The Life of Rossini. Edwards Henry Sutherland
the conscription would have taken him. Napoleon would have gained one soldier more, and the world would have lost the “Barber of Seville” and “William Tell.”
Of the two operettas written for the San Mosè of Venice in the year 1812 nothing need be said, except that the music of the second, “L’occasione fa il ladro,” was presented at Paris, in a new shape, and under rather remarkable circumstances, only ten years ago.
An Italian poet, M. Berettoni, determined that so much good work should not be lost, added to it some pieces from “La Pietra del Paragone” and “Aureliano in Palmira,” and arranged the whole in a new dramatic form. “Un Curioso Accidente” was the title given to this pasticcio in two acts, which was announced as a new Opera by Rossini.
Rossini, who is supposed to have been so entirely careless of his reputation, did not choose that a production made up of pieces extracted from the works of his youth, and put together without his sanction, should be announced as a new and complete work from his pen; and lost no time in addressing to M. Calzado the following letter: —
“Sir, – I am told that the bills of your theatre announce a new Opera by me under this title, ‘Un Curioso Accidents.’
“I do not know whether I have the right to prevent the representation of a production in two acts (more or less) made up of old pieces of mine; I have never occupied myself with questions of this kind in regard to my works (not one of which, by the way, is named ‘Un Curioso Accidente’). In any case I have not objected to and I do not object to the representation of this ‘Curioso Accidente.’ But I cannot allow the public invited to your theatre, and your subscribers, to think either that it is a new Opera by me, or that I took any part in arranging it.
“I must beg of you then to remove from your bills the word new, together with my name as author, and to substitute instead the following: – ‘Opera, consisting of pieces by M. Rossini, arranged by M. Berettoni.’
“I request that this alteration may appear in the bills of to-morrow, in default of which I shall be obliged to ask from justice what I now ask from your good faith.
“Accept my sincere compliments.
The effect of this letter was to cause the entire disappearance of “Un Curioso Accidente,” which was not heard of again. At the one representation which took place a charming trio in the buffo style, for men’s voices, taken from the “Pietra del Paragone,” and a very pretty duet for soprano and contralto from “Aureliano in Palmira,” were remarked.
In addition to the five works already mentioned as having been written by Rossini during the year 1812, “Demetrio e Polibio” may be mentioned as belonging to that year by its production on the stage, if not by its composition.
“Demetrio e Polibio” was Rossini’s first opera. He wrote it in the spring of 1809, when he was just seventeen years of age, but is said to have re-touched it before its representation at Rome in the year 1812.
“Demetrio e Polibio” seems to have been altogether a family affair. The libretto was written by Madame Mombelli. Her husband, Mombelli, a tenor of experience, has the credit of having suggested to Rossini, from among his copious reminiscences, some notions for melodies. The daughters, Marianna and Esther, played two of the principal parts, while the third was taken by the basso, Olivieri, a very intimate friend of the family, of which Rossini himself was a relative.
An officer whom Stendhal met at Como one night when “Demetrio e Polibio” was about to be played, furnished him with this interesting account of the Mombellis, which tallies closely enough with the description of them given some forty years afterwards by Rossini himself to Ferdinand Hiller.
“The company,” he said, “consists of a single family. Of the two daughters, one who is always dressed as a man takes the parts of the musico (or sopranist); that is Marianna. The other one, Esther, who has a voice of greater extent though less even, less perfectly sweet, is the prima donna. In ‘Demetrio e Polibio’ the old Mombelli, who was once a celebrated tenor, takes the part of the King. That of the chief of the conspirators will be filled by a person called Olivieri, who has long been attached to Madame Mombelli, the mother, and who, to be useful to the family, takes utility parts on the stage, and in the house is cook and major domo. Without being pretty, the Mombellis have pleasing faces. But they are ferociously virtuous, and it is supposed that the father, who is an ambitious man, wishes to get them married.”
The year 1813 was a much greater year for Rossini than that of 1812, already sufficiently promising. The latter was the year of “L’Inganno Felice” and “La Pietra del Paragone;” the former that of “Tancredi” and “L’Italiana in Algeri.”
Rossini’s first work of the batch of three brought out in 1813 was a trifle, but owing to peculiar circumstances, a very amusing trifle, called “Il Figlio per Azzardo.” This operetta, or farza, was written for the San Mosè theatre, and was the last work furnished by Rossini to that establishment.
The manager of the San Mosè was annoyed at Rossini’s having engaged to write for another Venetian theatre, the Fenice, and in consequence treated him with great incivility, for which the young composer determined to have his revenge. He had moreover deliberately, and of malice prepense, given Rossini a libretto so monstrously absurd that to make it the groundwork of even a tolerable opera was impossible; yet Rossini was bound by his engagement to set it to music or pay damages. He resolved to set it to music.
If the libretto was absurd, the music which Rossini composed to it was ludicrous, grotesque, extravagant to the last degree of caricature. The bass had to sing at the top of his voice, and only the very lowest notes of the prima donna were called into requisition. One singer, whose appearance was always a signal for laughter, had to deliver a fine-drawn sentimental melody. Another artist who could not sing at all had a very difficult air assigned to him, which, that none of his faults might pass unperceived, was accompanied pianissimo by a pizzicato of violins. In short, it was an anticipation of Offenbach, and it is astonishing that this musical burlesque of Rossini’s has never been reproduced substantially, or by imitation (it is scarcely probable that the original score was preserved), at the Bouffes Parisiens.
Nor must the orchestra be forgotten, which Rossini enriched on this occasion by the introduction of instruments previously unknown. In one movement the musicians, at the beginning of each bar, had to strike the tin shades of the candles in front of them; when the sound extracted from these new “instruments of percussion,” instead of pleasing the public, so irritated it, that the audacious innovator, hissed and hooted by his audience, found it prudent to make his escape from the theatre.
This practical joke in music was one which few composers could have afforded to make; but Rossini had to choose between a bad joke and a bad opera, and he preferred the former.
CHAPTER II
ITALIAN OPERA UNTIL “TANCREDI.”
THE first opera of Rossini’s which became celebrated throughout Europe was “Tancredi,” which in the present day seems just a little old-fashioned. In regard to the recitatives and their accompaniments “Tancredi” is indeed somewhat antiquated. But it was new, strikingly new, in the year 1813, when Mozart’s great operas had scarcely been heard out of Germany, and when, moreover, no one thought of comparing Rossini’s works with any but works by other Italian composers. It was very unlike the serious operas of Rossini’s Italian predecessors, and, in the opinion of many who admired those operas even to prejudice, was full of culpable innovations.
When Rossini began to write for the stage, the lyric drama of Italy was divided by a hard line into the serious and the comic; and comic opera, or rather opera buffa, was, musically speaking, in a much more advanced state of development than opera seria. The dialogue, especially in serious opera, was carried on for interminable periods in recitative. Choruses were rarely introduced; and concerted pieces, though by no means unknown, were still reserved, as a rule, for the conclusion of an act.
The singers were allowed great liberty of adornment, and treated the composer’s melodies