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Updated: May 23, 2025
That was the question, not how it got down into the gutter. Had a cunning jackdaw, as in the 'Gazza di Ladra' carried it off, or had a child tumbled it out of an attic window on to the leads? I was not the only person interested in this thimble. There was a young man, a student, a French exquisite, who also observed it; and I saw him poking at it in the water with the ferrule of his umbrella.
When George Eliot put the last stroke to "Romola," the book which "ploughed into her more than any of her books," which she "began as a young woman and finished as an old woman," she exclaimed in her diary "Ebenezer!" O unpredictable ejaculation! Ebenezer! 'T is true the erudite Miss Evans had Hebrew an knew that it meant "a stone of help." And in the evening she went to her "La Gazza Ladra."
It is unfortunate that this same philosophy, considered so excellent a panacea for enabling us to bear ills, should be so rarely used that people can seldom judge of its efficacy when required! Saw la Gazza Ladra last night, in which Malibran enacted "Ninetta," and added new laurels to the wreath accorded her by public opinion.
"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.
The brilliant opera of "La Gazza Ladra," set to the story of a French melodrama, "La Pie Voleuse," aggravated the quarrel between Paer, the director of the French opera, and the gifted Italian. Paer had designed to have written the music himself, but his librettist slyly turned over the poem to Rossini, who produced one of his masterpieces in setting it.
Though he sang successfully in all styles of music and covered a great dramatic versatility, the parts in which he was peculiarly great were Leporello in "Don Giovanni"; the Podesta in "La Gazza Ladra"; Geronimo in "Il Matrimonio Segreto"; Caliban in Halévy's "Tempest"; Gritzonko in "L'Etoile du Nord"; Henry VIII in "Anna Bolena"; the Doge in "Marino Faliero"; Oroveso in "Norma"; and Assur in "Semiramide."
Of Rossini's lighter works, 'Il Barbiere' is certainly the most popular, though, musically speaking, it is perhaps not superior to 'La Gazza Ladra, which, however, is saddled with an idiotic libretto. None of his tragic operas except 'Guillaume Tell, which belongs to a later period, have retained their hold upon the affections of the public.
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?"
It was well for her that she took it, for her talent, though brilliant and fascinating, was not as yet fully formed. Two months after this incident, Patti sang the arias from La Gaza Ladra and Semiramide, with the master as her accompanist. And she combined with her brilliancy the absolute correctness which she always showed afterwards.
"Nay, it is very merry," said Wilhelm. "Now you shall hear what glorious music has been set to it by Rossini!" And he played the march from "Gazza Ladra," where a young girl is led to the gallows. "Is it not merry?" asked he. "Yes, he is a composer!" "To me it seems precisely characteristic," answered Otto.
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