“What a breeze there is to-night,” Lablache said, as he closed the window of the carriage.
“The hissing at the first representation of ‘Robert Bruce,’” replied Rossini; “it will not do us any harm.”
CHAPTER XV.
END OF ROSSINI’S ITALIAN CAREER.
“La Donna del Lago” was Rossini’s Italian “Tell” in more than one respect. As the composer was only twenty-seven years of age, and had not even begun to make his fortune when it was produced, he could not very well abandon musical composition merely on finding that his greatest work was not appreciated.
But he certainly felt hurt at the reception given to “La Donna del Lago” on its first production at Naples; and although he kept his secret (if there really was a secret) both in regard to this work and to “Guillaume Tell,” the fact is patent that of his next five operas, the last he wrote for Italy, one (“Bianca il Faliero”) was composed for Milan, one (“Matilda di Sabran”) for Rome, one (“Zelmira”) for Vienna, and one (“Semiramide”) for Venice.
As to the fifth (“Maometto Secondo”), Rossini was already under an engagement to furnish it to Barbaja for the Carnival of 1830, when “La Donna del Lago” was brought out in October, 1819. But after the production of “Maometto Secondo” (which we shall meet with again under another title at Paris) he wrote nothing specially for Naples, except a farewell cantata called “La Riconoscenza,” which was produced at his benefit, on the 27th of December, 1821.
The next day he quitted the city for which he had written eight operas, with “Otello,” “Mosè,” and “La Donna del Lago” among the number, went to Bologna, and there married Mademoiselle Isabella Colbran, who, in all Rossini’s operas written for Naples, played the first part, and who was yet to appear as Zelmira and as Semiramide.
“But we are anticipating,” as the novelists say. Before getting married, Rossini had other engagements to fulfil. “Bianca e Faliero” was produced at La Scala for the Carnival of 1820, without entire success. Nevertheless, thanks to a duet for female voices, and a quartet, which was so much liked that it was sung twice every evening (once in its proper place in the opera, once in the ballet), the opera attained a highly satisfactory number of representations.
“Maometto Secondo” was also written for the Carnival of 1820, and, as before mentioned, was the last work that Rossini wrote specially for the San Carlo. Galli made a great impression in the part of Maometto, and his air, “Sogete,” was particularly applauded. The other singers were Mademoiselle Colbran, Mademoiselle Chaumel (the future wife of Rubini), Nozzare, Cicimarra, and Benedetti.
M. Azevedo tells us that the Duke Ventignano, who wrote the libretto of “Maometto Secondo,” passed for a jettatore, and that, to avert the influence of the poet’s “evil eye,” Rossini took care to make the indispensable signs with his thumbs from time to time as he composed his music.