PICCINNI AND DURANTE.
Leo died, and was succeeded by Durante, who used to say of young Piccinni, "The others are my pupils, but this one is my son." Twelve years after his entrance into the Conservatory the most promising of its alumni left it and set about the composition of an opera. As Piccinni was introduced by Prince Vintimille, the director of the theatre then in vogue was unable to refuse him a hearing; but he represented to His Highness the certainty of the young composer's work turning out a failure. Piccinni's patron was not wanting in generosity.
"How much can you lose by his opera," he said to the manager, "supposing it should be a complete fiasco?"
The manager named a sum equivalent to three hundred and twenty pounds.
"There is the money, then," said the prince, handing him at the same time a purse. "If the Donne Dispetose (that was the name of Piccinni's opera) should prove a failure, you may keep the money, otherwise you can return it to me."
Logroscino was the favorite Italian composer of that day, and great was the excitement when it was heard that the next new opera to be produced was not of his writing. Evidently, his friends had only one course open to them. They decided to hiss Logroscino's rival.
But the Florentine public had reckoned without Piccinni's genius. They could not hiss a man whose music delighted them, and Piccinni's Donne Dispetose threw them into ecstacies. Those who had come to hoot remained to applaud. Piccinni's reputation had commenced, and it went on increasing until at last his was the most popular name in all musical Italy.
Five years afterwards, Piccinni (who in the meanwhile had produced two other operas) gave his celebrated Cecchina, otherwise La Buona Figliuola, at Rome. The success of this work, of which the libretto is founded on the story of Pamela, was almost unprecedented. It was played everywhere in Italy, even at the marionette theatres; and still there was not sufficient room for the public, who were all dying to see it. This little opera filled every playhouse in the Italian peninsula, and it had taken Piccinni ten days to write! The celebrated Tonelli, who, being an Italian, had naturally heard of its success, happened to pass through Rome when it was being played there. He was not by any means persuaded that the music was good because the public applauded it; but after hearing the melodious opera from beginning to end, he turned to his friends and said, in a tone of sincere conviction, "This Piccinni is a true inventor!"
Of course the Cecchina was heard of in France. Indeed, it was the great reputation achieved by that opera which first rendered the Parisians anxious to hear Piccinni, and which inspired Madame Du Barry with the hope that in the Neapolitan composer she might find a successful rival to the great German musician patronised by Marie Antoinette.
GLUCK AND PICCINNI.