Cincinnati daily press. [volume] (Cincinnati [Ohio]) 1860-1862, 1861-04-08

Interesting Incidents in COBBectlon with
the Production of Don Giovznni--AWeRh-
voiced "ZerliBn" and Troubled TrOms
bonist-The OrIsiual Hero and flls BOnst
to Ne zart.
We find the following Interesting anec-
dotes in the last number of the Boston Mu-
scdl Times: -..rr.r.
Two amusing incidents took place during
the first rehearsals of Don GioUdnni. Mime
Boudini, who performed the part OF "Zerlina" +"
was not prompt in calling for help in the
closet, and did not shrek loud enough to be
heard. Mozart went impatiently behind the
scenes, and when the moment arrived seized
the lady around the waist so suddenly that
she screamed aloud with fright. "Bravo ~
cried Mozart; that is the way to cry out
and the audience will hear you ~ ... -,
In the tomb scene, Mozart stopped the
piece, because one of the trombOnes was all
wsys wrong in Di rider fHirGi pTid PGurord.
The same error was repeated two OF three
times; and when the author corrected the
performer, the incorrigible musician replied
drily, ut can't be played; besides, you can't
teach me how to play the trombone"
Heaven preserve me from any such inten-
tion, sir said Mozart, laughing. He after
ward added to the accompaniment two
oboes, two clarionets and two bassoons And
!. beside this, he added four different morceaux
his original score. 4 I'd -.-
The opera was produced at Vienna, in
POOR style, and was quite eolipsed by Salieris
ASSuT. The criticism of that day was quite
as stupid as some Of the So called criticism Of
the present day. Geffroy said that lie Nozze
al Figaro contained but one air worth hear
ing, and called Don GioUdTlni a. German
chdriUd1i. AT first it was called by the au-
thor u dissoltRo puhito, because Righini had
already written an opera called Don Clio
pdEni but it afteTward received the name
under which it is now known.
The part of the dissolute hero was origi-
nally performed by Luigi Bassi, a fine singer
and excellent actor, and one of those artists
whose clear perception of character enabled
him to judge of the effect to be produced
upon an audience. Tradition describes him
as a person who united all the charms of
voice, person and bearing which might rem
der an embodiment of the licentious noble
seductive. He made Mozart rewrite the duet
La CT ddrem four times. He rejected some
because they were too recondite with the
remark that while he is trying to seduoe a
young girl, he must not be feeling round for
correct intervals and intonation.
! Mozart handed him the fifth edition, say
ing that if that did mot please him he would
leave it out altogether, and keep on with the
recitative. Bassi was delighted this time,
and expressed himself with great warmth.
with such melody as this" said he &C
would seduce, nota village girl, but the Maid
of Orleans, or the Empress Maria Theresa
herself" Bassi was not the only artist whose
counsel, in such matters, was sought and fol-
lowed by celebrated composers. u
The music performed at Don Giovanni's
supper was selected by Mozart from the
operas then in vogue, La Cosa rdrd, Fra due
LitigGRH terzo code, I PTetendeni burLat,
al d he ended with melody from LIE Nezze
di Figaro. Leporelo mentions the borrowed
pieces as they are performed by the orchestra,
and when the clarionets begin, Non phi
andrdi, he exclaims, &C know that too welIl'
To understand this, it should be known
that Non piu andrdi had been hissed the year
before at the first performance of lie Nozze di
Figaro. and this expression of disagreeable
recollection was addressed by Mozart to the
public es pithy reproach. These airs, thus
enbalmed by Mozart, in his great work, and
which were preferred at that time, would,
but for this, have been long ago forgotten.