Cimarosa, though he may have possessed a more dignified sense than Paisiello of what was due to himself, had less vanity. A story is told of a painter wishing to flatter the composer of _Il Matrimonio Segretto_, and saying that he looked upon him as superior to Mozart.

"Superior to Mozart!" exclaimed Cimarosa. "What should you think, Sir, of a musician, who told you that you were a greater painter than Raphael?"

Among the other composers who adorned the end of the eighteenth and the beginning of the nineteenth century, may be mentioned Sacchini, the successor of Piccinni in Paris; Salieri, the envious rival of Mozart, and (in Paris) the successor of Gluck; Paer, in whose _Camilla_ Rossini played the child's part at the age of seven (1799); Mayer, the future master of Donizetti; and Zingarelli, the future master of Bellini, one of whose operas was founded on the same _libretto_ which afterwards served the pupil for his _Capuletti i Montecchi_.

Piccinni is not connected in any direct manner with the present day; but it is nevertheless to Piccinni that we owe the first idea of those magnificent finales which, more than half a century afterwards, contributed so much to the success of Rossini's operas, and of which the first complete specimens, including several movements with changes of key and of rhythm, occur in _La Cecchina ossia la Buona Figliuola_, produced at Rome in 1760.

Logroscino, who sometimes pa.s.ses as the inventor of these finales, and who lived a quarter of a century earlier, wrote them only on one theme.

The composer who introduced dramatic finales into serious opera, was Paisiello.

It may interest the reader to know, that the finale of _Don Giovanni_ lasts fifteen minutes.

That of the _Barber of Seville_ lasts twenty-one minutes and a-half.

That of _Otello_ lasts twenty-four minutes.

[Sidenote: FINALES.]

The quintett of _Gazza Ladra_ lasts twenty-seven minutes.

The finale of _Semiramide_ lasts half an hour--or perhaps a minute or two less, if we allow for the increased velocity at which quick movements are "taken" by the conductors of the present day.

CHAPTER XII.

OPERA IN FRANCE, AFTER THE DEPARTURE OF GLUCK.

A few months before Gluck left Paris for the last time, an insurrection broke out at the Opera. The revolutionary spirit was abroad in Paris.

The success of the American War of Independence, the tumultuous meetings of the French Parliament, the increasing resistance to authority which now manifested itself everywhere in France; all these stimulants to revolt seem to have taken effect on the singers and dancers of the Academie. The company resolved to carry on the theatre itself, for its own benefit, and the director, Devismes, was called upon to abdicate.

The princ.i.p.al insurgents held what they called "Congress," at the house of Madeleine Guimard, and the G.o.d of Dancing, Auguste Vestris, declared loudly that he was the Washington of the affair.

[Sidenote: MADEMOISELLE GUIMARD.]

Every day some fresh act of insubordination was committed, and the chiefs of the plot had to be forced to appear on the stage by the direct interference of the police.

"The minister desires me to dance," said Mademoiselle Guimard on one of these occasions; "_eh bien qu'il y prenne garde, je pourrais bien le faire sauter_."

The influential leader just named conducted the intrigue with great skill and discretion.

"One thing, above all!" she said to her fellow conspirators; "no combined resignations,--that is what ruined the Parliament."

To the minister, Amelot, the destroyer and reconstructor of the Parliament of Dijon, Sophie Arnould observed, in reference to his interference with the affairs of the Academie---

"You should remember, that it is easier to compose a parliament than to compose an opera."

Auguste Vestris having spoken very insolently to Devismes, the latter said to him---

"Do you know, sir, to whom you are speaking?"

"To whom? to the farmer of my talent," replied the dancer.

Things were brought to a crisis by the _fetes_ given to celebrate the birth of Marie Antoinette's first child, December, 1778. The city of Paris proposed to spend enormous sums in festivities and illuminations; but the king and queen benevolently suggested that, instead of being wasted in useless display, the money should be given away in marriage portions to a hundred deserving young girls; and their majesties gave fifty thousand francs themselves for the same object. Losing sight of the Opera for the moment, I must relate, in as few words as possible, a charming little anecdote that is told of one of the applicants for a dowry. Lise was the name of this innocent and _nave_ young person, who, on being asked some question respecting her lover, replied, that she had none; and that she thought the munic.i.p.ality provided everything! The munic.i.p.ality found the necessary admirer, and could have had no difficulty in doing so, if we may judge from the graceful bust of Lise, executed in marble by the celebrated sculptor, Houdon.

The Academie, which at this time belonged to the city, determined to follow its example, and to give away at least one marriage portion.

Twelve hundred francs were subscribed and placed in the hands of Mademoiselle Guimard, the treasurer elect. The nuptial banquet was to take place at the winter Vauxhall (_Gallice_ "Wauxhall"); and all Paris was in a state of eager excitement to be present at what promised to be a most brilliant and original entertainment. It was not allowed, however, to take place, the authorities choosing to look upon it as a parody of the _fete_ given by the city.

[Sidenote: AUGUSTE VESTRIS.]

The doors of the "Wauxhall" being closed to the subscribers, Mademoiselle Guimard invited them to meet at her palace, in the Chaussee d'Antin. The munic.i.p.ality again interfered; and in the middle of the banquet Vestris and Dauberval were arrested by _lettres de cachet_ and taken to For-l'Eveque, on the ground that they had refused to dance the Tuesday previous in the _divertiss.e.m.e.nt_ of _Armide_.

Gaetan Vestris was present at the arrest of his son, and excited the mirth of the a.s.sembly by the pompous, though affectionate, manner in which he bade him farewell. After embracing him tenderly, he said--

"Go, Augustus; go to prison. This is the grandest day of your life! Take my carriage, and ask for the room of my friend, the King of Poland; and live magnificently--charge everything to me."

On another occasion, when Gaetan was not so well pleased with his Augustus, he said to him:

"What! the Queen of France does her duty, by requesting you to dance before the King of Sweden, and you do not do yours? You shall no longer bear my name. I will have no misunderstanding between the house of Vestris and the house of Bourbon; they have hitherto always lived on good terms."

For his refusal to dance, Augustus was this time sentenced to six months' imprisonment; but the opera goers were so eager for his re-appearance that he was set free long before the expiration of the appointed term.

He made his _rentree_ amid the groans and hisses of the audience, who seemed determined to give him a lesson for his impertinence.

Then Gaetan, magnificently attired, appeared on the stage, and addressed the public as follows:--

"You wish my son to go down on his knees. I do not say that he does not deserve your displeasure; but remember, that the dancer whom you have so often applauded has not studied the _pose_ you now require of him."

"Let him speak; let him endeavour to justify himself," cried a voice from the pit.

"He _shall_ speak; he _shall_ justify himself," replied the father. And, turning to his son, he added: "Dance, Auguste!"

Auguste danced; and every one in the theatre applauded.

The orchestra took no part in the operatic insurrection; and we have seen that the musicians were not invited to contribute anything to the dowry, offered by the Academie to virtue in love and in distress. De Vismes proposed to reward his instrumentalists by giving up to them a third of the receipts from some special representation of Gluck's _Iphigenie en Tauride_. The band rejected the offer, as not sufficiently liberal, and by refusing to play on the evening in question, made the performance a failure.

The Academic revolt was at last put an end to, by the city of Paris cancelling de Vismes's lease, and taking upon itself the management of the theatre, de Vismes receiving a large sum in compensation, and the appointment of director at a fixed salary.

[Sidenote: BEAUMARCHAIS AND GLUCK.]