Spontini began his Paris career by giving singing lessons, and in order to bring himself before the public he produced at the Italien (Feb. 11, 1804) his opera "La Finta Filosofa." This performance, which was honored by the presence of the First Consul and Josephine, was a great success for the young composer, whom the newspapers announced as a pupil of Cimarosa. Afterwards he succeeded in forcing the doors of the Opéra Comique with "La Petite maison," which was very badly received by reason of the poem, and was played only three times. It must be said that the new-comer had against him not only the French musicians, professors and pupils of the Conservatoire, opposed to the invasion of Italian music, but also the Italian composers who had succeeded in making a place for themselves in France, like Della Maria and Nicolo, and who had no intention of giving up the place to this unexpected rival. The failure of "La Petite maison" did not prevent Spontini from being chosen by Jouy to set to music a poem entitled "La Vestale," and about the same time he received from the hands of Dieulafoi a new libretto in one act, "Milton." This work was played at the Opéra Comique, Nov. 27, 1804, and brought Spontini into notice, for the breadth of certain motives, the touching simplicity of some of the melodies, fixed upon him the serious attention of the public, and gave a foretaste of the transformation which was to take place in the young composer.
He afterwards experienced another failure at the Opéra Comique with "Le Pot de fleurs" (March 12, 1805), but this failure did not make much impression, for people remembered only "Milton."
Moreover, Spontini was engaged upon the work which was to gain for him immortality. He had found in Jouy's poem the opportunity for developing all his qualities of breadth, boldness, and dramatic sentiment, which he had vainly sought to bring out in his Italian operas, or in his little French operettas. But it was not enough to have written a masterpiece like "La Vestale," it must also be performed. Spontini, favored with the protection of Josephine, had composed a cantata in honor of the conqueror of Austerlitz, "l'Eccelsa Gara," sung at the Imperial Theatre on Feb. 8, 1806. The Emperor in return had signed the order for the preparation and mise en scène of "La Vestale," and the rehearsals were begun. But the new opera was withdrawn in favor of a certain ballet, "Ulysses," by Milon and Persuis; then the decorations which had been painted for "La Vestale" were destroyed by a storm. Finally Napoleon, who never encouraged Spontini, although he was credited with remarks complimentary to the latter, decided to bring out first the "Triomphe de Trajan," a grand opera written in his honor by Esménard, with music by Lesueur, Persuis, and Kreutzer, and though this opera had proved a great success, thanks to its rich mise en scène, and had left a free field to Spontini, there was talk of again postponing "La Vestale" in favor of Lesueur's opera, "La Mort d'Adam." Jouy and Spontini probably would have expostulated in vain, but that Lesueur's music, happily for them, was not ready at the necessary moment. Then they were obliged to make all haste with the rehearsals and bring out "La Vestale," Dec. 15, 1807. The composer was only thirty-seven years old, when at this auspicious moment he stepped into the position left vacant by the death of Gluck and the departure of his successor Salieri.
G. SPONTINI.
Reproduction of a portrait by Vincent.
This work gave to the ancient lyric tragedy an unexpected life, warmth, and elevation, and made Spontini absolute master of the theatre. One of the decennial prizes instituted by Napoleon was awarded to him, notwithstanding the redoubtable competition of Lesueur's "Bardes," the opera preferred by the Emperor. Méhul, Gossec, and Grétry, the three members of the Académie des Beaux Arts who rendered this verdict, gave evidence of a commendable independence. Spontini, having dedicated his score to the Empress Josephine, immediately set about composing a new work on a poem which Jouy had just sent him, "Ferdinand Cortez," and this was performed at the Opéra, Nov. 28, 1809. This work was fairly successful, thanks to the music, and in spite of the weakness of the poem, which was so badly put together that subsequently Jouy was obliged to reverse the order of the acts, in order to improve them dramatically. Yet the general feeling was that this score, notwithstanding its striking beauties, had not the inspiration, the unity of effect, which had been appreciated so much in "La Vestale," and it always remained a work of secondary importance in the opinion of the musical public. These two successes singularly developed the natural importance and vanity of Spontini, who never doubted his own genius, and who even at the opening of his career showed an extraordinary confidence and spirit; but a less favorable period was in store for him. He married the daughter of the celebrated piano manufacturer, Jean Baptiste Erard, and in 1810 the privilege of the direction of the Théâtre Italien was given to him, but in consequence of administrative dissensions he was soon supplanted, after having made known to the Parisians, in 1811, Mozart's "Don Giovanni." Three years later he wanted his privilege returned to him by the royal government, but it was refused, being granted to Mme. Catalani associated with Paër.
SPONTINI.
Reproduced from a portrait engraved after a painting by Jean Guérin, made shortly after the first representation of "La Vestale."