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Updated: June 27, 2025
Speak to me in that of Paisiello; that is what lulls me gently." "I understand," replied the composer; "you like music which doesn't stop you from thinking of state affairs." This witty rejoinder made the arrogant soldier frown, and the talk suddenly ceased. As a result of this alienation Cherubini found himself persistently ignored and ill-treated by the First Consul.
The marshal had given the musician a blow, on which Paisiello, a very large, athletic man, drubbed the Russian general most unmercifully. The latter demanded the immediate dismissal of the composer for having insulted a dignitary of the empire.
Paisiello and Cimarosa, in their style and processes of work, seem to have more nearly caught the mantle of Piccini than any others, though they were contemporaries as well as successors. Giovanni Paisiello, born in 1741, was educated, like many other great musicians, at the conservatory of San Onofrio.
He worked hard, during a musical apprenticeship of many years, to lay a solid foundation for the fame which his teachers prophesied for him from the onset. Like Paisiello, he was for several years attached to the court of Catherine II. of Russia.
On this Catherine took off her splendid ermine cloak, decorated with clasps of brilliants, and threw it over her tutor's shoulders. In a quarrel which Paisiello had with Marshal Beloseloky, the temporary favorite of the Russian Messalina, her favor was shown in a still more striking way.
Rossini, indeed, had been so complaisant as to write to the older composer for permission to set fresh music to the comedy; a concession not needed, for the plays of Metastasio had been used by different musicians without scruple. Paisiello intrigued against the new opera, and organized a conspiracy to kill it on the first night.
Mozart and his public could keep the sequence of incidents in view, however, from the fact that Paisiello had acquainted them with the beginning of the story.
Paisiello deserves to be remembered as the first man to write an opera on the tale of 'Il Barbiere di Siviglia. This work, though coldly received when it was first performed, ended by establishing so firm a hold upon the affections of the Italian public, that when Rossini tried to produce his opera on the same subject, the Romans refused to give it a hearing.
Also, it must be acknowledged that music, as created by Lulli, Rameau, Haydn, Mozart, Beethoven, Cimarosa, Paisiello, and Rossini, and as it will be carried on by the great geniuses of the future, is a new art, unknown to former generations; they had indeed no such variety of instruments on which the flowers of melody now blossom as on some rich soil.
Himself invited to undertake this difficult task, the maestro Gioachino Rossini, in order to avoid the reproach of entering rashly into rivalry with the immortal author who preceded him, expressly required that 'The Barber of Seville' should be entirely versified anew, and also that new situations should be added for the musical pieces which, moreover, are required by the modern theatrical taste, entirely changed since the time when the renowned Paisiello wrote his work."
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