New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1870-02-22


Annaic religion have sunk into an Indo-Germanic
soil But if for this Hellas is the prototype
of purely human, Latium is not less for all time the
prototype of national development"
Unlike Niebuhr and German investigators in gen
eral Mommsen gives us the results of research with
out the process entangles us III maze OF de-
tails and always writes in terse and vigorous
style. Many of his judgments and conjectures are
open to question, and may hereafter be set aside;
but at the present stage OF our knowledge OF an
tiouiy his work is indispensable to the student, and
invaluable to all who wish TO have the latest results
of scholarship applied to Roman history III com
pact Ineligible, and interesting form.
The Life Of RoSsiHi, by II. SUTHERLAND Ed
WARDS (Ohyer Dison Coz, is an intelligent history Of
the public career Of the great Italian composer and an
appreciauve review Of his place in musical annals Mr.
apparently has not enjoyed the advantages OF
personal familiarity with his subject or access to peculiar
sources OF information which would qualify him to write
genuine biography He tells us little OF the private
life and character Of Rossjn but whatever he has at
tempted do he has done well, and many Of the anec
dotes which he has collected respecting the first repre-
sensations Of the composers works are highly entertain
ing The following story Of the first performance OF
"The Barber of Seville" is good specimen. The scene
occurred Rome. where ROssni had in some way i'll
eurred the ll.will Of the public:
Madame Gorg Rghetti was the R1sina Of the evening
Figaro friend the chef ledger Luigi Zanboni.
who, after distinguishing himself on all the operate
stages m Europe became, like Garcia, singing master
taught other Egaros beside AD'arioas and R2sings
bow 10 sing ROsSms music. The original Don BHSHt0 |
was Vtarch B1rthot0. Bottcclh. The overture, an |
original work, written expressly for II BaIbere, and
not the overture to Aurelauo in Palmyra" afterward
substituted for it, executed in the midst of general
muunuIug such remarks Z1nohmi, as IS heard on
the approach Of procession sendha says that the
Roman public recognized, or thought they recognized III
the overture the cruubng of the old guardau and the
lively demonstrates Of his interesting ward But he
also that the overture performed was tat oil Aute
tous NJ Azeveio thinks the Original o!ett"i % ,ot
through the caTeessnc>s OF copyIS but 1t j. dlhct TO
orchestral parts. could have been lost u this manner
One thing certain that the opening night the over
cordHg stenGha, not liked but this can only mean
that It not heard Tue appearance OF Garcia DID not
change the disposition of the public. The composer
low GarIa 70 sg bereath HosinG's balcony Spanish
melody OF ms own arrangement" maintained,
that the IA spain, the Spanish melody would
give the drama an apprgpnae local color but pnfortn
nately the artist Who SEASONED 50 we'll aud who was
such excellent singer forgot 70 tune his guitar before
appearing the AhpOrird He began the Ope-
ration iu the presence n the public string broke the
80 laughter aud Kisses we're heard from all parts Of the
house. The Spanish air when Garcia was AT last ready
listened to u Just enough to be able to give an ironca
The audience could not hiss the introduction Of Fgaro's
air but when ZambOnl entered, with another guitar III
Iayro al f.}fotnm was heard When PosnG made her
appearance in the balcony, the puphc were quite pre-
pared applaud Madame Glors Rghetti IN an air which
they thought they had right To expect from her but
Ony hearing her utter phrase which led 10 nothing the
between AigGrirq and FiJ1rO accompanied through
with kissing and shouting. The fate OF the work
s E2,a reapPeared ana sang the c Gaya ia
ghct was young had fresh bcautIlu voice. ana was
great idyOrte with the Roman public Three long ROUNDS
applause followed the conclusion Of her ar aud gave
some hope that the opera might YET tie saVeu. hossn'
who al the orchestral piano, bowed 10 thc puDlc'
then turned toward the singer, and whispered, " Oh,
The entry Of Don Basilio now so effective,
II
admirable; hut small Trap had been icft open on the
bruised his face terribly aud began his admirably dra
with his handkerchief 70 his nose THIS itself
must have sUhced 10 spoil the effect Of the music some
OF the audience with preteruatura stupidity, thought
the fall ana the subsequent consequent application Of the
part. and not liking II, hi-sed The letterduet
miscared partly 1t appears through he Introduction OF
some unnecessary incidents atcIHdId omitted hut tho
audience resolved to dcule the work ana, Ofteu
happens IN such various things occurred to favor
Al The beginning of the magnificent finale, cat APP
pcarcd Oh The stage and with the usual effect i3ro
drove DO way. B0rMoIo another. ana m avoiding
J1si,O Do encountered the -hIlt oI H'o"d- behaved IN
action OF grand operate finale Tine pubic We're only
Too glad 10 LaVcu opportunity or amusing themselves
apart from hc comedy: aud the opening OF the hnae
was not listened To al all. 80
The noise went on increasing until the curtain fell
Then Eo,siu turned toward the public, shrugged his
Shoulder aud began To applaud. The audience were
deeply offended Dy this OpenycXprcSsed contempt Tor
their opinion, but they made no reply at the Time.
The vengeance was reserved for the seGont act. OF
which not note passed The orchestra Inc hu9Dub was
great that nothing like II ever heard at any
tbeater. KJssini IN the meanwhile renamed perfectly
calm, aud afterward went home composed az II the
work. received IN insulting manner had been the
production OF other musician. After changing their
clothes, Madame GOrgi Righett. Garcia Iamblni, ana
BOcell went 10 his house TO console INN III Ills mis-
fortune They found him fast asleep
The next day lac wrote the delightful cayatlna, EccO
Iidente clelO 10 replace GarCias unfortunate Spanish
The melody OF the solo borrowed from the
opening chorus OF "AufelanO IN Palmyra written by
ROsslD In 1915 Tor Milan aud produced without success
the said chorus having itself figured before ia the
composer " Gro IN BabOna," also uHfayOrdbly
ceyed. Garcia read his cayana was written, and
/ In IA m
only alteration he Thought necessary. back bed
and pretended 10 be H. lac might not have TO take
his place Ia the evening at the piano The charming
4aariod ROsd is addressed by chorus in
AuTeiano" 10 the spouse OF the grand OStry "SpOsa
del Graude OsTde" Ctc.
Al the second performance the Romans seemed dis
posed 10 listen Tie work OF which they had really heard
nothing the night before. This all that needed
10 insure the operas Triumphant success Many OF the
IiDited The music, however. pleased more ana moro
with each succeeding representation until ~ last the
climax reached. aud III Barblerc' produced those
Transports admiration among the Romans with which
afteFWard received ~ every town IN Italy, aud Ia
due time thIOug hOut Europe IL must be added, that
great many 1T Rome were rifuCh fOm the
nFst moment with tie luDucrdDle beauties OF RO>,r's
score nis house To congratulate INN oh lie
excellence. AZ for IDn,ll be not at All surprised
the change winch lOOk place ID pubic opinion. lie