Famous composers and their works, Vol. 1

by Unknown

Caricature of Rossini by Carjat reproduced from a print at the Paris Opera.

"Some other differences between the contexture of the present drama and that of the French comedy above mentioned, have been required by the necessity of introducing choruses, partly to conform to modern customs, partly because they are indispensable in a theatre of such vast proportions. The courteous public is informed of this fact in order that it may excuse the author of the present drama, who, except for the concurrence of circumstances so imperative, would not have dared to introduce the slightest change in the French work consecrated by the applause of all Europe."

All these precautions and the artistic uprightness which Rossini exhibited in this delicate matter, could not avail to still the storm which hurled itself about him. No matter what he might have done to appease them, the Romans were exasperated in advance against his work and against himself, and the first performance of il Barbiere, outrageously hissed, was the most complete scandal of which the annals of the theatre can offer example. An account of it has been given by one of the Italian biographers of the master, Zanolini, from whom I borrow the following details: "The Romans went to the theatre, persuaded that they were going to hear detestable music, and disposed to punish an ignorant upstart. The overture was executed in the midst of a confused hub-bub, the precursor of the tempest. Garcia attempted to accompany with his guitar the first air of the count Almaviva; all the strings broke at once, and then commenced the laughs, jeers and hisses. A little while after, Don Basilio, an old singer of the Sistine chapel, stumbled, on entering the stage, and fell and bumped his nose. This was enough; laughs and hisses burst from all sides, and people would not and could not listen any longer. One person applauded, one only, and that was the composer; and the more he clapped, the louder grew the hisses, until, when the fury of the crowd had reached its climax, he mounted upon his chair, so that he might be seen by all, and with head, hands and voice testified to the actors his approbation. He remained intrepid until the orchestra had all left, waiting to receive the very last insult. He was to be present at the second performance, but he found some pretext for being excused, and the directors were delighted, because they feared him at the same time that they had confidence in his music. During the second evening, Rossini was conversing at his home with some friends, when cries were heard in the street in front of the house and the lights of many torches were seen through the window. When they distinguished among the cries the name of Rossini, his guests were alarmed but afterwards, the voices of friends having been recognized, the doors were all opened wide to the messengers sent by the spectators assembled at the Argentina, and who, carried away by their enthusiasm were clamoring for the maestro to show himself. Rossini was carried thither in triumph, and was covered with applause." So we see that this happy Barbiere which for eighty years has been the delight of the whole world, was badly enough received on its entrance into that world.

GIOACCHINO ROSSINI.

Reproduction of a lithograph by A. de Bayalos, made from a portrait by Dupré. Rossini in middle life. Portraits in spandrel are,

Grisi. Pasta. Garcia Viardot.
Rubini. Curioni. Mario.
Tamburini. Lablache.

Meanwhile, when the bad humor of the Romans was fairly over, and the Barber established in public favor, Rossini prepared to go to Naples in response to a call from Barbaja. Immediately on his return he set to work, giving first to the Fiorentini theatre a little work entitled la Gazzetta, then writing for the San Carlo his Otello, which achieved a considerable success and was played by the great artists Nozzari, David, Garcia, Benedetti and Colbran. He afterwards returned to Rome where he gave that gem of comic verve, la Cenerentola, then went to Milan where he wrote for the Scala, la Gazza ladra, a work little remembered to-day. He then went back to Naples to give Armida, and again returned to Rome where he brought out Adelaide di Borgogna, which met with very meagre success. But he soon made up for this failure by giving at Naples Moses in Egypt, one of his best works, which was followed by Ricciardo e Zoraide and Hermione, the libretto of which was taken from Racine's Andromaque. At the same time he sent to Lisbon the score of a little comic work which was requested of him by the royal theatre of that city; Adina, o il Califfo di Bagdad, on the subject of a French comic opera by Boieldieu, bearing the same title. After having given at Venice Edoardo e Cristina he again won great success at Naples with la Donna del Lago, a work full of poetry and originality.