Rossini's artistic successes led to another kind of success, no less important. Italy was then under French rule, and Napoleon, emperor of the French people, had taken the title of king of Italy. But Napoleon, whose very life it was to fight, was a terrible devourer of men and his constant cry was for more soldiers. Rossini had reached the age when he must draw lots for the conscription. Was it possible to enroll a young artist whose genius announced itself in so brilliant a fashion, and could they force this artist, who promised to win distinction for his country, to take the chances of combat? All Italy was as one voice which demanded that Rossini be exempt from military service. Prince Eugène, who bore the title and fulfilled the functions of viceroy, took it upon himself to pronounce this exemption, and the future author of William Tell was able to pursue in peace the career in which he was to find honor and glory. In 1814 Rossini gave in quick succession to the Scala theatre of Milan two great works, one of them serious, Aureliano in Palmira, which was not very successful, the other light, il Turco in Italia, which was more fortunate; then in the following year he brought out at Venice Sigismondo. It was from this time forth that he found a place worthy of him.
GIOACCHINO ROSSINI.
Reproduction of an excellent lithograph portrait of Rossini in middle life.
There was at that time at the San Carlo theatre of Naples a man who had made himself famous throughout all Italy, a remarkable impresario, whose cleverness and fortune were matters of surprise even to those best acquainted with the mysteries of the green-room, and the difficulties attending all enterprises of this kind. A Milanese by birth, this man, whose name was Domenico Barbaja, was born of very poor parents, who had given him no education whatever. But he was naturally intelligent, astute, audacious, consumed with ambition, and to all this he joined a very sagacious mind and a remarkable artistic instinct, coupled with an indefatigable activity. Ascended from the lowest round in the social ladder, apt at everything he undertook, having been in turn commissioner, horse-jockey, waiter at the café, petty usurer and contractor for the public gaming tables, he had ended by becoming quite at home in public affairs, which he managed with a consummate cleverness. He had installed himself at Naples in 1808, and it was there that he had obtained the license for keeping a gambling house. The following year he took the direction of the two royal theatres, San Carlo and Fondo, to which he soon added the other two theatres, the Fiorentini and the Nuovo. Then, as if this did not suffice to satisfy his ardor, he undertook in a short time, without abandoning any of his other projects, the management of the two great stages of the Scala and the Canobbiana at Milan, and the Italian opera at Vienna. And under his inspired direction all these enterprises prospered so well that the Italians surnamed Barbaja il Napoleone degl' impresari. It is certain that for twenty years he succeeded in uniting at the theatres which he directed, all the most celebrated composers, poets, singers and dancers, and that his liberality, good taste and artistic sense contributed very considerably to the surprising development of dramatic art in Italy during this period.
ROSSINI.
Reproduction of a lithograph portrait of Rossini in his thirty-sixth year, drawn by H. Grévédon, Paris
Like the rest of the world Barbaja was acquainted with Rossini's precocious success, and with his remarkable perception he quickly understood that the composer might become an important source of his prosperity. He resolved to ally himself to him, and as he was at once equitable and generous, he desired to pay a fair compensation for the services which he expected. Rossini had just given in Venice his last opera, Sigismondo, and had returned to Bologna. It was there that Barbaja went to find him and to offer him an engagement. Hitherto Rossini's experience with impresari had been confined almost solely to the poor unfortunate specimens who were in a chronic state of collapse. Imagine then his surprise when Barbaja, whose reputation was well known to him, came to propose an engagement of several years, assuring him, besides a fixed sum of about 11,000 francs, an annual interest of about 4,000 francs in his gambling business. It is true that in return Rossini was to agree to write two new works each year, and to arrange and adapt all the ancient works which it might please Barbaja to mount at the San Carlo and Fondo theatres. It was, in fact, besides the composition of his operas the whole musical direction of these two theatres, which Rossini was thus assuming, a charge which was simply enormous and which had dismayed all others. But what was that for an artist such as he, in exchange for the fortune which Barbaja held before his eyes, and the influence upon his future of the brilliant situation offered him on one of the first lyric stages of Italy?