasta's benefit in 1831. It was in this opera that Lablache gained his first great triumph in London.
Donizetti visited Paris in 1835, and there produced his Marino Faliero, which contains several spirited and characteristic pieces, such as the opening chorus of workmen in the Arsenal and the gondolier chorus at the commencement of the second act. The charming Elisir d'Amore, the most graceful, melodious, moreover the most characteristic, and in many respects the best of all Donizetti's works, was written for Milan in 1832. In this work Signor Mario made his re-appearance at the Italian Opera of Paris in 1839; he had previously sung for some time at the Académie Royale in Robert and other operas.
Lucia di Lammermoor, Donizetti's most popular opera, containing some of the most beautiful melodies in the sentimental style that he has composed, and altogether his best finale, was produced at Naples in 1835. The part of "Edgardo" was composed specially for Duprez, that of "Lucia" for Persiani.