The Great Composers. No. XII. Rossini (Continued) Author(S): Gioacchino Rossini and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol

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The Great Composers. No. XII. Rossini (Continued) Author(s): Gioacchino Rossini and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 23, No. 478 (Dec. 1, 1882), pp. 649- 652 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358381 . Accessed: 14/12/2014 05:57

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This content downloaded from 128.235.251.160 on Sun, 14 Dec 2014 05:57:19 AM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-DECEMBER I, 1882. 649 copied as the more exact informationgiven by these wrongly, the clefs have been changed in several authorities. places, and the parts have been inverted, so that the Seeing that Martin Gerbert's works are less for highest became the lowest," &c. Nevertheless, F6tis those who read than those that write history, it may does not hesitate to state that " the publication of this not be inadvisable to inquire what these latter say collection may be considered as one of the greatest about them. Hawkins got Gerbert's " De cantu et services which have been rendered to art. " Cousse- musica sacra " when he had already printed the fifth maker, in his new series of medieval writers, as well volume of his history (published in 1776), and conse- as in " Les Harmonistes des XIIe et XIIIe Siecles," quently could not take advantage of it. But, in men- and in" L'Art harmonique aux XIIe etXIIIe Siecles," tioning this fact in the preliminary discourse, he expresses himself even more eulogistically. In the praises the " great learning, judgment, and candour" last-mentioned work he says of Gerbert's collection evinced by the author of this " most valuable work," that it " has opened a new era in the history of the and felicitates himself on findinghis " sentiments on art, in enabling the learned to study it in the original the subject, particularly on the church composers sources." and the corruptions of the church style, confirmed And if we now visit the place where the works by the testimony of so able a writer." Burney was which have been such precious gifts to historical more fortunate than Hawkins, for, as the second inquirers were planned, composed and printed,where volume of his history did not appear till 1782, he had Martin Gerbert lived-learning, teaching, praying, the benefitof Gerbert's " De cantu et musica sacra," meditating,and governing-for more than fiftyyears, although the " Scriptores ecclesiastici de musica what do we see? The Government secularised, the sacra potissimum " came too late also for him. monastery occupied by operatives and State officials, Burney mentions Gerbert in his historyonly cn passant, the church despoiled of its splendour. At first, in and withoutnoteworthy comment; to learn something 1802, the territoryof St. Blaise was to be given to of the relation in which they stood to each other we the Knights of St. John in compensation for losses must go to Vol. II., pp.317-319 of " The Present State sustained; but finally,in 1805, it was, by the Treaty of Music in Germany, the Netherlands, and United of Pressburg, divided between Baden and Wiirtem- Provinces." Forkel gives one an idea how Gerbert's berg. Two years later, on June 25, 1807, a decree contributions to the history of music were appre- was issued suppressing the monastery, whence the ciated by those who at that time were workers in the monks had already in the preceding year departed. same field. After expressing in the preface to his They stayed till 18o8 at the Abbey of Pyrhnon the Ens, history (Vol. I., 1788) his indebtedness to Hawkins and then settled at St. Paul's, in Carinthia. In this and Burney, he proceeds: " But most welcome of all way the monastery became disposable formanufactur- was to me the considerable collection of writings ing and officialpurposes. The time was also deemed which the prince-abbot of St. Blaise published in opportune for stripping the church of its most pre- 1784, and by which he enabled also the musical cious ornaments; not only were the marble columns historian who could not undertake long journeys in which supported the cupola removed and the organ search of unprinted materials to make himself carried offto Carlsruhe, but even the copper roofwas thoroughly acquainted with the nature of the art as taken down. To make bad worse, a firebroke out in far as this is possible without practical examples." 1874, and totally destroyed the noble edifice-which, Forkel's sentiments show themselves still more indeed, was subsequently rebuilt, and still serves as distinctly in his " Allgemeine Literatur der Musik " the parish church, but which is now less like its former (1792), which, " as a testimony of his veneration self than ever. In short, the picture is a sad one, we and gratitude," he dedicates " to the most reverend turn from it willingly, not, however, without a sigh. Prince Martin, Abbot of St. Blaise, &c., author Sic transit gloria mundi. of the excellent work ' De cantu et musica sacra,' and editor of the musical writers of the middle ages, whereby musical literature has been so much THE GREAT COMPOSERS enriched." In the course of time historians began BENNETT. to temper their praise of the learned monk with BY JOSEPH criticism. The noblest kind of criticism was that No. XII.-ROSSINI (continued from page 594). of Coussemaker, who complemented and continued THE year 1819 was a busy one with Rossini. Hav- Gerbert's collection of mediaeval writers on music by ing produced at Naples his " Ermione," the cantata the publication of more than sixty additional treatises " Parthenope," and a second cantata in honour of (" Scriptorum de musica medii aevi novam seriem a the Austrian emperor's visit, as well as the pasticcio Gerberta alteram collegit nuncque primum edidit E. " Eduardo e Christina" at Venice, he turned his de Coussemaker, 1867-1876"). F6tis, although not attention to the works of Sir Walter Scott, hoping backward in recognising in " De cantu et musica for a subject among the tales, romances and poems sacra " curious details on the medimevalnotation, which were then entrancing Europe. His choice fell origin of mensurable music, and instruments,espe- upon " The Lady ofthe Lake," and in a verylittle while cially the organ, yet regrets that Gerbert's special Tottola was ready with the libretto of " La Donna musical knowledge was not more extensive and his del Lago." Rossini was moved by his fresh and reasoning in many parts of the book rather that of a poetical theme to unwonted efforts,some critics going scholar than that of a musician. Still severer strictures so far as to say that " La Donna del Lago " is the the Belgian historian gives vent to with regard to the Italian " Tell." However this may be, it is certain " Scriptores ecclesiastici," a collection into which he that the master here drew more fullyupon his re- thinks were admittedsome treatises devoid of interest, sources, and enlarged very materially the scope of and others incorrectlycopied or copied fromincorrect his expression. The work must now be considered manuscripts. The article "Franco" (" Biographie as out of date, if not unworthyof present hearing, yet universelle des Musiciens") contains a most wither- it is worthwhile to repeat what a contemporarycritic, ing criticism of Gerbert; F6tis going even the length M. Azevedo, has said of it. If we believe the follow- of saying, "In truth, it seems that Gerbert did not ing testimony,then we must also hold that the world understand what he was transcribing. With regard is neglecting a treasure indeed:- to the examples in musical notation, the evil is much " There is not in the repertoryof Rossini, and con- more grave, for many examples do not correspond sequently in the entire musical art, a marvel that can at all with the text, or the music has been placed equitably be placed above the firstact of ' La Donna

This content downloaded from 128.235.251.160 on Sun, 14 Dec 2014 05:57:19 AM All use subject to JSTOR Terms and Conditions 650 THE MUSICAL TIMES.-DECEMBER I, 1882. del Lago.' There all is genius. What can one rank, places in the parterre. One of these gentlemen, at in effect,before the scene of the lake, ' O matutini the firstsound of the trumpets,began imitating with albori,' where the true poetry of a tranquil country his cane the noise of a galloping horse. The public painted in sound is only equalled by the expression of seized the idea, and in an instant the parterre was the heroine's tendermelancholy ? or beforethe superb full of fifteenhundred schoolboys doing the same and pathetic air ' O quante lagrime,' with its synco- thing with all their might." Stendhal adds of Rossini, pations, which are like sobs ? or the chorus, so fresh "il se trouva mal," and Azevedo interprets the and characteristic, ' Inibaca donzelli' ? or the all- remark as "fainting," apparently in order to deny powerful finale ? In this finale Rossini has shown in it on the master's own authority,but, as he well says, an astonishing manner that the most difficultcombi- " one might faint for less without being accused of nations cannot affect his inexhaustible inspiration. weakness." All through the first and second acts All, no doubt, is calculated in such a piece, since the this scandal went on, but when Mdlle. Colbrand, the motifs of the differentcharacters have, at a given prima donna, came forward to sing the final rondo, moment, to mingle and be simultaneously heard. the house listened, applauded, and, with true Italian Nevertheless, the calculation involved by the process caprice, ended by demanding that Rossini should come does not appear. The march of the mountaineers to before the curtain. At that moment,the master was battle, with sound of trumpet, considered in itself, is in Mdlle. Colbrand's box, complimenting the lady one of the most frank,characteristic and picturesque upon her singing, and there came Signor Gioja, things known. The combative and savage ardour of secretary to the superintendent of theatres, magis these warriors is there depicted in lines of flame... terially ordering Rossini to obey the summons of the As for the hymn of the bards, it is the sublime carried public. Rossini, as may be supposed, was in no very to its highest power. What inspiration, what gran- good humour. The public had annoyed him, and deur, what superhuman force vivify this immortal Signor Gioja came as their mouthpiece and repre- page ! Let us not attempt to describe it, since suc- sentative. What did Rossini do thereupon but give cess is impossible. All these things which, taken the functionarya blow that nearly knocked him off separately, bear, each in its way, the mark of the most his feet, hurry downstairs, jump into a waiting free, the most happy inspiration, finishby combining carriage, and start for Milan. Stendhal says that themselves, and in so doing producing an effect at on the journey and at Milan the master reported once musical and dramatic, or, if you like, epic, of a " La Donna del Lago " as having been praised to the sonority, warmth, truth and clearness which we skies, and his latest English biographer, Mr. Suther- cannot describe in words." land Edwards, repeats the story,which, we are bound So far M. Azevedo; but the world worships other to say, is not out of harmony with the spirit of grim idols just now, and " La Donna del Lago " stands humour Rossini loved to indulge. On the other hand, in a temple whose altar is neglected, and whence M. Azevedo remarks: "We know not from whom the smell of incense has departed. It is true that Stendhal and his friends obtained this information; the opera failed on the night of its firstperformance, but we are sure, having evidence worthy of all belief, but such a catastrophe in Italy has little necessary that, on arriving in Rome, the composer answered an connection with the question of merit. The fact was acquaintance who had asked about the new work, that the Neapolitans detested the impresario,Barbaja, 'You might have heard it hissed here.' " because of the favour in which he stood with a king At the second performance the Neapolitans were and court whom they detested still more. Political in better temper, and, conscious of having perpe- feeling at that moment was working up to boiling trated an injustice, applauded "La Donna del Lago " point, and we shall presently see that it led to revolt as much as, on the previous night, they had hooted and the flightof the monarch fromhis capital. Under it. Before dismissing the story of this opera let us such circumstances it is not surprisingthat the people add that it fairly represents the very great reforms refused to discriminate. They thought to annoy the Rossini had wrought in Italian lyric drama, little by king by doing his favourite a bad turn, and they little, as his own ideas expanded and as a singularly could only injure Barbaja by hissing his operas as prejudiced and violent public were ready to receive fast as they were produced. On the night of " La them. In " La Donna del Lago " we have a chorus Donna del Lago," therefore,the audience were pre- which is necessary to the dramatic enscmnble,and pared to seize the smallest occasion for uproar. plays a distinct part in its working. We have recita- During some time no such opportunity presented tives accompanied by the orchestra, not with mere itself, but when the tenor, Nozzari, coming on at the chords, but independent nmotiviintended to assist the back of the great stage, attacked a note falsely, the expression; we have an enlarged orchestra, a mili- waters were let loose. " I recall," observes Stendhal, tary band on the stage, the bass voice given a "the sudden cry of the pit, and its joy at having foremostposition, and the musical ensembledeveloped a pretext for hissing. A menagerie of roaring lions to an extent altogether unknown in Italy. To say released from their cage-EAolus unchaining the that German opera had anticipated all these things winds in fury-nothing can give an idea, even an is to take but little from the credit due to Rossini. imperfect one, of the rage of a Neapolitan public Had he been no more than a flippant pleasure-lover, offended by a false note, and findinggood cause to with a talent for improvisation, he would have con- satisfy an old hate." This was not all. " Nozzari's tented himselfwith writingthe music his countrymen air," continues Stendhal, "was followed by the loved and running no risk. Instead of this, he was appearance of a number of bards, who came to excite always making experiments more or less dangerous the martial ardour of the Scottish warriors. Rossini in presence of so conservative and inflammatorya had had the idea to struggle with the three orchestras public, and he as much deserves the credit of an of Don Giovanni's ball; he had divided his musical operatic reformeras any man to whom that distinc- scene into two parts-that is to say, the chorus of tion is accorded. bards, and the military march accompanied by Rossini's business in Milan was to write "Bianca e trumpets, which, after being heard separately, were Faliero"-libretto by Romani. For this he received brought together. The day (October 4, 1819) was a ?ioo. The new opera, firstrepresented on December gala day; the theatre was illuminated, the court was 4, 1819,was not an unqualified success, forthe reason not present, and nothing restrained the gaiety of the that Rossini had worked into it much of his old music young officers,who, having been drinking freely to and indulged largely in more or less precise reminis- the health of the king, occupied their privileged cences of himself. This the Milanese resented, and

This content downloaded from 128.235.251.160 on Sun, 14 Dec 2014 05:57:19 AM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-DECEMBER I, 1882. 651 took up a severe attitude. Yet " Bianca e Faliero " with the rules of Rossini's life, if, indeed, his career was played for six months! and the explanation of had not come to a sudden end by a pursuing bullet. facts so contradictory indicates the enormous in- The rest of the year 1820 was spent in unaccustomed fluence Rossini could wield'at will over his countrymen. idleness, but the Carnival of 1821 saw the master at In the opera was a duet for female voices which took Rome, where he produced " Matilda di Shabron," for the public taste, and also a quartet-the only number the banker Torlonia, who had opened the Tordinone specially written, according to Stendhal--which Theatre under the name of Teatro Apollo. The drove them wild with delight. The Milanese were production of this work,which has been called " more never tired of the quartet, and it is a fact almost brilliant than dramatic," led to a struggle between inexplicable to less ardent natures, that for six Rossini's admirers and those of the school he had months they heard this music twice every night-- supplanted. Hisses and applause struggled for once in the opera and again in a ballet. There is, mastery, and, after the performance, a " free fight" perhaps, no other case on record of a lyric drama, in the streets left the superiority of physical force objectionable as a whole, being kept on the stage with the Rossinists by way of climax to their victory during half a year by a single piece. Rossini, we may in the house. The chef d'orchestre,strange to say, here add, subsequently transferredboth the duet and was no other than Paganini. How this came about quartet to the second,act of " La Donna del Lago." we are told in the followingterms:- From Milan the master hastened back to Naples, " When at Rome, Rossini regularly had a little where the composition of" Maometto Secondi," for repast at two o'clock in the morning,cutlets and the Carnival of 182o, awaited him. The libretto of Orvieto wine being its principal features. Paganini, this opera was written by the Duke of Ventignano, a who loved the master, and feltnot the least antipathy noble personage whose passion for stage-writing towards cutlets and Orvieto wine, profited by the exceeded his ability. Still, he was a duke, and his convenience of the hour to look in in passing, and position enabled him to contend against even a worse shake his friend by the hand. Touched by this misfortune-that of being credited with the "evil action of the great virtuoso, and by the punctuality eye." Rossini might have been supposed freefrom this of his visits, Rossini never failed to invite him to curious superstition of his countrymen, but it is on partake of supper without ceremony, and Paganini, record that Barbaja had great difficultyin persuad- equally without ceremony, never failed to accept. ing him to collaborate with the unfortunate noble- Once, however, he found Rossini in a contrarymood. man. The master consented at last, and while writing Bosso, the chef d'orchestreof the Apollo, had fallen with one hand kept the fingers of the other on ill, and this untoward event would retard the first the table in the position which is supposed to be performance of' Matilda di Shabron' at a time when preventive of mischief. M. Azevedo, after stating the composer was expected at Naples. What was these strange particulars, adds: " All the acquaint- to be done ? Friendship, cutlets, Orvieto wine, all ances which Rossini then had in the beautiful Par- joined to move the illustrious violinist, who, as a rule, thenope-and they were very numerous, we may be was not conspicuous for feeling. Without saying a sure-wished to see the master workingin his guarded word to Rossini, he sought the imprcsario of the attitude. He received quietly the long procession of theatre, and promised to conduct the first three per- the curious, ceaselessly using the pen with the right formances of' Matilda.' He would only go to the hand and making the horns with the left. He gave last rehearsal; but then he placed himselfat the desk, no respite to this left hand save when composing and conducted, at firstsight, in an admirable manner." ritornelli and other passages of purely instrumental On again reaching Naples, Rossini found the music, with which the poetry of the suspected theatres there in difficulty. Political events had jettatorehad nothing to do. To what excess the fear done them great harm, and, as the public gaming- of the ' evil eye' can be carried, and how human tables which Barbaja farmed had been suppressed, weakness finds its place even in the greatest things! that enterprisingspeculator looked round for another Who could suspect, in hearing' Maometto,' that grand field of operations. Doing this he came to a bold score, where antique Christian sentiment struggles resolve-he would procure a new opera fromRossini, with the savage heroism of Mussulmans, producing and produce it in the Austrian capital with the best one of the finest contrasts of dramatic music in its members of his company. Thus " Zelmira " came highest development-who could suspect that this into being, the libretto, taken from a tragedy by work was composed by a trembling man making Belloy, having Tottola as its author. " Zelmira " was horns with his fingers to conjure away the effects of performedat Naples on several occasions before the an evil eye ?" troupe left for Vienna, but Rossini took formal leave In July, 182o, a revolution broke out in Naples, and of the southern city with a cantata, " La Ricono- the king fled from his capital. To celebrate this scenza," specially writtenfor that purpose. The day event Rossini composed music for or adapted some- following(December 28, 1821) he started fromNaples thing previously written to the words of a patriotic to Bologna, and there married Isabella Colbrand, the hymn, and, having done this, considered his duty to artist who had " created " the principal part in all, the new government performed. The authorities, or nearly all, his operas written for Barbaja. The however, were not of this mind. Every man had to nuptials took place in the private chapel of Cardinal enrol himself in the National Guard, and Rossini, Oppizoni, Archbishop of Bologna, and among the who once evaded the conscription, found all his witnesses were Rossini's parents, as well as the chief effortsto keep out of the ranks of war useless on interpreters of his works, Nozzari, Davide and this occasion. He proved an indifferentsoldier. Ambrosi. Twenty days were spent in the country, Although his moustaches were permitted to grow, and then the wedded pair started for Vienna. he could not even give himself a martial air, while Rossini met with a hearty welcome in the Austrian his awkwardness, real or feigned, was such that capital. The charm of his music had gone beforehim, after nine days of drill the chiefs permitted him to and amateurs were ready to receive him with open retire. This we must regard as fortunate, because arms. " The calm Germans," we read, "seemed to the Austrians came down upon the Neapolitans in a transform themselves into passionate Italians when little while, and so effectuallyfrightened them that it celebrating the advent of the great composer. Sere- is said their infantry,running fromthe fieldof battle, nades, cheers, recalls at the theatre, public manifes- reached Naples before the cavalry. Violent exercise tations of every kind, receptions at the court and at of this sort would have been out of all harmony the houses of distinguished personages, with all the

This content downloaded from 128.235.251.160 on Sun, 14 Dec 2014 05:57:19 AM All use subject to JSTOR Terms and Conditions 652 THE MUSICAL TIMES.-DECEMBER I, 1882.

honours due to genius, marked the stay of the master to us now, " Semiramide " met with a moderate re- in the Austrian capital." Readers of musical litera- ception. It appears to have been too " heavy"-that ture know how bitterlythis was resented by a section is, too fullydeveloped-for Venetian taste. The large of Viennese musicians and amateurs, having neither choruses and extended ensembleswere far away from perception of, nor sympathy with, anything outside the ideal opera of the City of the Doges; and what the formof art they most affected. The sin of the certain amateurs now scoffat as trivial or mere noise multitudewas to them as the sin of the Israelites who was resented as too weighty and far too " German." bowed down and worshipped the gods of their heathen Rossini keenly felt the treatment of a work on which neighbours. No words were too fierceto characterise he had rested great hopes, as he had lavished all in it, and none too hard to fling at the genial Italian, skill, and it determined him never again to compose who foryears past had been doing his best to form for Italian audiences. Italian taste on a model as like that affected by Ger- Afterthe production of" Semiramide," Rossini and mans as the temperament of his countrymen would his wife returned to Bologna, and there they received allow. All this, however, did Rossini more good the offerof an engagement at the King's Theatre, than harm. The public were prepared to admire him London, then under the management, not of Mr. in any case, and when he was abused they admired Ebers, as has been stated, but of Mr. Benelli. The him more than ever. arrangements were that Rossini should set to music " Zelmira " having been performedwith immense and produce an opera entitled " La Figlia dell' Aria," success, a Rossinian feverset in and raged unchecked. in return for which he was to receive C240; the "Matilda di Shabron," " Elisabetta," " La Gazza services of his wife as prima donna being also secured. Ladra," and " Ricciardo e Zoraide " followed each With this new campaign in view, the master left other in rapid succession, and at the moment, in- Bologna, and arrived in Paris on November 9, 1823. toxicated by popular adulation, Rossini dreamed of Not due in London for some weeks, Rossini had becoming the Napoleon of his craft-giving laws to ample time to accept the hospitalities of the French the world of opera. He visited Beethoven during capital, which were offered to him without stint. his stay in Vienna, Carpani introducing him, but the Attending a representation of his " Barbiere," he was interview must have been the reverse of satisfactory led upon the stage amid enthusiastic acclamations; on both sides. Neither properlyunderstood the other, and later in the evening a band of wind instruments though Rossini admired the great symphonist, and gave him a serenade. Voices were, of course, heard Beethoven held the popular Italian in respect as " a in opposition, but these only stimulated enthusiasm. man of talent " and " a very melodious composer." Finally, a banquet was held in honour ofthe composer, It is said that the Italian master was quite discon- at which a remarkable company assisted. Rossini certed by Beethoven and his surroundings-the sat between Madame Pasta and Mdlle. Mars; Madame unkempt figure of the deaf giant, the miserable room, Rossini had as her neighbours Lesueur and Mdlle. the litter, dirt and disorder. Georges; and at the same table were Boieldieu, His work in the Austrian capital done, Rossini H6rold, Garcia, Martin, Panseron, Horace Vernet, returned to Bologna, intending to write no more for Bonjour, and Auber-truly a noble gathering, in Italian theatres, but to make conquests fartherafield. itself a tribute to the illustrious guest. The " flow In this mood he received an invitation from the of soul" seems to have been worthy the occasion manager of the Venice Fenice to compose an opera and those who took part in it. Talma read a French forthe Carnival season. Without absolutely refusing, translation of a sonnet by Biagioli, entitled " La he took steps which he thought would lead to the Nascita del' gran Rossini "; Lafond persisted in en- same end, by demanding the sum of f2oo-an nobling the distinguished stranger by calling him amount of unexampled largeness. To the master's " M. de Rossini "; Lesueur proposed his health, surprise his terms were accepted, and Rossini found saying, " His ardent genius has opened a new himself bound to add one more work to his Italian route, and marks a new epoch in musical art"; and repertory. With this new obligation resting upon then everybody proceeded to toast everybody else- him he proceeded to Verona, at the invitation of Lesueur proposing Gluck, Martin Gretry, Rossini Prince Metternich, and was treated with high dis- Mozart, Mehul Boieldieu, Harold Paisiello, Auber tinction by the sovereigns and plenipotentiaries there Cimarosa, and so on. The result was that Scribe and in To celebrate the occasion he out a one-act vaudeville at the sitting congress. Mazires brought ' produced several cantatas, which were performed Gymnase, on November 29, and called it " Rossini with all imaginable splendour and solemnity as part Paris, ou le Grand Diner." The master went to see it, of the officialrejoicings. From Verona he travelled and came away saying, " If that is the national music, to Venice, and there completed " Semiramide," his I have only to pack my trunks. I could not succeed last and greatest Italian opera, of which he said, " It in that kind of thing." Nevertheless, it pleased the is the only one writtenat leisure. My contract gave anti-Rossinians in the small way which suited them. me fortydays "; adding, " But I did not occupy forty A little later Rossini was elected a foreign associate days in writing it." Before the production of this of the Academy-it is said, by the painters and archi- work its composer again came in contact with some, tects, against the votes of the musicians-and on at least, of the mightinesses he had left at Verona. December 7 he quitted Paris on his way to London, The Emperors of Austria and Russia halted at Venice after directing a public concert forthe benefitof Pan- on their way home, and Rossini conducted two con- seron, who wished to relieve a conscript brother from certs given in the palace. At one of these their military service and could not otherwise obtain the majesties requested the master to sing. He did so, means. The master had then made up his mind to choosing the cavatina in " Figaro," whereupon both return. He shrewdly appreciated the position open monarchs smiled their thanks. The Russian added a to him in the French capital, and estimated at their diamond ring; the Austrian thoughta smile sufficient. full value the overtures of M. de Lauriston, minister "Semiramide" was produced at the Fenice on of the King's household. Those overtures, implying, February 3, 1823, the title r6le being taken by Sig- as they did, the removal of Pair fromhis place at the nora Rossini-Colbrand, Arsace by Signora Mariani, Italiens, he was too magnanimous to accept, and, at Assur by Signor Galli, Oro" by Signor Mariani, and the same time, far too sagacious to overlook the fact Idreno by the English tenor, Mr. Sinclair, who had that whenever he chose to take up his residence in more to do, including a couple of airs, than the Paris the ball would be under his foot. Idrenos of the present day. Strange as it may seem (To be continued.)

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