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Updated: June 13, 2025
The librettist used the same subject which M. Scribe had adopted for Auber's opera, "Gustavus III.," and the opera was at first called by the same name, "Gustavo III." It was intended for production at the San Carlo, Naples, during the Carnival of 1858; but while the rehearsals were proceeding, Orsini made his memorable attempt to kill Napoleon III., and the authorities at once forbade a performance of the work, as it contained a conspiracy scene.
The merry scene speedily changes to one of turmoil and distress. Selva attempts to arrest Fenella, but the fishermen rescue her and Masaniello gives the signal for the general uprising. Before the combat begins, all kneel and sing the celebrated prayer, "Nume del ciel," taken from one of Auber's early masses, and one of his most inspired efforts. The fourth act opens in Masaniello's cottage.
And then Padre Ignazio repeated Auber's remark in French: "'Est-ce le bon Dieu, on est-ce bien le diable, qui me fait tonjours aimer les coquins? I don't know! I don't know! I wonder if Auber has composed anything lately? I wonder who is singing Zerlina now?" He cast a farewell look at the ocean, and took his steps between the monastic herbs and the oleanders to the sacristy.
But this honor was soon rudely snatched from De Bériot's grasp. The revolution of 1830, which began with the excitement inflamed in Brussels by the performance of Auber's revolutionary opera, "La Muette di Portici," better known as "Masaniello," dissolved the kingdom, and Belgium parted permanently from Holland.
I am proud to be the friend he longs to see, and was only too happy to accept. Mademoiselle W was equally happy, ready, as always, for any excursion where a good repast was in view, and of that we were sure, as Auber's chef is renowned, and is so clever that, though the market is limited, he can make something delicious out of nothing.
It must be admitted that for sheer theatricalism that gentleman beat any composer who preceded him. Bellini's, Auber's and Spontini's scores are thin compared with his; even Auber's grandest ensembles lack his sham magnificence. Wagner's artistic conscience had not ripened to the point at which conscience is an absolute, unfailing, unerring touchstone.
On the 25th of August, 1830, Auber's opera, "The Dumb Girl of Portici," the revolt of Masaniello in Naples, was performed at the Brussels theatre and inflamed the passions of the audience to such a degree, that, on quitting the theatre, they proceeded to the house of Libry, the servile newspaper editor, and entirely destroyed it: the palace of the minister, Van Maanen, shared the same fate.
But to make up for this, they installed a concert organ, a necessary adjunct for musical performances. Finally, in Auber's day and even in that of Ambroise Thomas, the director was master. No one had dreamed of creating a committee, which, under cover of the director's responsibility, would strangely diminish his authority.
But it was with another look that he watched the sea; and presently the sail moved across the blue triangle, and soon it had rounded the headland. With it departed Temptation for ever. Gaston's first coming was in the Padre's mind; and, as the vespers bell began to ring in the cloistered silence, a fragment of Auber's plaintive tune passed like a sigh across his memory.
These carnival follies had their special Pandemonium in the rue Saint-Honore and their Napoleon in Musard, a small man born expressly to lead an orchestra as noisy as the disorderly audience, and to set the time for the galop, that witches' dance, which was one of Auber's triumphs, for it did not really take form or poesy till the grand galop in "Gustave" was given to the world.
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