Daily south Kentuckian. [volume] (Hopkinsville, Ky.) 1881-18??, 1885-10-03
WIVES OF COMPOSERS.
The Matrimonial Ventures of Sooe of thu
Masters of Harmony.

Just Deen maze director OF COnCeTtS ny
the Duke of Gotha, stood up to conduct
the first concert rs such, he heard q
beautiful young lady say to another in
the first row: Look at our new Dircc-
tor of concerts. What tall hop-polo
he looks" Spohr inquired after the
young lady who had criticised his per-
son in such curious way, and heard
that she was the daughter of the first
prima donna, Schneider, and harpist
of the first rank. The next day Spohr
called upon Frau Schneider, and was
introduced to her daughter; the ac-
quaintance became more intimate, and
he was finally engaged to be married
to Mile. Schneider. The artistic couple,
Spohr playing the violin and his wife
the harp, had afterward the most en-
thusiastic reception during their con-
cert tour, Particularly did the brilliant
solo pieces for violin and harp written
by Spohr excite everywhere the highest
approval. When Spohr later began the
composition of the operas 'Jessonda, "
Faust" ETC., both mother and daugh-
ter assisted him in every possible way.
Cherubini, the composer of the opera
the "Water-Carrier," and the cele-
brated Requiem" married in Paris
during the very turbulent times of the
great revolution. His wife was Cecilia
Tourette, the beautiful daughter of a
musician at the Italian Opera of Paris.
1t was time when each morning hum
dreds were sacrificed on the guillotine
and thousands looked on unconcerncd-
ly, going in the evening to the theater
and the opera to enjoy themselves. On
the morning of his marriage a large
number of "sans culottes, +" the reddest
of the red republicans. went before
the house of Chcrubini, made the
master come out, put a guitar
into his hands, and dragged
him during the whole day through the
streets of Paris, where the poor artist
had to accompany the ribald songs of
these terrible gentry. Late in the even
ing ~Cherubini was released, after he
had been forced to enter the National
guard.
Rossni married first singer, Sig
nora Isabella Colbran, prima donna in
the company of the celebrated imprc.
sario Barliago, in Naples. This lady
made as great furore by her splendid
figure and imposing appearance as by
her extraordinary voice. Particularly
as Zelmira this beautiful diva created Il
sensation in Vienna in 1922. Later,
when Rossini gave up his art and com
menced very lucrative business in
fish. Isabella died; she had been by no
means agreeable to such change OF
profession. Rossini, who was beyond
measure avaricious and lazy, found a
new wife in Nine. Olympia Pelissier,
who outdid him in avarice, aud who
wisely made herself mistress of the sit
uation bv taking all business matters
upon herself. Rossini received annual.
" twenty thousand francs Qour thou
sand dollars) income as Inspector OF
Singing in France, and had also large
percentage from the production Of the
Barber of Seville and William
Tell So well was it known in Paris
how saving the housekeeping was man
aged in ROssini's house that scarcely
any one ventured to touch the food or
drink offered to the guests at any OF
the soirees. Rossini became thoroughly
henpecked under the management OF
his proud Olympia. He died before
her, Olympia living ten years after his
death.
Bellini was not fortunate in love; he
conceived a violent passion for lady
who was already in matrimonial
bondage, Maria Malbran. the
eldest sister of Viardot Garcia.
Her husband, Malbran, had once
saved her family when they were in
great straits on n tour in Mexico, and
she had married him from feelings of
gratitude. Malibran was wealthy, but
when he later became unfortunate in
his commercial business, and was made
bankrupt, Maria went back to the
stage, when Bellini composed the parts
of Norma and Romeo on purpose for
her. With these two roles, which
suited both her individuality and her
artistic powers, Malibran conquered
the world. Her husband died sudden
ly. and she married again the violinist
and composer, De Beriot. This broke
Bellini's heart; he fell dangerously i'll,
and died in the arms of the singer La
blache, while calling constantly for
Maria. The sad end Of the great COM
poser really did touch Malibran's heart,
and she was never able to sing again
the tombstone at Juliet's coffin with
Bellini's music. Since then Bellini's
Nontechi was always given for her in
the third act with the music by Vaccy.
Maria Malibran's marriage was a happy
one. Her second husband led his cele-
brated wife from triumph to triumph,
from festival to festival; Maria herself
composed, designed and even made
her own costumes, drove her own
horses, and distinguished herself in
swimming, athletics and horse-ridng
among the members of the Jockey
Club, with whom she was able to sus
tain bet.
Malibran was great artist, but in
siderable to her fellow artists; she
prosecuted Wilhelmina Schroeder
Devrient with sly intrigues, and it wa
she who said of Sontag in disdainfu
manner: "She is great in her genre,
but her genre is small. IN Y
Drama.
Doubtful FlatterY.
Miss Birdie McGinnis and Miss Is
| I Of tho lao d;,,,