Rossini, too, caused Malibran to be re-engaged (she had appeared at Paris some years previously, before the full development of her talent, in “Torwaldo e Dorliska”), and introduced to the French public Sontag and Pisaroni, who appeared together in “Tancredi;” Galli, Lablache, and Tamburini. It was Rossini, too, who discovered and brought out Giulia Grisi.
In fact, he raised the Théâtre Italien of Paris to the position of the first Italian Opera in Europe.
Soon after the production of “Il Viaggio,” Rossini brought out “Semiramide” and “Zelmira.” Indeed, during the eighteen months over which his contract extended, he made the French acquainted with all his greatest works. Add to this that he wrote an entirely new opera for Paris, and that he was the means of introducing Meyerbeer, both through his works and in person, and the sum total of Rossini’s doings at the Théâtre Italien will not seem insignificant.
The French public knew nothing of Meyerbeer’s music; it is true he had not written much besides “Emma di Rosburgo” and “Il Crociato,” when Rossini undertook the production of the latter work at the Théâtre Italien. As soon as the opera was nearly ready, he asked the Viscount de la Rochefoucauld to invite the composer to attend the last rehearsals; and it was really in consequence of Rossini’s express recommendation that Meyerbeer came to Paris.
Rossini was equally the means of bringing Bellini, Donizetti and Mercadante to France. To Bellini in particular he was the kindest possible friend, as may be judged from the following letter, addressed to Rossini by Bellini’s father, just after the young man’s death.
“You always encouraged the object of my eternal regret in his labours,” wrote the unhappy father; “you took him under your protection; you neglected nothing that could increase his glory and his welfare. After my son’s death, what have you not done to honour his memory and render it dear to posterity! I learnt this from the newspapers; and I am penetrated with gratitude for your excessive kindness, as well as for that of a number of distinguished artistes, which also I shall never forget. Pray, sir, be my interpreter, and tell these artistes, that the father and family of Bellini, as well as our compatriots of Catania, will cherish an imperishable recollection of this generous conduct. I shall never cease to remember how much you did for my son; I shall make known everywhere in the midst of my tears what an affectionate heart belongs to the great Rossini; and how kind, hospitable, full of feeling are the artistes of France.”
CHAPTER VI.
ROSSINI AT THE ACADÉMIE.
ROSSINI’S engagement as director of the Théâtre Italien came to an end in 1826; but he continued to take part in its management, and rendered great services by his recommendations of singers and composers.
He continued, also, to receive twenty thousand francs a year from the Civil List; and as it was necessary this pension, for such it really was, should be assigned to him in consideration of certain official duties, he was named “Inspector of Singing.”
One would have thought “auditor” a better word; but the appointment was chiefly a pretext for keeping Rossini in France, where it was understood that he was to compose a series of works for the French Opera.