It was at this point that Rossini had reached the fulness of his glory. Scarcely twenty-seven years of age, he had already written twenty-nine operas, several of which had achieved a brilliant success, and his name, popular throughout Italy, was famous in all Europe, which applauded his works with frenzy. And yet, the success of la Donna del Lago could not sustain a mediocre work like Bianca e Falerio, which was coldly received at the Scala, Milan. But the master regained public favor with his Maometto II. which was received with enthusiasm at Naples. He went to Rome shortly after to give Matilde di Shabran, one of the feeblest of his works, and then rose to the top again with Zelmira, which was very successful, not only at Naples, but at Vienna where Rossini was invited to direct the performance of the opera, accompanied by Colbran, then his wife, who sung the leading part. Finally, he wrote and brought out at Venice, Semiramide, one of the most remarkable of his works, in spite of its faults. Rossini counted much, and with reason, on this score which the Venetians received with a cold reserve. Neither the richness of the inspiration, nor the variety of the forms, nor the grandeur of the style which distinguished this noble and superb work, could overcome the indifference of the public. After a reception so unjust, a result so contrary to his legitimate hopes, Rossini, who at that moment was solicited on all sides, did not hesitate to leave Italy. An engagement was offered him in England; he accepted it immediately and went to London, passing through Paris where he formed relations which were soon to bring him back to that city.
Rossini was to write for the Italian theatre at London an opera entitled la Figlia dell'aria; he had composed the first act, when the direction of the theatre failed, and the project was abandoned. However, his trip to England was far from being unfruitful of results. Sought after by the highest society, encouraged in every way, received at court, Rossini, during his five months stay at London where he excited the liveliest enthusiasm, was able to realize from the concerts and lessons which he gave with his wife, about 200,000 francs, which was the basis of his future fortune. At the same time, through the intervention of the French ambassador in England, he signed an engagement with the minister of the royal house, by which he accepted the direction of the Théâtre-Italien of Paris at a salary of 20,000 francs per year, without prejudice to the author's rights in the works which he might wish to write for that theatre or for the Opéra.
Rossini found in France the same enthusiastic welcome which had been given him in England. He composed first a little Italian opera called il Viaggio a Reims, which was performed on the occasion of the fêtes given in that city for the coronation of King Charles X. He next occupied himself with transforming for the French stage two of his best Italian works, Maometto II. which became at the Opéra le Siège de Corinthe, and Mosé in Egitto, which was performed at that theatre under the title of Moïse. In passing from one tongue to the other, these two works were subject to much remodelling from the hand of the composer. He changed parts of them, added to them, strove to render the declamation more clear and precise, finally forced himself to adapt his inspiration to the necessities of the French stage and of the musical genius of that country. Success crowned his efforts, and in the face of that success, Rossini dreamed of writing a great new work expressly for the Opéra. But first he brought out at that theatre a pretty little opera in two acts, le Comte Ory, which was received with great applause, and in which he had embodied some fragments of the Viaggio a Reims.
ROSSINI ON HIS DEATH BED.
Reproduction of Gustave Doré's celebrated picture, from photograph at the Paris Opera.
At last came the great work which the public were awaiting with impatience, William Tell, which was performed Aug. 3, 1829, with Nourrit, Dabadie, Levasseur, Prévost, Mmes. Cinti-Damoreau, Mori and Dabadie for the principal interpreters. In writing the score of William Tell, Rossini had applied his genius to the exigencies of the French stage, as Gluck had done fifty years before. He had given to his declamation a breadth hitherto unknown, to his instrumentation a superb color and éclat, while the dramatic action had acquired with him a marvellous power, and the wealth and freshness of his inspiration surpassed all that could be desired. It cannot be denied that the appearance of William Tell is a luminous date in the history of music in France, that the success of this masterpiece has never diminished, and that after more than sixty years it is still as touching, as pathetic, as grand, as much respected as in the first days of its existence.
How comes it then that after so complete, so brilliant, so incontestable a triumph, Rossini should have renounced the theatre forever, that he should never have wished to repeat so happy an attempt? That is a mystery which as yet it has been impossible to solve, and it is certainly a great misfortune for the art, which has thereby been deprived of untold masterpieces. But the fact remains that from the 3rd of August, 1829, date of the first performance of William Tell until the 13th of November, 1868, date of the master's death, Rossini wrote nothing more for the stage. This does not mean that he stopped composing; far from it. His compositions on the contrary are numerous, and some of them very important, but none are for the theatre. First should be mentioned his religious music: a Stabat Mater, a Petite Messe solennelle, and a Tantum ergo; then three choruses for female voices, la Foi, l'Espèrance, la Charitè; le Chant des Titans for four bass voices; Soirées musicales, comprising eight ariettes and four duets; and finally a great number of songs and piano pieces. Earlier, and in the course of his Italian career, Rossini had written, for different occasions, a number of cantatas and lyric scenes, the titles of which are: il Pianto d'Armonia per la morte d'Orfeo; Didone abbandonata; Egle ed Irene; Teti e Peleo; Igea; Ad onore di S. M. il re de Napoli; Ad onore di S. M. l'emperatore d'Austria; la Riconoscenza; il Vero Omaggio; i Pastori; etc.
