New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1852-02-23
Rcssini.

Opera Whatever is rood and beautiful in il Is pre-
dicabe of him. His influence is discerniole through
the works of all the other Italian composers, and no
opera of any of them affords that pleasure which
the nearer is TO derive from the best Of Rossns
He was born in 1872 at Pesaro, on the Gulf Of
Venice. His father was horp-playe his mother
an actress. They Travelled through the country to-
gether, making poor music and poor living AT
seven years Of age Rossini commenced his musical
studies at Bologna, and in 1908 his frst work was
produced there, cantata, pianto d'Armonia Soon
after he was elected Director of Musical Academy
there In 1910 and III he composed two or three
dramatic pieces, and in 1912, the Opera DFaganno
Fsscs founded his fame In 1873 he produced at
Venice Tanersd the first great modern Italian Opera
Its success was wonderful 1t was one of those tri.
umphs of complete ovation, which Italian artists
sometimes achieve, and which is due to the electrical
and pas sonate nature Of the South much as the
intrinsic character OF the subject which excites 1t
Vence was vocal with Tancred for days after. Tasso
died away from the lips OF the Gondolers and their
only song was, Di fanti Palpiti. The gay Venetian
gentlemen ehmed in Tdncrsd came and saw and
conquered Venice In the Courts Of Justice, between
the pleas there was general hummiIg of the fresh
and fragrant airs OF the Opera. The composer
breathed only the incense of iattery.
He folio wed with other works. LItaltana IN Algeri
La Petra di Paragone- d emetrio and PoIibio--H
Ttuco in Italia They were good but no. great The
Gondoliers and MOBILES cid not sing them along the
canals nor the Judges on the bench. The young com
poser must taTy for the next mounting wave DA~re-
hano IN Pamira folio wed at Milanin 1914 The famous
Vellut was the principal singer, ard he 1t was who
ornamented the music Of his role that Rossni ex.
claimed, Non eOnCscO PM Ia mia musica." don'i
recognize my, oun music Trusting to the fertility OF
that he ha
charged, he commenced writing elaborate embesh-
ments for his airs. But Greek met Greek. Pasta,
Malibran, GIisi Rubini, ornamented the ornaments,
and commenced the Oritws style Of singing, peculiar
TO the Italian school.
In 1915, Rossini made director Of the Opera 81
San Carlo in Naples. His duties the compost
ton of two operas every year, and the arrangement
Of all the music performed. His salary f500.
He wrote for the San Carlo Ehsqbttta Regina ffn.
gh,Itera, which, interpreted by Signora Colbrand,
had great success. Tradition reports this Pfima
Donna as of the most imperial beauty and action.
There nothing conventional in her style, but she
entirely the Queen. Naples was wild in its pas
sion for her-unhappily that kind OF passion which
soon passes, which drags its victim in carriage,
crowns it with flowers, names soap and children for
it, but does not perpetuate a name-so that the fame
OF Colbrand the great Prma Donna Of the beginning
OF this century, has faded when the century is only
half gone. With tho decline of her voice declined
the enthusiasm Of the Neapolians. But her brilliant
had coined itself in large fortune, and Ros
SIM, overlooking the decreasing popularity of the
Prima Donns, married her before he left Naples.
While he was was still engaged there, and during
the Carnival lsl6, he brought out at Rome Torrai
do Dorliska and II Barbiere d. Sstigha The first
failed But the time had come for the Judges to sing
again, and the popular heart overlooked once more
with the delicious melodies OF II Bdrbi9e Paesiello
had written music for the same libretto, and on the
26th December, 1916, the first night of the perform
snce of Rossinis the audience did not much applaud
II in fact scarcely heard but the next day it
fired the town, and has since failed 10 kinde
the enthusiasm of an audience. II B1rbisre was the
first unequivocal and entire since Tancred.
0tllo followed hard after at Naples In this work he
introduced the ihunderous style of accompaniment,
III which blare and noise is made to replace genuine
musical efect,-.a kind OF musical grossnegs and
sensualy, which all the modern Italians have imi-
tated, until Verdi has rendered great service to
the opera by pushing it to that ridiculous excess
which will probably abolish the abuse.
In 1877, CenuenfOla was produced at Rome, but
although it has brilliant passages 1t occupies no very
high place among his works. TGe same year Ii
GaSsa EaSra achieved another triumph for the com.
Tanerea and Rome II Bar6isre, and contains some
OF his finest music. D placer bGlza il cor, is
of the most exquisite strains OF Rossini. bose ia
Egito Illuminated the same year az the San Carlo in
Naples. The famous prayer was an afterthousht.
Every night, 1t seems, the audience roared over the
scenic effect 10 represent the parting OF the Red
Sea- II did 10. impeTil the opera, but il annoy
ing Toltlla the author OF the ioIeito, burs. into
ROssini'S room one morning as he was breakfastlng
in bed and surrounded BY group of fren1s. The
little Poet shouted TO him; They WORT laugh any
more-lye been whiting prayer, 10 come in at
that place. Ro;sinI smiled (tke story has Vi
Wan Grey arl-took the words froE To.tila
stepped out OF bed sat do an en- chsmss al the table
and IN ten minutes wrote the music OF the prayer OF
Moses in Egypt There" said he, take this and
Tun,"-then stepped into bed again and went on
slipping his coffee. The effect was magical. The
audience, ready to laugh as the scens approached,
were hushed in delighted interest as it advanced,
and laughed no longer but leaned from box and bal.
cony, shouting With suppressed voices Bsllo, Oh,
cks bell0 -
In 1872 Odscrdo and Christiaao was surg in Venice
and La Donna Ssl Lsso az Naples. The audience
Was caprcious about the last 0psra, and the frss
night the performance ended in grea. confusion.
But the second night with the Barbiers, the en-.
,husissm Was upbouLded Maomstto Se,onao failed
a, Naples 1890 in 1876, under the name OF Ls Siege
ds Cos,nfhe it succeeded in Paris Zel,aira, a,
Naples, In lSs2, contains exquisite music many
competent critics think 1t has much of the best he
has ever composed The libreito is so miserable
however, that almos: ruins the opera The bret.o
Of AN Italian opera Is the wo.k super
numeraiy, and the work. almost without exception
smscks Of It's source IL is always full OF common.
place and hseAhsd situations and sentiments, so
that we foreigners enjoy the music more purely than
We could do five folio we'd the bis,,o word By word
Ssusiyansss was the last opera written BY Rossai
before leaving Italy, and was frs. performed a,
Venice in 1928 /, was successful ou. did not renew
the fabulous triumph Of TanersS in the same city ten