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It was not well received at first, though the verdict of time places it high among the musical masterpieces of the century. In it were combined all of Rossini's, ideas of operatic reform, and the novelty of some of the innovations probablv accounts for the inability of his earlier public to appreciate its merits. Mme. Rossini made her last public appearance in this great work.
The Tigers or Lions, of the Loge Infernale at the Opera, have already been spoken of. It was in this year that Balzac, as belonging to the Club, gave a dinner to its members, the chief guest being Rossini. Nodier, Sandeau, Bohain, and the witty Lautour-Mezeray were also present.
"Now comes a magnificent thing, the scheming of Pharaoh against the Hebrews. The Throne will speak. He will withdraw the concessions that have been made, he arms himself in wrath. Pharaoh rises to his feet to clutch the prey that is escaping. "Rossini never wrote anything grander in style, or stamped with more living and irresistible energy.
In Bach and Handel, the great masters of fugue and counterpoint; in Rossini, Mozart, and Weber, the consummate creators of melody then, according to this view, we only recognize thinkers in the realm of pure music. In Beethoven, the greatest of them all, was laid the basis of the new epoch of tone-poetry.
A number of pins, with green heads, point out the positions of the Russian army; and in the same manner, with red-and-white-headed pins, he distinguishes the stations of the different kinds of troops of the Turkish host. Literary Gazette. Othello is altogether unsuited to the lyrical drama, and supposing the contrary, Rossini, of all composers, was the most unfit to treat such a subject in music.
The sound then changes for the roar of battle the clang of trumpets, drums and cymbals. The whole orchestra did their best to represent this combat in music, which after lasting a short time, changed into the loud, victorious march of the conquerors. But the body of the opera, although it had several fine passages, was to me devoid of interest; in fact, unworthy the reputation of Rossini.
"When the fire that burned in me glowed too fiercely from the face I turned upon her, she met it with that studied smile of hers, the conventional expression that sits on the lips of every portrait in every exhibition. She was not listening to the music. The divine pages of Rossini, Cimarosa, or Zingarelli called up no emotion, gave no voice to any poetry in her life; her soul was a desert.
All his cynicism and hatred melted away, and left only sweetness, truth, and genial kindness. When Berlioz entered on his studies, he had reached an age at which Mozart, Schubert, Mendelssohn, Rossini, and others, had already done some of the best work of their lives.
"The singer has to express the most intense anguish, that of a woman who sees her lover dying before her very eyes. La Tinti makes the house ring with her highest notes; and Rossini, to leave pure singing free to do its utmost, has written it in the simplest, clearest style. Then, as a crowning effort, he has composed those heartrending musical cries: Tormenti! Affanni! Smanie!
The systems of Rossini and Garcia were radically different, the one stopping at florid grace of vocalization, while the other aimed at a radical and profound culture of all the resources of the voice. It may be said, however, that Pauline Garcia was self-educated as a vocalist. Her mother's removal to Brussels, her brother's absence in Italy, and the wandering life of Mme.
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