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For the next two years Pasta sang alternately in London and Paris, and her popularity on the lyric stage exceeded that of any of the contemporary singers, for Catalini, whose genius turned in another direction, seemed to care only for the concert room. But some disagreement with Rossini caused her to leave Paris and spend a year in Italy.
The second act, which lasted two hours and a half, began to please in an air of Mariani, but the applause was rather directed to this favorite singer. After this a duet between her and Colbran, together with an air of Galli, and particularly a terzetto between him and the two ladies, were well received. Rossini was also called for at the end of the second act.
The "Stabat Mater," publicly performed for the first time in 1842, has been recognized, it is true, as a masterpiece; but its entire lack of devotional solemnity, its brilliant and showy texture, preclude its giving Rossini any rank as a religious composer. He spent the forty years of his retirement partly at Bologna, partly at Passy, near Paris, the city of his adoption.
I shall make known everywhere, in the midst of my tears, what an affectionate heart belongs to the great Rossini, and how kind, hospitable, and full of feeling are the artists of France." Bellini was affable, sincere, honest, and affectionate. Nature gave him a beautiful and ingenuous face, noble features, large, clear blue eyes, and abundant light hair.
It was she who persuaded him away from comic to tragic opera. The political changes of the period soon changed her from public favourite to a public dislike, and Rossini, disgusted with his countrymen, married her and left Italy. It was said that he married her for her money, because she was his elder and was already on the wane in public favour, and yet owned a villa and $25,000 a year income.
Dante I must and will have." Europe, by this time, had tired of the empty pomp of French declamation. It lent but too willing an ear to the new gospel, and eagerly quaffed the intoxicating potion, which Rossini poured out in inexhaustible streams." This very well expresses the delight of all the countries of Europe in music which for a long time almost monopolized the stage.
She was then transferred to the La Scala, at Milan, where she performed with marked success in "La Favorita." Rossini himself signed her contract, saying, "I am the subscribing witness to your union with renown. May success and happiness attend the union!" Her engagement was renewed at the La Scala for four successive seasons.
Paisiello's opera, on the contrary, was extremely popular, throughout Europe. True, he called it "The Barber of Seville," not "The Spanish Barber," but Colman's subtitle, "The Futile Precaution," came from the original French title. Rossini also adopted it and purposely avoided the chief title set by Beaumarchais and used by Paisiello; but he was not long permitted to have his way.
But he was alarmed by the intricacies of modern orchestration; and at length, in the pleasures of collecting, he found such ever-renewed compensation for his failure, that if he had been made to choose between his curiosities and the fame of Rossini will it be believed? Pons would have pronounced for his beloved collection.
Rossini is the Canova of music, with much of the pretty, with nothing of the grand! The little party talked, however, of music, with an animation and gusto that charmed the melancholy Maltravers, who for weeks had known no companion save his own thoughts, and with whom, at all times, enthusiasm for any art found a ready sympathy.
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