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Paesiello's "Didone," Paer's "Ero e Leandro," and Guglielmi's "Deborah e Sisera" rapidly succeeded, each one confirming afresh the admiration of her hearers, who were all cognoscenti, as Italian audiences generally are.
That we should be severed for so slight a cause an ungrammatical phrase in my Italian exercise, and three false notes in one of Paesiello's sonatas! But it is a part of my father's character, of whom it is impossible to say, whether I love, admire, or fear him the most.
This stood in direct opposition to the first consul, by the voiceless, cold silence with which it received Paesiello's piece. Bonaparte might applaud as heartily as he pleased, and that might elicit an echo from the group of his favorites, but the public remained unmoved, and Bonaparte had the humiliation to see this opera, notwithstanding his approbation, prove a complete failure.
Several years after, I saw Madame Pasta in Paesiello's pretty opera of the "Nina Pazza," on the same subject, and hardly know to which of the two great artists to assign the palm in their different expression of the love-crazed girl's despair.
It was on the occasion of the first representation of Paesiello's Zingari in Fiera. The first consul and his wife were in their loge, and to show to the public how much he honored and esteemed the composer, he had invited Paesiello to attend the performance in his loge.
In "Semiramide" particularly she made an extraordinary impression, as it afforded room for the finest tragic action; and the music, trivial as it was, gave full scope for the extraordinary perfection of her voice. She also appeared in comic operas, and in Paesiello's "La Frascatana" particularly delighted the public by the graceful lightness and gayety of her comedy.
Lord Mount Edgcumbe tells us that the operas in which she specially excelled were "La Clemenza di Scipione," composed for her by John Christian Bach; Paesiello's "Elfrida"; "Armida," "Castore e Polluce," and others by Winter; and Mozart's "Clemenza di Tito."
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