As it was impossible to kill Desdemona to such a tune, the Moor, after giving way to the most violent jealousy, sheathes his dagger, and begins in the most tender and graceful manner his duet with Desdemona, at the conclusion of which he takes her politely by the hand, and retires, amidst the applause and bravos of the public, who seem to think it quite natural that the piece should finish in this manner, or, rather, that it should not finish at all: for after this beautiful _denouement_, the action is about as far advanced as it was in the first scene. We do not in France carry our love of music so far as to tolerate such absurdities as these, and perhaps we are right."

Lord Byron saw _Otello_ at Venice, soon after its first production. He speaks of it in one of his letters, dated 1818, in which he condemns the libretto, but expresses his admiration of the music.

_La Gazza Ladra_ was written for Milan, and brought out at the theatre of "La Scala," in 1817. Four years afterwards it was produced in London in the spring, and Paris in the autumn. The part of "Ninetta,"

afterwards so favourite a character with Sontag, Malibran, and Grisi, was sung in 1821 by Madame Camporese in London, by Madame Fodor in Paris. Camporese's performance was of the greatest merit, and highly successful. Fodor's is said to have been perfection. The part of "Pippo," originally written for a contralto, used at one time to be sung at the English and French theatres by a baritone or ba.s.s. It was not until some years after _La Gazza Ladra_ was produced, that a contralto (except for first parts), was considered an indispensable member of an opera company.

Madame Fodor was not an Italian, but a Russian. She was married to a Frenchman, M. Mainvielle, and, before visiting Italy, and, until her _debut_, had studied chiefly in Paris. Her Italian tour is said to have greatly improved her style, which, when she first appeared in London, in 1816, left much to be desired. Camporese was of good birth, and was married to a member of the Guistiniani family. She cultivated singing in the first instance only as an accomplishment; but was obliged by circ.u.mstances to make it her profession. In Italy she sang only at concerts, and it was not until her arrival in England that she appeared on the stage. She seems to have possessed very varied powers; appearing at one time as "Zerlina" to Ronzi's "Donna Anna;" at another, as "Donna Anna," to Fodor's "Zerlina."

[Sidenote: LA GAZZA LADRA.]

_La Gazza Ladra_ is known to be founded on a French melo-drama, _La Pie Voleuse_, of which the capabilities for operatic "setting," were first discovered by Paer. Paer had seen Mademoiselle Jenny Vertpre in _La Pie Voleuse_. He bought the play, and sent it to his librettist in ordinary at Milan, with marginal notes, showing how it ought to be divided for musical purposes. The opera book intended by Paer for himself was offered to Rossini, and by him was made the groundwork of one of his most brilliant productions.

_La Gazza Ladra_ marks another step in Rossini's progress as a composer, and accordingly we find Lord Mount Edgc.u.mbe saying, soon after its production in England:--"Of all the operas of Rossini that have been performed here, that of _la Gazza Ladra_ is most peculiarly liable to all the objections I have made to the new style of drama, of which it is the most striking example." The only opera of Rossini's which Lord Mount Edgc.u.mbe seems really to have liked was _Aureliano in Palmira_, written in the composer's earliest style, and which failed.

"Its finales," (Lord Mount Edgc.u.mbe is speaking of _La Gazza Ladra_) "and many of its very numerous _pezzi concertati_, are uncommonly loud, and the lavish use made of the noisy instruments, appears, to my judgment, singularly inappropriate to the subject; which, though it might have been rendered touching, is far from calling for such warlike accompaniments. Nothing can be more absurd than the manner in which this simple story is represented in the Italian piece, or than to be a young peasant servant girl, led to trial and execution, under a guard of soldiers, with military music." The quintett of _La Gazza Ladra_, is, indeed, open to a few objections from a dramatic point of view.

"Ninetta" is afraid of compromising her father; but "Fernando" has already given himself up to the authorities, in order to save his daughter--in whose defence he does not say a word. An explanation seems necessary, but then the drama would be at an end. There would be no quintett, and we should lose one of Rossini's finest pieces. Would it be worth while to destroy this quintett, in order to make the opera end like the French melo-drama, and as the French operatic version of _La Gazza Ladra_ also terminates?

I have already spoken of _La Cenerentola_, produced in 1817 at Rome.

This admirable work has of late years been much neglected. The last time it was heard in England at Her Majesty's Theatre, Madame Alboni played the princ.i.p.al part, and excited the greatest enthusiasm by her execution of the final air, _Non piu mesta_ (the model of so many solos for the _prima donna_, introduced with or without reason, at the end of subsequent operas); but the cast was a very imperfect one, and the performance on the whole (as usual, of late years, at this theatre) very unsatisfactory.

[Sidenote: MOSE IN EGITTO.]

_Mose in Egitto_ was produced at the San Carlo[84] Theatre, at Naples, in 1818; the princ.i.p.al female part being written again for Mademoiselle Colbran. In this work, two leading parts, those of "Faraoni" and "Mose,"

were a.s.signed to ba.s.ses. The once proscribed, or, at least contemned ba.s.so, was, for the first time brought forward, and honoured with full recognition in an Italian _opera seria_. The story of the Red Sea, and of the chorus sung on its banks, has often been told; but I will repeat it in a few words, for the benefit of those readers who may not have met with it before. The Pa.s.sage of the Red Sea was intended to be particularly grand; but, instead of producing the effect antic.i.p.ated, it was received every night with laughter. The two first acts were always applauded; but the Red Sea was a decided obstacle to the success of the third. Tottola, the librettist, came to Rossini one morning, with a prayer for the Israelites, which he fancied, if the composer would set it to music, might save the conclusion of the opera. Rossini, who was in bed at the time, saw at once the importance of the suggestion, wrote on the spur of the moment, and in a few minutes, the magnificent _Del tuo stellato soglio_. It was performed the same evening, and excited transports of admiration. The scene of the Red Sea, instead of being looked forward to as a source of hilarity, became now the chief "attraction" of the opera. The performance of the prayer produced a sort of frenzy among the audience, and a certain Neapolitan doctor, whose name has not transpired, told either Stendhal or the Abbe Carpani (on whose _Letters_, as before mentioned, Beyle's "Vie de Rossini par Stendhal" is founded), that the number of nervous indispositions among the ladies of Naples was increased in a remarkable manner by the change of key, from the minor to the major, in the last verse.

_Mose_ was brought out in London, as an oratorio, in the beginning of 1822. Probably, dramatic action was absolutely necessary for its success; at all events, it failed as an oratorio. The same year it was produced as an opera at the King's Theatre; but with a complete transformation in the libretto, and under the t.i.tle of _Pietro l'Eremita_. The opera attracted throughout the season, and no work of Rossini's was ever more successful on its first production in this country. The subscribers to the King's Theatre were in ecstacies with it, and one of the most distinguished supporters of the theatre, after a.s.suring the manager that he deserved well of this country, offered to testify his grat.i.tude by proposing him at White's!

[Sidenote: MOSE IN EGITTO.]

In the autumn of the same year _Mose_ was produced at the Italian Opera of Paris, and in 1827, a French version of it was brought out at the Academie. The Red Sea appears to have been a source of trouble everywhere. At the Academie, forty-five thousand francs were sunk in it, and to so little effect, or rather with such bad effect, that the machinists' and decorators' waves had to be suppressed after the first evening. In London the Red Sea became merely a river. The river, however, failed quite as egregiously as the larger body of water, and had to be drained off before the second performance took place.

_Mose_ is quite long enough and sufficiently complete in its original form. Several pieces, however, out of other operas, by Rossini, were added to it in the London version of the work. In Paris, in accordance with the absurd custom (if it be not even a law) at the Academie, _Mose_ could not be represented without the introduction of a ballet. The necessary dance music was taken from _Ciro in Babilonia_ and _Armida_, and the opera was further strengthened as it was thought (weakened as it turned out), by the introduction of a new air for Mademoiselle Cinti, and several new choruses.

The _Mose_ of the Academie, with its four acts of music (one more than the original opera) was found far too long. It was admired, and for a little while applauded; but when it had once wearied the public, it was in vain that the directors reduced its dimensions. It became smaller and smaller, until it at last disappeared.

_Zelmira_, written originally for Vienna, and which is said to have contained Madame Colbran Rossini's best part, was produced at Naples in 1822. The composer and his favourite _prima donna_ were married in the spring of the same year at Castelnaso, near Bologna.

"The recitatives of _Zelmira_" says Carpani, in his _Le Rossinane ossia lettere musico-teatrali_, "are the best and most dramatic that the Italian school has produced; their eloquence is equal to that of the most beautiful airs, and the spectator, equally charmed and surprised, listens to them from one end to the other. These recitatives are sustained by the orchestra; _Otello_, _Mose in Egitto_, are written after the same system, but I will not attribute to Rossini the honour of a discovery which belongs to our neighbours. Although the French Opera is still barbarous from a vocal point of view, there are some points about it which may be advantageously borrowed. The introduction of accompanied recitative is of the greatest importance for our _opera seria_, which, in the hands of the Mayers, Paers, the Rossinis, has at last become dramatic."

_Zelmira_ was brought out in London in 1824, under the direction of Rossini himself, and with Madame Colbran Rossini in the princ.i.p.al part.

The reception of the composer, when he made his appearance in the orchestra, was most enthusiastic, and at the end of the opera, he was called on to the stage, which, in England, was, then, quite a novel compliment.

[Sidenote: ROSSINI AND GEORGE IV.]

At the same time, all possible attention was paid to Rossini, in private, by the most distinguished persons in the country. He was invited by George IV. to the Pavilion at Brighton, and the King gave orders that when his guest entered the music room, his private band should play the overture to the _Barber of Seville_. The overture being concluded, his Majesty asked Rossini what piece he would like to hear next. The composer named _G.o.d save the King_.

The music of _Zelmira_ was greatly admired by connoisseurs, but made no impression on the public, and though Madame Colbran-Rossini's performance is said to have been admirable, it must be remembered that she had already pa.s.sed the zenith of her powers. Born in Madrid, in 1785, she appears to have retired from the stage, as far as Italy was concerned, in 1823, after the production of _Semiramide_. At least, I find no account of her having sung anywhere after the season of 1824, in London, though her name appears in the list of the celebrated company a.s.sembled the same year by Barbaja, at Vienna. Mademoiselle Colbran figures among the sopranos with Mesdames Mainvielle-Fodor, Feron, Esther Mombelli,[85] Dardanelli, Sontag, Unger, Giuditta, Grisi, and Grimbaun.

The contraltos of this unrivalled _troupe_ were Mesdames Cesare-Cantarelli and Eckerlin; the tenors, Davide, Nozzari, Donzelli, Rubini, and Cicimarra; the ba.s.ses, Lablache, Ba.s.si, Ambroggi, Tamburini, and Bolticelli. Rossini had undertaken to write an opera ent.i.tled _Ugo re d'Italia_, for the King's Theatre. The engagement had been made at the beginning of the season, in January, and the work was repeatedly announced for performance, when, at the end of May, it was said to be only half finished. He had, at this time, quarrelled with the management, and accepted the post of director at the Italian Opera of Paris. The end of _Ugo re d'Italia_ is said by Mr. Ebers to have been, that the score, as far as it was written, was deposited with Messrs.

Ransom, the bankers. Messrs. Ransom, however, have informed me, that they never had a score of Rossini's in their possession.

After Rossini's departure from London, his _Semiramide_, produced at Venice only the year before, was brought out with Madame Pasta, in the princ.i.p.al character. The part of "Semiramide" had been played at the _Fenice_ Theatre, by Madame Colbran; it was the last Rossini wrote for his wife, and _Semiramide_ was the last opera he composed for Italy.

When we meet with Rossini again, it will be at the Academie Royale of Paris, as the composer of _the Siege of Corinth_, _Count Ory_, and _William Tell_.

[Sidenote: ROSSINI'S SINGERS.]

The first great representative of "Semiramide" was Pasta, who has probably never been surpa.s.sed in that character. After performing it with admirable success in London, she resumed in it the year afterwards, 1825, at the Italian Opera of Paris. Madame Pasta had already gained great celebrity by her representation of "Tancredi" and of "Romeo," but in _Semiramide_, she seems, for the first time, to have exhibited her genius in all its fulness.[86]

The original "Arsace" was Madame Mariani, the first great "Arsace,"

Madame Pisaroni.

Since the first production of _Semiramide_, thirty years ago, all the most distinguished sopranos and contraltos of the day have loved to appear in that admirable work.

Among the "Semiramides," I may mention in particular Pasta, Grisi, Viardot-Garcia, and Cruvelli. Although not usually given to singers who particularly excel in the execution of light delicate music, the part of "Semiramide" was also sung with success by Madame Sontag (Paris, 1829), and Madame Bosio (St. Petersburgh, 1855).

Among the "Arsaces," may be cited Pisaroni, Brambilla, and Alboni.

Malibran, with her versatile comprehensive genius, appeared both as "Arsace" and as "Semiramide," and was equally fortunate in each of these very different impersonations.

I will now say a few words respecting those of the singers just named, whose names are more especially a.s.sociated with Rossini's earliest successes in England.

Madame Pasta having appeared in Paris with success in 1816, was engaged with her husband, Signor Pasta (an unsuccessful tenor), for the following season at the King's Theatre. She made no great impression that year, and was quite eclipsed by Fodor and Camporese, who were members of the same company. The young singer, not discouraged, but convinced that she had much to learn, returned to Italy, where she studied unremittingly for four years. She reappeared at the Italian Opera of Paris in 1821, as "Desdemona," in Rossini's _Otello_, then for the first time produced in France. Her success was complete, but her performance does not appear to have excited that enthusiasm which was afterwards caused by her representation of "Medea," in Mayer's opera of that name. In _Medea_, however, Pasta was everything; in _Otello_, she had to share her triumph with Garcia, Bordogni, and Leva.s.seur. From this time, the new tragic vocalist gained constantly in public estimation.

_Medea_ was laid aside; but Pasta gained fresh applause in every new part she undertook, and especially in _Tancredi_ and _Semiramide_.

[Sidenote: PASTA.]

Pasta made her second appearance at the King's Theatre in 1824, in the character of "Desdemona." Her performance, from a histrionic as well as from a vocal point of view, was most admirable; and the habitues could scarcely persuade themselves that this was the singer who had come before them four years previously, and had gone away without leaving a regret behind. When Rossini's last Italian opera was produced, the same season, the character of "Semiramide" was a.s.signed to Madame Pasta, who now sang it for the first time. She had already represented the part of "Tancredi," and her three great Rossinian impersonations raised her reputation to the highest point. In London, Madame Pasta did not appear as "Medea" until 1826, when she already enjoyed the greatest celebrity.

It was found at the King's Theatre, as at the Italian Opera of Paris, that Mayer's simple and frequently insipid music was not tolerable, after the brilliant dramatic compositions of Rossini; but Pasta's delineation of "Medea's" thirst for vengeance and despair, is said to have been sublime.

A story is told of a distinguished critic persuading himself, that with such a power of pourtraying "Medea's" emotions, Madame Pasta must possess "Medea's" features; but for some such natural conformity he seems to have thought it impossible that she could at once, by intuition, enter profoundly and sympathetically into all "Medea's"

inmost feelings. Much might be said in favour of the critic's theory; it is unnecessary to say a word in favour of a performance by which such a theory could be suggested. We are told, that the believer in the personal resemblance between Pasta and "Medea" was sent a journey of seventy miles to see a visionary portrait of "Medea," recovered from the ruins of Herculaneum. To rush off on such a journey with such an object, may not have been very reasonable; to cause the journey to be undertaken, was perfectly silly. Probably, it was a joke of our friend Taylor's.

[Sidenote: PISARONI.]

Madame Pisaroni made her debut in Italy in the year 1811, when she was eighteen years of age. She at first came out as a soprano, but two years afterwards, a severe illness having changed the nature of her voice, she appeared in all the most celebrated parts, written for the musicos or sopranists, who were now beginning to die out, and to be replaced by ladies with contralto voices. Madame Pisaroni was not only not beautiful, she was hideously ugly; I have seen her portrait, and am not exaggerating. Lord Mount Edgc.u.mbe tells us, that another favourite contralto of the day Mariani (Rossini's original Arsace) was Pisaroni's rival "in voice, singing, and ugliness;" adding, that "in the two first qualities, she was certainly her inferior; though in the last it was difficult to know to which the preference should be given." But the anti-pathetic, revolting, almost insulting features of the great contralto, were forgotten as soon as she began to sing. As the hideous Wilkes boasted that he was "only a quarter of an hour behind the handsomest man in Europe," so Madame Pisaroni might have said, that she had only to deliver one phrase of music to place herself on a level with the most personally prepossessing vocalist of the day. This extraordinary singer on gaining a contralto, did not lose her original soprano voice. After her illness, she is said to have possessed three octaves (between four C's), but her best notes were now in the contralto register. In airs, in concerted pieces, in recitative, she was equally admirable. To sustain a high note, and then dazzle the audience with a rapid descending scale of two octaves, was for her an easy means of triumph. Altogether, her execution seems never to have been surpa.s.sed.

After making her debut in Paris as "Arsace," Madame Pisaroni resumed that part in 1829, under great difficulties. The frightfully ugly "Arsace" had to appear side by side with a charmingly pretty "Semiramide,"--the soprano part of the opera being taken by Mademoiselle Sontag. But in the hour of danger the poor contralto was saved by her thoroughly beautiful singing, and Pisaroni and Sontag, who as a vocalist also left nothing to desire, were equally applauded. In London, Pisaroni appears to have confined herself intentionally to the representation of male characters, appearing as "Arsace," "Malcolm," in _La Donna del Lago_, and "Tancredi;" but in Paris she played the princ.i.p.al female part in _L'Italiana in Algeri_, and what is more, played it with wonderful success.

The great part of "Arsace" was also that in which Mademoiselle Brambilla made her debut in England in the year 1827. Brambilla, who was a pupil of the conservatory of Milan, had never appeared on any stage; but though her acting is said to have been indifferent, her lovely voice, her already excellent style, her youth and her great beauty, ensured her success.

"She has the finest eyes, the sweetest voice, and the best disposition in the world," said a certain cardinal of the youthful Brambilla, "if she is discovered to possess any other merits, the safety of the Catholic Church will require her excommunication." After singing in London several years, and revisiting Italy, Brambilla was engaged in Paris, where she again chose the part of "Arsace," for her debut.

Many of our readers will probably remember that "Arsace" was also the character in which Mademoiselle Alboni made her first appearance in England, and on this side of the Alps. Until the opening night of the Royal Italian Opera, 1847, the English public had never heard of Mademoiselle Alboni; but she had only to sing the first phrase of her part, to call forth unanimous applause, and before the evening was at an end, she had quite established herself in the position which she has ever since held.

[Sidenote: SONTAG.]