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Updated: May 11, 2025
I would say to Madame Barbière. "But no, Monsieur, truly. This place bah! we are here imbeciles all to the great world, without doubt; but Camille! he was by nature of those who make the history of cities a rose in the wilderness. Monsieur smiles?" "By no means. A scholar, Madame?"
I do not suppose that the inhabitants of this valley have often heard the duet from Mose with the embellishments a la Tamburini: Palpito a quello aspetto, 'Gemo nel suo dolor. "Would you prefer that or the one from 'Il Barbiere'? although that is out of date, now." "Whatever pleases you, but do not split my head about it in advance.
At a very early age she would sing and play the part of Norma, and knew the whole of the words and music of Rosina, the heroine of Rossini's immortal "Il Barbiere di Seviglia."
The expedition staff consisted of Captain Bolland, an Englishman; M. Barbiere, a Frenchman; Dr. Perez, Bolivian; M. Gerard D'Avezsac, French artist and hunter, and the writer of these pages. The crew of ten men was made up of Paraguayans and Argentines, white men and colored, one Bolivian, one Italian, and one Brazilian.
A generation also lies between them, and they ought to bear a relationship to each other something like that existing between "Le Nozze di Figaro" and "Il Barbiere di Siviglia." Indeed, the bond ought to be closer, for one man wrote books and music as well of the Grail dramas, whereas different librettists and different composers created the Figaro comedies.
As it is, we have operatic versions of the first two of the comedies, Mozart's "Nozze di Figaro" being a sequel to Rossini's "Il Barbiere," its action beginning at a period not long after the precautions of Dr. Bartolo had been rendered inutile by Figaro's cunning schemes and Almaviva had installed Rosina as his countess. "Le Nozze" was composed a whole generation before Rossini's opera.
Monstrous growths of leprosy that had bubbled up and stiffened; fields of ashen slime the sloughing of a world of corruption; hills of demon, fungus swollen with the fatness of putrefaction; and, in the midst of all, dim, convulsed shapes wallowing, protruding, or stumbling aimlessly onwards, till they sank and disappeared. Madame Barbière threw up her hands when she let me in at the door.
At the age of thirteen she was a professed musician, and at fifteen, when she came with her parents to London, she obtained a complete triumph by accidentally performing in Rossini's "Il Barbiere," to supply the place of a prima donna who was unable to appear. We can not tarry here to enter into the details of her interesting life.
No better instance, though a small one, perhaps, could be given of the tone and temper in which Rossini was likely to encounter both adverse criticism and the adulation of amateur idolatry, than his reply to the Duchess of Canizzaro, one of his most fanatical worshipers, who asked him which he considered his best comic opera; when, with a burst of joyous laughter, he named "Il Matrimonio Secreto," Cimarosa's enchanting chef-d'oeuvre, from which, doubtless, Rossini, after the fashion of great geniuses, had accepted more than one most felicitous suggestion, especially that of the admirable finale to the second act of the "Barbiere."
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