Famous composers and their works, Vol. 1

by Unknown

So the contract was quickly signed, and Rossini went immediately to Naples to assume his new functions. No sooner did he arrive at that city, in the beginning of the year 1815, than Barbaja gave him the libretto of Elisabetta, regina d'Inghilterra, to set to music. It was with this work that he was to make his debut at the San Carlo, having for principal interpreter an artist of Spanish origin, Isabella Colbran, then in the zenith of her talent and her beauty, and who was one of the most esteemed cantatrices of that period in all Italy. (Isabella Colbran, then the mistress of Barbaja, soon became that of Rossini, who afterwards married her, only to be separated at the end of a few years). The composer and the cantatrice obtained a wonderful success and the Elisabetta won a veritable triumph at Naples.

ISABELLA ANGELA COLBRAN.

Rossini's first wife. From an original contemporary drawing in chalks and pencil.

Rossini profited by this success to leave Naples for a time. His engagement with Barbaja was not exclusive, and a certain liberty of action was reserved to him. He took himself to Rome, whither he was called to write two operas for two different theatres; one, Torvaldo e Dorliska, for the Valle theatre, the others il Barbiere di Siviglia for the Argentina.

We know that Paisiello had already treated the subject of the Barber of Seville, and that the opera conceived by him on Beaumarchais's comedy had been performed in 1789 at St. Petersburg, where he was imperial capellmeister; from there the work of the Neapolitan master had spread over all Europe, and had met, particularly in Italy, with a very flattering reception. Therefore it happened that Rossini was charged with presumption for daring to put il Barbiere to music, and that he was accused of trying to eclipse the glory of Paisiello, who was the first to use this idea. The reproach was all the more singular since such things were of very frequent occurrence in Italy, where, for nearly a century, composers had been setting to music, one after another, all the lyric poems of Apostolo, Zeno and Metastasio, such as Nerone, Alessandro nell'Indie, Artaserse, l'Olimpiade, etc., etc. Why then should Rossini, who in this case had only done what so many others had done before him, become thus an object of criticism and anger? It is difficult to say. Possibly it was Paisiello himself, whose jealousy and faults of character are sufficiently well known, who from Naples, where he had retired, started the hostile sentiments against his rival, and secretly planned the fall of the new work. At least, so it has been said, and the idea does not seem wholly unlikely.

Rossini, however, out of respect for the old master, had courteously written to him on the subject, declaring that it was not his intention to enter into competition with him, but simply to treat a subject which pleased him. Furthermore, and in order to avoid even the appearance of a desire for competition on his part, he had taken the precaution to have a new libretto made on the subject, and even to change the title of the work to Almaviva, ossia l'inutile precauzione (it was not until later that the title of il Barbiere di Siviglia was definitely adopted). Finally, in order that the wishes and intentions of the poet and composer might not be misunderstood, and that the public might not be mistaken in the matter, the following preface was placed at the head of the libretto.

"Notice to the public. The comedy by Beaumarchais entitled le Barbier de Séville or la Prècaution inutile, is presented to Rome under the form of a comic drama, with the title of Almaviva, ossia l'inutile precauzione, with the object of fully convincing the public of the sentiments of respect and veneration which the author of the music of the present drama entertains toward the celebrated Paisiello, who has already treated this subject under its original title.

"Impelled to undertake this same difficult task the master, Gioacchino Rossini, that he might not incur the reproach of a daring vanity with the immortal author who has preceded him, has expressly required that the Barber of Seville be entirely versified anew, and that there shall be added several new situations, demanded, moreover, by the modern theatrical taste which has changed so much since the renowned Paisiello wrote his music.