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Thus the impression grew and Lucretia Borgia became the type of all feminine depravity until finally Victor Hugo in his drama, and Donizetti in his opera, placed her upon the stage in that character. In conclusion a few words regarding the descendants of Lucretia and Alfonso, the Duke of Ferrara survived his wife fifteen stormy years.
Alboni, the wonderful contralto who owed her early advancement and training to the kindly interest of Rossini, Fanny Persiani, the daughter of the hunchback tenor, Tacchinardi, who through her singing did more than any other artist to make the music of Donizetti popular throughout Europe these and a number of other names might be mentioned to show that Italy was now the fountain head of song, as in the Renaissance it had been the home of the other fine arts.
The rippling and glittering gayety of Rossini, the sweet and tender melody of Bellini, the sparkle of Auber, the romantic pathos of Donizetti, the brilliant melodramatic strain of Verdi none who have felt the spell will deny the enchantment. But tempora mutantur; one age with its spirit and taste succeeds another.
He flies from the world to the convent once more for shelter and consolation, followed by Leonora, who dies in his arms after she has obtained forgiveness. The music of the work is very dramatic in its character, some of the finales being the strongest Donizetti has written. The third act contains the beautiful aria, "O mio Fernando!" which is a favorite with all contraltos.
No such "first night" had been known in La Scala for many years. "I had hoped for success," said the composer, "but such a success never!" The next day all Italy talked of Verdi. Donizetti, whose wealth of melodious music swayed the Italians as it did later the English, was so impressed by it that he continually repeated, "It is fine, uncommonly fine."
Our evenings would pass quickly away, in reading Shakspeare, Corneille, Racine, Metastasio, or the modern writers of English literature: after which we would remain till the night had far advanced, enjoying the beautiful compositions of Beethoven, Gluck, and Mozart, or the brilliant overtures of Donizetti, Bellini, and Meyerbeer.
Moschcles, in his diary, speaks of the incredible difficulties which she overcame, and compares her performance with that of a violinist, while Mendelssohn, who did not love Italian music or the Italian vocalization, said: "Well, I do like Mme. Persiani dearly. She is such a thorough artist, and she sings so earnestly, and there is such a pleasant bitter tone in her voice." Donizetti met Mme.
But his greatest triumphs at this period were those which awaited him in the great opera-houses of London, where he sang the leading tenor rôles in the operas of Bellini and Donizetti. In his recently-published diary he gives some interesting details respecting Jenny Lind, then at the height of her fame and the very zenith of her powers.
The clerk betook himself to his bowling or billiards and the mechanic to the circus, while beauty and fashion repaired to the concert room or to the Opéra Français, to listen to Halévy or Donizetti.
Then a lot of rubbish about the former greatness of Venice, the glories of old music, the former Conservatoires, all mixed up with anecdotes of Rossini and Donizetti, whom he pretends to have known intimately.
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