The Life of Rossini

by H. Sutherland Edwards

But Rossini’s fate seems to have depended more upon political events than on the “evil eye” of individuals. The Revolution of 1830 affected his French career, and the Neapolitan Revolution of 1820 had doubtless quite as much to do with Rossini’s departure from Naples as the cold reception of “La Donna del Lago.” The republicans actually wished him to enter the national guard, and it is said that General Pepe did prevail upon him two or three times to wear a uniform.

The change in the political situation had a disastrous effect on the fortunes of Barbaja, who, to begin with, found himself deprived of his customary profits from the operatic gambling tables, which were suppressed.

“Matilda di Sabran” was produced at Rome for the Carnival of 1821, not at the scene of Rossini’s former triumph in the same capital, but at the “Apollo,” a theatre directed by the banker Torlonia. This opera, revived in Paris some years ago with Madame Bosio, Madame Borghi-Mamo, and Signor Gassier in the principal characters, is scarcely known in England. It is remarkable among Rossini’s works as the only one in which the chief female part is written for a high soprano. On the occasion of its first performance the admirers of Rossini and the partisans of the old school disputed, quarrelled, and ultimately fought outside the theatre with sticks, when it is satisfactory to know that the admirers of Rossini gained the day.

Paganini, happening to be in Rome when “Matilda di Sabran” was produced, offered to direct the orchestra at the three first performances, and did so with great success. Never, it is said, did the band of the “Apollo” play with so much spirit before.

“Zelmira,” composed for Vienna, was first produced at Naples. It will be remembered that the Italian theatre at Vienna, the San Carlo and Del Fondo theatre of Naples were all in the hands of the same manager. Mademoiselle Colbran, Mademoiselle Cecconi, Davide, Nozzare, and Benedetti were the singers, and the work was brought out in the middle of December, 1821.

Rossini was now on the point of leaving Naples altogether. A few days after the first representation of “Zelmira” he took a benefit, when a cantata, which he had written for the occasion, “La Riconoscenza,” was executed, Rubini and the former Mademoiselle Chaumel, now Madame Rubini, being among the vocalists.

Mademoiselle Colbran did not sing at this interesting ceremony; she had to start early the next morning for Bologna, where a ceremony still more interesting required her presence. Rossini accompanied her, and the marriage took place in the palace of Cardinal Opizzoni, Archbishop of Bologna, who performed the service. Rossini’s parents were present, together with Nozzare and Davide, the two inseparable tenors. Mademoiselle Colbran had saved a considerable sum of money, considering the difference between the earnings of an Italian prima donna fifty years ago and those of a European prima donna of the present day.

M. Azevedo assigns to Mademoiselle Colbran an income from property of four hundred a year; Stendhal, more generous, had given her eight hundred. She had at least, in the words of Zanolini, “a delicious villa and revenues in Sicily.”

From Bologna, Rossini, his wife, and the two tenors went to Vienna, where the composer was received with enthusiasm, and what was more, no doubt, to his taste, with distinguished attention from the most illustrious persons in the capital. It is said that Rossini was handled roughly in the musical press, and that the names of Haydn and Mozart were invoked to his disadvantage. This, however, did not diminish his success with the public, who, going to the theatre to be pleased, came away delighted whenever one of Rossini’s works had been performed.

Various accounts of Rossini’s interview with Beethoven have been published. Beethoven had heard the “Barber of Seville,” had been much pleased with it, and had thought still better of it on examining the score. However this may have been, Rossini knew and greatly admired Beethoven’s work,[29] and he made a point of calling upon the great composer soon after his arrival in Vienna. The interview does not seem to have been a long one, nor, considering that Beethoven was in broken health and tormented by his malady of deafness, could it have been interesting on either side. It left a sad impression on Rossini, who appreciated Beethoven’s genius.