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Updated: June 1, 2025
The chief ambition of Mascagni, Leoncavallo, Puccini, and all the others has been to be called "the Italian Wagner;" and their operas are much more like Wagner's than like Rossini's and Donizetti's, being free from arias and the vocal embroideries that formerly were the essence of Italian opera. The same is true of the operas written in recent decades in France, Germany, and other countries.
And the same effect is to be found also in the opera of 'La Favorite. The book of Donizetti's opera bears the names of Alphonse Royer and Gustave Vaëz; but it is said to have been revised by Scribe.
'My dear girl, said he, 'it was only an entr'acte from an opera of Donizetti's. He was carrying my shawl at the time; and he wrapped it about my shoulders in the tenderest manner as he said this, and made love to me all the evening to console me.
Not merely did she go through the entire range of her old parts, Susanna, Moslna, Desdemona, Donna Anna, etc., but she presented herself in a number of new works which did not exist at her farewell to the stage Bellini's "Sonnambula," Donizetti's "Linda," "La Figlia del Reggimento," "Don Pasquale," "Le Tre Nozze" of Alary, and Ilalévy's "La Tempesta"; indeed, in the latter two creating the principal rôles.
He had just put the final stroke to the celebrated "Viens dans un autre patrie" when his friend returned at one in the morning to congratulate him on his excellent method of passing the time, and to hear the music sung for the first time from Donizetti's own lips.
Siegfried, as the hero of Die Gotterdammerung, is only the primo tenore robusto of an opera book, deferring his death, after he has been stabbed in the last act, to sing rapturous love strains to the heroine exactly like Edgardo in Donizetti's Lucia.
The last shred of esteem which I still tried to retain for the 'first lyrical theatre in the world' was at last rudely destroyed when I saw how such an empty, altogether un-French work as Donizetti's Favorita could secure so long and important a run at this theatre. During the whole time of my stay in Paris I do not think I went to the opera more than four times.
I was clearly conscious of my complete failure. After this misfortune Paris no longer existed for me, and all I had to do was to go back to my miserable bedroom and resume my work of arranging Donizetti's operas.
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