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His performance of the quack doctor Dulcamara, in "L'Elisir d'Amore," was no less amazing as a piece of humorous acting, a creation matched by that of the haggard, starveling poet in "Matilda di Shabran" and Papageno in Mozart's "Zauberflote." Anything more ridiculous and mirthful than these comedy chef-d'ouvres could hardly be fancied.
The manager of the Metropolitan replaces German with Italian opera, and finds his account in it, but could he find his account in it if he put on 'The Mikado' instead of 'L'Elisir d'Amore'? If he did so, the town would not be here. Why?" The reader did not try to answer at once.
Of this composer's long list of works only ten or eleven retain any hold on the stage, his best serious operas being "La Favorita," "Linda," "Anna Bolena," "Lucrezia Borgia," and "Lucia;" the finest comic works, "L'Elisir d'Amore," "La Fille du Regiment," and "Don Pasquale." In composing Donizetti never used the pianoforte, writing with great rapidity and never making corrections.
She added to her repertoire this season the rôles of Susanna in Mozart's great comic opera, Elvira in "Puritani," Adina in "L'Elisir d'Amore," and Giulia in Spontini's "Vestale." As Giulia she reached her high-water mark in tragedy, and as Adina in "L'Elisir" she was deliciously arch and fascinating.
In fact, we had a sense that this sort of reader was there with us the night we saw "L'Elisir d'Amore," and that it was in his personality we felt and remembered many things which we could have fancied personal only to ourselves.
Kate Fanny Loder, not content with songs and the opera "L'Elisir d'Amore," has composed an overture for orchestra, two string quartettes, a piano trio, piano and violin sonatas, minor piano pieces, and some organ works. Among her productions, which have been often performed, are tarantellas, a sonata, and other piano pieces, a 'cello sonata, a piano quartette and trio, and a piano concerto.
Tadolini, Genaro, and Galli, singing in "L'Elisir d'Amore," and works of a similar cast, operas unsuited, one would think, to the peculiar cachet of her genius, but her ability in comic and romantic operas, though never so striking as in grand tragedy, seemed to develop with practice. Her last English engagement was in 1837, opening the season with a performance of "Fidelio" in English.
"L'Elisir d'Amore," an opera buffa in two acts, words by Romani, was first produced in Milan, in 1832, and in English, at Drury Lane, in 1839, as "The Love Spell."
'Cavalleria Rusticana' was as much at home with us in its first year as 'L'Elisir d'Amore' is now in its sixtieth or seventieth." "But it isn't," we protested, "denationalized. What can be more intensely Italian than an Italian opera is anywhere?" "You're right," the reader owned, as the reader always must, if honest, in dealing with the writer.
An engagement at Vienna made her the pet of that city, which is fanatical in its musical enthusiasm, and we next find her back again in Italy, singing greatly to the satisfaction of the public in such operas as "Romeo e Giulietta," "Il Pirata," "La Gazza Ladra," and "L'Elisir d'Amore." Mme.
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