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Updated: May 15, 2025
The famous Ferdinand Bertoni, so well known in London by his long residence among us, and from the undisputed merit of his compositions, now inhabits this his native city, and being fond of dumb creatures, as we call them, took to petting a pigeon, one of the few animals which can live at Venice, where, as I observed, scarcely any quadrupeds can be admitted, or would exist with any degree of comfort to themselves.
Bertoni not only imitated it in one of his scores, but he had the hardihood to write an Orfeo on the text already followed by Gluck in which he plagiarized the work of his illustrious predecessor in a scandalous fashion.
Bertoni play and sing: for as soon as he sits down to the instrument, Columbo begins shaking his wings, perches on the piano-forte, and expresses the most indubitable emotions of delight.
Some carvings round the altar, representing, in wooden bas-reliefs, the history of the Old and New Testament, are admirable in their kind; and I am told that the organ on which Bertoni, a blind nephew of Ferdinand, our well-known composer, played to entertain us, is one of the first in Italy: but an ordinary instrument would have charmed us had he touched it.
A friend present protested he should feel afraid to touch the harpsichord before so nice a critic; and though we all laughed at the assertion, Bertoni declared he never knew the bird's judgment fail; and that he often kept him out of the room, for fear of his affronting of tormenting those who came to take musical instructions.
Gluck had no scruples about grinding several grists from the same sack and drawing from his old works to help out his new ones. So the parasitical aria attributed to Bertoni was written by Gluck in the first place in 1764 for a soprano. He wove this into his opera Aristo in 1769. This is also true of the trio, Tendre Amour, which precedes the finale in the last act.
There is no doubt that except for some such reason he would have changed this aria and put it in harmony with the rest of the work. For a long time this aria was attributed to Bertoni, the composer, and Gluck was accused of plagiarizing it. As a matter of fact, and to the contrary, this aria came from an older Italian opera of Gluck's.
When Metastasio's "Artaserse" was given at Rome with the music of Bertoni, Pacchierotti performed the part of Arbaces. In one place a touching song is followed by a short instrumental symphony. When Pacchierotti had finished the air, he turned to the orchestra, which remained silent, saying, "What are you about?"
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