The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1886-03-31
WIVES OF COMPOSERS.

=
droll manner. When Spohr, who had
Just been made Director of Concerts by
tie Duke of Gotha, stood UP to conduct
the first concert as such, he heard
beautiful young lady say to another in
the first row: Look at our new Direc-
tor of concerts. What tall hop-pole
be 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, Scheidler. and a 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-
thusiastie 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 ceie-
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 a time when each morning hun
dreds were sacrificed on the guillot:ne
and thousands looked on unconcerned-
~, 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 Cherubini, 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 Cberubini was released, after he
had been forced to enter the National
guard
Rossini married first singer, Sig
nora Isabella Cochran, prima donna in
the company of the celebrated impre-
sariO Bariliago, 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
sensation in Vienna in 1922. Later,
when Rossini gave up his art and COM
menced a very lucrative business in
fish, Isabella died; she had been by no
means agreeable to such a change of
profession. Rossini, who was beyond
.i,af0 laZ
new wife in Nine. Olympia Pelissier,
wha outdid him in avarice, and who
wisely made herself mistress of the sit
uation bv taking all business matters
upon herself. Rossini received annual
ly twanty thousand francs -four thou
sand dollars) income as Inspector of
Singing insurance, and had also a large
percentage from the production of the
2 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
am Dne 7entured to touch the food or
drink offered to the guests at any of
the soirees. Rossini became thoroughly
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 violent passion for a lady
who was already in matrimonial
bondage, Maria Malibran. the
eldest sister of Viardot Garcia.
Her husband, Malibran, had once
saved her family when they were in
great straits on a 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
a 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' 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-riding
among the members of the Jockey
Club, with whom she was able to sus-
tain bet
Malibran was a great artist but in
sufferabIe to her fellow artists; she
Wilhelmina Schroeder
Devrient with sly intrigues, and it was
she who said of Sontag in a disdainful
manner: "'She is great in her genre,
but her genre is small. ~ y.
Drama.
Doubtful FIattery. 2
Miss Birdie MeGinnis and Miss sEs-
nereIda I4ongco4fia, twosof the leading
belleseof Austsns were. discussing a ball
as which both had been present
ssO,I had such Compliment paid
me by Gus De Smith, said Miss Birdies
hystericaiiy.