Grove's dictionary of music and musicians

ROSSINI KOSSINI 155
ment, but 'Ennione,' which was produced at Naples before the revolt of July 20, 1820, of the
San Carlo in the Lent of 1819, went quite in Carbonari, under Pepe, which obliged the King
the opposite direction, and affected an unusual to abandon his capital, ruined Barbaja by
plainness and severity. Though splendidly depriving him at once of a powerful patron
sung, Ermione ' ' did not please, and the single and of the monopoly of the gambling-houses,
number applauded was the one air in which and drove Rossini to make important changes
there was any ornamentation. So much for in his life. Having for the moment no engagement
for the Scala, he undertook to write
the taste of Naples in 1819 ! An equally poor
reception was given to a cantata written for the '
Matilda di Ciabrano ' (' Mathilde di Shabran ')
re-establishment of the health of the King of for Rome. Torlonia the banker had bought
Naples, and sung at the San Carlo, Feb. 20, the Teatro Tordinone, and was converting it
1819. It consisted of a cavatina for Isabella into the Apollo ; and it was for the inauguration
Colbran, and an air with variations, which was of this splendid new house that Rossini's opera
afterwards utilised in the ballet of the ' Viaggio was intended. The opening took place on the
a Reims. ' The piece was hastily thrown off, and first night of the Carnival of 1821. The
was probably of no more value in the eyes of company, though large, contained no first-rate
its author than was an opera called Edoardo ' e artists, and Rossini was therefore especially
Cristina ' which was brought out at the San careful of the eri^eiiible pieces. The first night
Benedetto, Venice, this same spring, and was was stormy, but Rossini's friends were in the
in reality a mere pasticcio of pieces from ascendancy, Paganini conducted in splendid
'Ermione,' 'Ricciardo,' and other operas, style, and the result was a distinct success.
hitherto unheard in Venice, attached to a On his return to Naples, Rossini learned
libretto imitated from Scribe. Fortunately the from Barbaja his intention of visiting Austria,
opera pleased the audience, and sent Rossini and taking his company of singers to Vienna.
back to Naples in good spirits, ready to compose
a new cantata for the visit of the Emperor to be submitted to a more critical audience than
Rossini's next opera, 'Zelmira,' was therefore
of Austria. The new work was performed on those of Italy, and with this in view he applied
May 9, 1819, at the San Carlo, and was sung himself to make the recitatives interesting, the
by Colbran, Davide, and Eubini, to the accompaniment
of a military band. This Rossini ments expressive and full of colour, and to
harmonies full and varied, and the accompani-
probably accepted as a useful experience for. his throw as much variety as possible into the form
next new opera, the 'Donna del Lago,' in the of the movements. He produced the opera at
march of which we hear the results of his the San Carlo before leaving, in the middle of
experiments in writing for a wind band. Even December 1821. It was sung by Colbran,
at the present day the first act of the opera is Cecconi, Davide, Nozzari, Ambrosi, and Benedetti,
and was enthusiastically received. On
well worthy of admiration, and yet the evening
of Oct. 4, 1819, when it was first given, with the 27th of the same month, he took his benefit,
the magnificent cast of Colbran, Pisaroni, for which he had composed a special cantata
Nozzari, Davide, and Benedetti, was simply one entitled La ' Riconoscenza '
; and the day aftej
long torture of disappointment to the composer, left for the North. He was accompanied by
who was possibly not aware that the stoi-m of Isabella Colbran, with whom he had been in love
disapprobation was directed not against him for years, whose influence over him had been so
so much as against Barbaja the manager, and great as to make him forsake comedy for tragedy,
Colbran his favourite.
and to whom he was married on his arrival at
On the following evening the hisses became Bologna. The wedding took place in the chapel
bravos, but of this Rossini knew nothing, as by of the Archbishop's palace, and was celebrated
that time he was on his road to Milan. The by Cardinal Opizzoni. Rossini has been accused
Scala opened on Dec. 26, 1819, for the Carnival of marrying for money, and it is certain that
season with 'Bianca e Faliero,' libretto by Colbran had a villa and £500 a year of her
Romani, which was admirably sung by Camporese
and others. No trace of it, however, husband, and that her reputation as a, singer
own, that she was seven years older than her
now remains except a duet and quartet, which was on the decline.
•
'
were afterwards introduced in the Donna del After a, month's holiday, the couple started
Lago,' and became very popular at concerts. for Vienna, where they arrived about the end
His engagement at Milan over, he hurried of February 1822. He seems to have made
back to Naples, to produce the opera of his debut before the Vienna public on March 30,
' Maometto secondo, ' before the close of the as the conductor of his 'Cenerentola,' in the
'
German version, as Asohenbrodel,' and his
tempi were found somewhat too fast for the
' heavy German language. ' 'Zelmira ' was given
Carnival. It had been composed in great haste,
but was admirably interpreted by Colbran,
Chaumel (afterwards Madame Rubini), Nozzari,
Cicimarra, Benedetti, and F. Galli, whose
Maometto was a splendid success. It was the
last opera that Rossini was destined to give at
at the Kamthnerthor opera-house on April 1 3,
with a success equal to that which it obtained
at Naples. Rossini was not without violent