The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1870-02-25
The First Performance OF s'The
Barber Of SeViIIe.''

Edwards, recently published gives the fol-
lowing account of the first performance of
The Barber Of Settle
Madame Giorgi Righett was the "Rosina"
of the evening. Garcia, the celebrated tenor,
was the "Almaviva." The Figaro" was our
friend the chief lodger, Luigi Iamboni, who,
after distinguishing himself on all the opera
tic stages in Europe, became like Garcia,
singing master, and taught other "Figaros,"
beside "Almavivas" and "Rosinas,' how to
sing Rossni's music. The original "Don
Basilio" was Vitarelli; "Bartholo," Botticelli
The overture, an original work. written ex-
pressy for ~ BdTbiere, and not the overture
q to Aarettdno tn Palmyra, afterwards substi-
tuted for it, was executed in the midst Of
general murmuring, 'such, remarks Zano-
lini, las is heard on the approach of process
sion" Stendhal says that the Roman public
recognized, or thought they recognized, in
the overture the grumbling of an old guar
dian, and the lively remonstrances of his in
teresting ward. But he also says that the
overture performed was that of AureLSdRo;
probably he confounds two different repre-
sentations. M. Azevedo thinks the original
overture was lost through the carelessness of
copyist, but it is difficult to understand
how not only the composers score, but also
the orchestral parts, could have been lost in
this manner.
One thing is certain, that on the opening
The introduction, according to Stendhal, was
not liked; but this can only mean that it
was not heard. The appearance of Garcia
did not change the disposition of the pub
lie. "The composer, says Madame Giorghi
Righetti, "was weak enough to allow Garcia
to sing beneath 'Rosnas' balcony q Spanish
melody of his own arrangement" Garcia
maintained that as the scene was in Spain,
the Spanish melody would give the drama an
appropriate local color; but unfortunately, the
artist who reasoned so well, and who was such
an excellent singer, forgot to tune his guitar
before appearing on the stage as "Almaviva"
He began the operation in the presence of the
public; string broke the vocalist proceeded
to replace it, but before he could do SO laugh
ter and Kisses were heard from all parts of
the house. The Spanish air, when Garcia was
at last ready to sing it, did not please the
Italian audience, and the pit listened to it
just enough to be able to give an ironical
imitation of it afterwards.
The audience could not hiss the introduc-
tion of ''Figaro's" air. but when Zamboni
entered, with another guitar in his hand,
loud laugh was set up, and not phrase of
'Largo al factotum" was heard. When
''Rosina" made her appearance in the bal
cony, the public we're quite prepared to ap-
plaud Madame Giorgi Righetti in an air
which they thought they had right to ex-
pect from her; but only hearing her utter a
of disapprobation recommended. The duet
between 'Almaviva" and "Figaro" was ac-
companied throughout with kissing and
shouting. The fate of the work seemed now
decided.
At length ''Rosina" reappeared and sang
the cavatina which had SO long been desired;
for Madame Glorgi Righetti was young, had
fresh, beautiful voice, and was a great
favorite with the Roman public. Three long
rounds of applause followed the conclusion
of her air, and gave some hope that the opera
might yet be saved. Rossini, who was at the
orchestral piano, bowed to the public, then
turned toward the singer, and whispered,
"Oh, natural
The entry of 'Don Basilio, now 80 effective
was worse than a failure the first night
Vitorellis makeup was admirable; but small
trap had been left open on the stage, at which
he stumbled and fell. The singer had bruised
his face terribly, and began his admirably
dramatic air with his handkerchief to his
nose. This in itself must have suficed to
spoil the effect of the music. Some of the
audience, with preternatural stupidity,
thought the fall and the subsequent conse-
quent application of the handkerchief to the
face, was in the regular ''business" of the
part, and not liking it, hissed. The letter
duet miscarried partly, it appears, through
the introduction of some unnecessary Incl
DENTS afterwards omitted; but the audience
often happens in such cases, various things
occurred to favor their pre-determination.
At the beginning of the magnificent finale,
cat appeared on the stage, and with the
usual effect. Figaro" drove it one way,
'Bartholo" another, and in avoiding
''Basilio" it encountered the skirt OF
s'Rosina" in short, as a cat will be
sure to behave mixed up in the action of 6
grand operatic finale. The public were only
too glad to have an opportunity of amusing
themselves apart from the comedy; and the
opening of the finale was not listened Il
at all.
The noise went on increasing until tn,
curtain fell. Then Rossini turned toward
the public, shrugged his shoulders, ant
began TO applaud. The audience were deepl.
offended by this openly expressed contemp
for their opinion, but they made no reply a
the time.
The vengeance was reserved for the seconC
act, of which not note passed the orchestra
The hubbub was SO great that nothing like i
was ever heard at any theatre. Rossini, il
the meanwhile, remained perfectly calm, AM
afterwards went home as composed as if tn
work, received in so insulting manner, ha
been the production of some other musician
After changing their clothes, Madame Giore
Righetti Garcia, Zamboni, and Botticel
went TO his house to console him in his mis-
fortune. They found him fast asleep.
The next day he wrote the delightful cava
tina, Ece0 ridente IL cieI0, to replace Garcia
unfortunate Spanish air. The melody of tn
new solo was borrowed from the openin
chorus of AuroIianO in Palmyra, written b
Rossipi in 1914 for Milan and produce