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Updated: May 16, 2025
M. Roger sang with Mme. Viardot in Paris, but, when the opera was shortly afterward reproduced in London, he was replaced by Signor Mario, "whose appearance in his coronation robes reminded one of some bishop-saint in a picture by Van Ryek or Durer, and who could bring to bear a play of feature without grimace, into scenes of false fascination, far beyond the reach of the clever French artist, M. Roger."
In London the opera also met with splendid success, having, as Chorley tells us, a great advantage over the Paris presentation in "the remarkable personal beauty of Signor Mario, whose appearance in his coronation robes reminded one of some bishop-saint in a picture by Van Eyck or Durer, and who could bring to bear a play of feature without grimace into the scene of false fascination, entirely beyond the reach of the clever French artist Roger, who originated the character."
It is the Madonna of Carmel who disputes with San Costanzo, the Saint of the mother-church below, the spiritual dominion of Capri. If he is the "Protector" of the island, she is its "Protectress." The older and graver sort indeed are faithful to their bishop-saint, and the loyalty of a vinedresser in the piazza remains unshaken even by the splendour of the procession.
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