The sun., 1916-01-30
Nv ~. =. HEN DER son.

pen. One was calieu lOTNaiuo Z Dh-
liska," and II was given at the 1eatro
Vale on Dec. rs. 1t was received with
something most readily described as
Indifference. The other was entitled
"Aimaviva. oss!a rinutile precauzionc.
1t was presented at the Argentina on
Feb. 6, 1916, and was received without
Indifference, since it was condemned
without reservation.
The reason OF the hostility was the
Aoye of the Romans for "ll Rarbiere
al Sivigl;t by Paisiel.o. That opera
had been a favorite for Il quarter OF
q century, and the Romans were
amazed and indignant at the compar-
stiyely obscure composer who had the
audAcity to write an opera on the
same subject. But the second night
audience sat up and took notice or
Rossini's work. and in the end 1t as
sumed the familiar title and sup
planted Pa!siello's opera.
The original cast comprised Giorgt-
Righetti as Rosind. Rossi az Berfd.
Zamboni as Figaro, Garcia uhc father
Of the Manuel Garcia who lived to bc
more than a hundred) as .ilmdrird.
Botticelli as Bdrfolo and Nitarclli as
BdsiliO The original overture was
long ago lost, and that which now
seems 80 apt a prelude TO the comedy
belonged to "Elizabetta' "Ecco
ridente" was originally part OF
chorus in "Aureliano." Berta's air
was founded on a Russian melody
"Zitti, ztti" was literally stolen from
Haydns Seasons" But even these
items were transmitted by Rossinfs
genius, and the work, which still holds
the stage, ranks deservedly among the
masterpieces of opera buffa.
Since it fortunately happens that the
centenary OF the first performance
falls upon an opera day Mr.. Gatti-
Casazza will give memorial repetition
of the joyous work on Saturday after
noon. Feb 8. 1916. and thus fittinG
tribute will be paid To the composer
who enriched the treasury of the
worlds delights with this sparkling
score. Rossini received $500 Tor this
creation. Possibly he would have
reaped larger profit in this time
But opera composers even nUw do not
become m!llionaires.
The year 1916 WIS not one Of sur
passing Importance III the history OF
music. Weber had just been called
o.
where his duties began the following
year: but he had not written Der
Freischuetz," which revolutionized
German opera and paved the way Tor
Wagner. Beethoven had produced
his "F'idelio' ten years earlier out II
had not touched the vital character OF
contemporaneous opera Nerdi anu
Wagner were three years old Haydh
had been dead seven years. Nosei had
not begun to make known the solES
of Schubert. Mendelssohn had not
ressurrected the MATTHEW Passion oil
Bach Pompous Sponuni was the
overload OF grand opera IN France
Rossini's triumph in I'll BaTp!ere
was significant in more than one way
The opera buffa. or comic opera had
developed from small beginnings II
italy at a time when the opera s"Fia
was pompous, artificial and dranati'
cally sterile. 1t was smothered III
conventions and spontaneous express
sion was restrained 10y traditions
handed down from the eighteenth
century when an opera was parade
ground for vocal heroes,
But long before the serious opera
the comic opera had moved into tn
eo" 49, .,u, ailo,,irg m
eo"p ,no,r ,,,orrs IN so
p.'p"' ua ,anors vim a view
80, anao,s uhen they wer
vy ,'' uar,s 60 nnIe sonrnnns
e ,.,ho,,, 80, - ,c,cd Achilles i,
-n,, o,n,nas tho comic oper
-. 49,. rosnac,inp the true offic
,,..,o,, DO 80 "chastis. mar
eo' ''i,a ;,
-, Ia, MAR. all erac,ed n
- ,,,omon,s nor,s hv uomer
,ano,, 80 ~. oner, mn
n,,o, old woman,s mar,
.h,., 80. s,ng hv ,enors Thi
s.-o,aa, .,,s,o,,, nassed M, of nse Tb
Ia 800 ,,,ng hv n r.s and freouentl
.,i,,,na hi. yoic. IN mine an
.,.,s,,." a., ,a,setto so,eal. desene
w ,n,i,ata n. hreakine Of the feebl
tones remained TO establish the ira
di,ion which ia still observed by I,al
Ion h,,fYo basses
whereas in the opera seria no sir
eere effort was made TO dellneate chal
sc,.r Deopls in the opera bufra we,
clearly and cleyerly drawn. Vivaci,
ana realism were sought and the al
~ Scharac,erization In music was prat
,,.ed The venerable recitatiyo secc
.,,th n. ranid nrattle of dialogue ar
its sccompaniment OF chords upon