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The second part began with Reissiger's overture, "Die Felsenmuhle;" Signor Belletti then sang the "Piff Paff," from Meyerbeer's "Huguenots;" Jenny Lind followed with the "Come per me sereno," from the "Sonnambula," for the first time in America; then Belletti with the "Miei rampolli," from Rossini's "Cenerentola;" and the concert ended with the "Dalecarlian Melody" and the "Mountaineer's Song," both for the first time, by Jenny Lind.
While traveling in Spain, the native land of her parents, she was induced to sing in Madrid, where she was welcomed with all the warmth of Spanish enthusiasm. Her amiability was displayed during her performance of Desdemona, the second opera presented. Pleased with the unrestrained expressions of delight by the audience, she voluntarily sang the rondo finale from "Cenerentola."
Went to the Théâtre Italien last night, and saw Malibran in la Cenerentola, in which her acting was no less admirable than her singing. She sang "Non più Mesta" better than I ever heard it before, and astonished as well as delighted the audience. She has a soul and spirit in her style that carries away her hearers, as no other singer does, and excites an enthusiasm seldom, if ever, equalled.
In October she was again at the Italiens, commencing with "La Cenerentola." She then, in conjunction with Mario, Graziani, and Mme. Frezzolini, began performing in the works of Verdi. "Il Trovatore" was performed in January, 1857, and was followed by "Rigoletto," which was produced in defiance of the protestations of Victor Hugo, from whose play, "Le Roi s'amuse," the libretto had been taken.
Another attraction of the matinee was the singing of Madame Viardot-Garcia, "who, besides her inimitable airs with Mdlle. de Mendi, and her queerly-piquant Mazurkas, gave the Cenerentola rondo, graced with great brilliancy; and a song by Beethoven, 'Ich denke dein." Mr. Sartoris, and would never forget the concert-giver's playing, especially of the waltz in D flat. Mr.
He was now twenty, and his voice had become developed into that suave and richly toned organ, such as was never bestowed on another man, ranging two octaves from E flat below to E flat above the bass stave. An offer from the manager of La Scala, Milan, gratified his ambition, and he made his début in 1817 as Dandini in "La Cenerentola."
"Otello" followed the "Barber" at Naples in 1816, and "Cenerentola" in 1817, and both were extraordinarily successful. The "Gazza Ladra" was produced at Milan in 1817, and was followed by "Armida" at Naples in the same year. His next great work was the oratorio, "Moses in Egypt," which is also given as opera.
Rossini during this Carnival produced his "Cenerentola," and Paganini gave a series of concerts which excited great enthusiasm. Shortly after this, Paganini's health gave way completely at Naples, and the landlord of the hotel where he was stopping got the impression that his sickness was infectious. In the most brutal manner he turned the sick musician into the street.
When Tulipa informed him that "massa" had not returned from the city, he inquired for the young ladies, and was again shown into that parlor every feature of which was so indelibly impressed upon his memory. Portions of the music of Cenerentola lay open on the piano, and the leaves fluttered softly in a gentle breeze laden with perfumes from the garden.
Naldi to let me buy it." In 1828 the principal members of the operatic company at the Italiens were Malibran, Sontag, Donzelli, Zuchelli, and Graziani. Malibran sang in "Otello," "Matilda di Shabran," "La Cenerentola," and "La Gazza Ladra." Jealous as she was by temperament, she always wept when Madamoiselle Sontag achieved a great success, saying, naively, "Why does she sing so divinely?"
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