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Updated: June 19, 2025
Euchre is very well when there is nothing else to do: but change is pleasant; le bon Dieu likes it, "'Ne caldo ne gelo Resta mai in cielo. "And such beautiful ices one gets at M. Louvier's! Did you taste the pistachio ice? What fine rooms, and so well lit up! I adore light. And the ladies so beautifully dressed: one sees the fashions. Stay at home! play at Euchre indeed!
Es un angel del cielo! were exclamations which escaped from one end of the line to the other.
At last having mastered my subject well, I began my work, and giving full career to my imagination and to my feelings I composed the ten stanzas, and gave the finishing stroke with these two beautiful lines from Ariosto: Le angelicche bellezze nate al cielo Non si ponno celar sotto alcum velo.
Glad acclamations attended the progress of the royal cortége. The people shouted with joy, and all, high and low, sang a song composed for the occasion by Lope de Vega, the famous dramatist, which told how Charles had come, under the guidance of love, to the Spanish sky to see his star Maria. "Carlos Estuardo soy Que, siendo amor mi guia, Al cielo d'España voy Por ver mi estrella Maria."
Euchre is very well when there is nothing else to do: but change is pleasant; le bon Dieu likes it, "'Ne caldo ne gelo Resta mai in cielo. "And such beautiful ices one gets at M. Louvier's! Did you taste the pistachio ice? What fine rooms, and so well lit up! I adore light. And the ladies so beautifully dressed: one sees the fashions. Stay at home! play at Euchre indeed!
A reconciliation is easily effected, a notary is at hand, and they are married just as Bartolo makes his appearance with officers to arrest the Count. Mutual explanations occur, however, and all ends happily. The first act opens after a short chorus, with the serenade, "Ecco ridente in cielo," the most beautiful song in the opera.
In the scene beneath Rosina's balcony Garcia introduced a Spanish air of his own; but it failed, and before the second performance Rossini wrote the beautiful cavatina, "Ecco ridente il cielo" in its place, the melody borrowed from the opening chorus of his "Aureliano," and that in turn from his "Ciro in Babilonia."
Hoping that it may bring him an opportunity for a glance, mayhap a word with his inamorata, Amaviva follows the advice given by Sir Proteus to Thurio in "The Two Gentlemen of Verona"; he visits his lady's chamber window, not at night, but at early dawn, with a "sweet concert," and to the instruments of Fiorello's musicians tunes "a deploring dump." It is the cavatina "Ecco ridente in cielo."
Virtud, hija del cielo, in mentioning the Miño, refers to Portocarrero's appointment in Galicia; and as Portocarrero's term of office appears to have lasted from 1571 to 1580, the poem cannot be dated earlier than 1571 when Luis de Leon was over forty-three.
The next day he wrote the cavatina "Ecco ridente in cielo" to take the place of Garcia's unlucky Spanish song, borrowing the air from his own "Aureliano," composed two years before, into which it had been incorporated from "Ciro," a still earlier work. When night came, he feigned illness so as to escape the task of conducting. By that time his enemies had worn themselves out.
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