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Updated: June 1, 2025
"Then came Bonafede's manifesto, and that scoundrel Costanzi betrayed us all to the police. Then the real trouble began. We had not ten francs among the lot of us, and we twelve had orders to clear out of the country within forty-eight hours! Once again they were all at a loss but for me!" and here he tapped his forehead in token of deference to his superior wits.
I think my voice must have sounded very bold, for he did not laugh at me. "I suppose it is irrevocable," he said, as if to himself. "Oh, yes perfectly irrevocable," I answered, promptly. "They are married, and have come back to Rome. They are at the Hotel Costanzi. I am sure that Nino would give you every explanation." "Who is Nino?" he asked. "Nino Cardegna, of course "
"That's certain, my dear," retorted Celia impetuously. "At first people were in doubt, and talked of little Pontecorvo and Lieutenant Moretta. But every one now knows that La Tonietta's caprice is Dario. Besides, he joined her in her box at the Costanzi the other evening." Pierre remembered that the young Prince had pointed out La Tonietta at the Pincio one afternoon.
"Cavalleria Rusticana," an opera in one act, words by Signori Targioni-Tozzetti and Menasci, music by Pietro Mascagni, was written in 1890, and was first performed at the Costanzi Theatre in Rome, May 20, of that year, with Gemma Bellinconi and Roberto Stagno in the two principal rôles. It had its first American production in Philadelphia, Sept. 9, 1891, with Mme.
After seeing a ballet, a farce, and the fragment of an opera performed by the marionettes at the Costanzi Theatre in Rome, I am inclined to ask myself why we require the intervention of any less perfect medium between the meaning of a piece, as the author conceived it, and that other meaning which it derives from our reception of it.
The most dramatic of his little speeches was at the Costanzi Theater where a trivial operetta was being given, which was quickly swept into the wings. After the uproar on his entrance had been somewhat stilled, he spoke of Von Buelow and Giolitti and their efforts to thwart the will of the nation. "This betrayal is inspired, instigated, abetted by a foreigner.
May I count upon you at least to leave entirely to me the matter of exculpating Antonia to General Costanzi and De Brézé?" "Oh, very well, if you think best." "Will you promise solemnly to be silent on the whole matter?" "All right. But I don't like it, Gerald. If I've done wrong, I should feel lots easier in my mind if I could tell."
In Rome he spent four seasons at the Costanzi Theater, in the meantime making two visits to the Colon Theater, Buenos Aires, and filling engagements in Madrid, Bologna, Florence and Genoa. "How could I stay away from America for such a length of time? you ask. For various reasons. I was getting what I had come to Italy for, experience and reputation. I was comfortable and happy in my work.
Aurora's attention became closer when Gerald related his interviews with De Brézé and Costanzi, both of whom he had succeeded in convincing that Antonia had had nothing to do with intriguing them at the veglione, and had left to digest as best they could their curiosity concerning the mysterious masker mistaken for her.
They were alone; a great tenor was singing at the Costanzi, and the whole hotel was at the theatre. The Countess chatted with Caesar, she reclining in a chaise longue, and he seated in a low chair.
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