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Updated: May 15, 2025
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.
Rossini could write best when he was under the influence of Italian wine and sparkling champagne. Paesiello liked the warm bed in which to jot down his musical notions, and we are told that "it was between the sheets that he planned the 'Barber of Seville, the 'Molinara, and so many other chefs-d'oeuvre of ease and gracefulness."
Bonaparte followed the performance with the most enthusiastic demonstrations of gratification; he heartily applauded each part, and paid to Paesiello compliments which were the more flattering since every one knew that the lips which uttered them were not profuse in their use. A tenor part had just ended, and its effect had been remarkable. The audience was full of enthusiasm.
He therefore commissioned Josephine to name a successor to Paesiello; and she went to Madame de Montesson, to confer with her on the matter.
But Conti's duplicity will be known only to the women who love him. In his art he has that deep Italian jealousy which led the Carlone to murder Piola, and stuck a stiletto into Paesiello. That terrible envy lurks beneath the warmest comradeship. Conti has not the courage of his vice; he smiles at Meyerbeer and flatters him, when he fain would tear him to bits.
Bonaparte's present could not, therefore, heal the wound which the praise of Cimarosa's melody had inflicted, and this wound was soon to be probed deeper, and become fatal to Paesiello. Another new opera from Paesiello, Proserpina, was to be represented.
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