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Bosio, feeling that variations were necessary, threw Rode's over in favor of those on "Gia della mente involarmi" a polka tune from Alary's "A Tre Nozze." Then Mme. Gassier ushered in the day of the vocal waltz Venzano's, of amiable memory. Her followers have not yet died out, though Patti substituted Arditi's "Il Bacio" for Venzano's; Mme. Sembrich, Strauss's "Voce di Primavera," and Mme.
The Barbier de Seville is, I think, his best role; he acts with so much humor and sings so exquisitely and with such refinement. Even in the tipsy scene he is the fine gentleman. Patti sings in the singing lesson Venzano's waltz and "Il Bacio." Her execution is wonderful, faultless, and brilliant.
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