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Updated: June 11, 2025
What amplitude and mastery of voice she exhibits in the 'Brindisi'; what incomparable clearness and accuracy in the air from 'L'ltaliana' and the duo from 'Il Barbiere! There is no instrument capable of rendering with more certain and more faultless intonation the groups of rapid notes which Rossini wrote, and which Alboni sings with the same facility and same celerity.
Every one sprang up, and the students stood on their seats, waved their hats and handkerchiefs, nodded their young heads in their feverish enthusiasm for art, and "encored" with intonations of the most touching supplication. The divine singer then began again, and three times over she had to sing the Cavatina from Il Barbiere de Seville, "Una voce poco fa."
This is how I came to quarter myself on Madame Barbière and her idiot son, and how I ultimately learned from the lips of the latter the strange story of his own immediate fall from reason and the dear light of intellect. By day Camille Barbière proved to be a young man, some five and twenty years of age, of a handsome and impressive exterior.
Of Rossini's lighter works, 'Il Barbiere' is certainly the most popular, though, musically speaking, it is perhaps not superior to 'La Gazza Ladra, which, however, is saddled with an idiotic libretto. None of his tragic operas except 'Guillaume Tell, which belongs to a later period, have retained their hold upon the affections of the public.
The catalogue of his works is immense, including fifty operas alone, of which in a necessarily brief sketch it has been possible to mention only those best known. "Il Barbiere di Siviglia," an opera buffa in two acts, words by Sterbini, founded on Beaumarchais's comedy, was first produced at the Argentina Theatre, Rome, Feb. 5, 1816, with the following cast: ROSINA Mme.
Yet the same Viennese public, six years before, had actually hissed Mozart's "Nozze di Figaro," which shares with Rossini's "Il Barbiere" the greatest rank in comic opera, and has retained, to this day, its perennial freshness and interest. Cimarosa himself did not share the opinion of his admirers in respect to Mozart.
Every one said that after Paisiello's music on the same subject it was nothing, when it was suggested that Paisiello's should be revived. So the St. Petersburg "Barbiere" of 1788 was produced, and beside Rossini's it proved so dull, stupid, and antiquated that the public instantly recognized the beauties of the work which they had persuaded themselves to ignore.
Her appearance was highly attractive, for she possessed a finely molded figure of middle height, and a face expressive, winning, and strongly marked. She further appeared as Odabella in "Attila," and as Lucrezia in "I Due Foscari," both of which performances were very warmly received. During the season she also sang in "Nino," "Lucrezia Borgia," "Il Barbiere," and "Nozze di Figaro."
During this season she performed in "La Sonnambula," "Il Barbiere," and other operas of the florid Italian school, charming the public by her lyric comedy, as she had inspired them by her tragic impersonations. Cruvelli had always been remarkable for impulsive and eccentric ways, and no engagement ever operated as a check on these caprices.
Without any embarrassment, she instantly improvised not merely the ornament, but the melody, pouring out a flood of dazzling vocalization which elicited noisy enthusiasm. It was not Rossini's "Il Barbiere," but it was successful in arousing a most flattering approbation. It may be fancied, however, that, when she sang the rôle of Rosina a second time, she knew the music as Rossini wrote it. Mlle.
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