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Updated: June 6, 2025
"Allora fama e paura di si buono reggimento, passa in ogni terra." "Vita di Cola di Rienzi", lib. i. cap. 21. "Then the fame and the fear of that so good government passed into every land." "Life of Cola di Rienzi". The thread of my story transports us back to Rome.
See the passage condensed from his Sermons in Villari's Life of Savonarola (Eng. Tr. vol. ii. p. 62). The most thorough-going analysis of despotic criminality is contained in Savonarola's Tractato circa el Reggimento e Governo della Citt
When the answer, yes, prompted partly by inclination and partly by compulsion, is returned, the Signory immediately retires into the palace. It is well known how hostile Savonarola was to an institution which had lent itself so easily to despotism. This couplet he inscribed on the walls of the Council Chamber, in 1495: 'E sappi che chi vuol parlamento Vuol torti dalle mani il reggimento.
During the short period of these new performances at Her Majesty's Theatre, which was not equivalent to two complete Opera seasons, not merely did Madame Sontag go through the range of her old characters Susanna, Rosina, Desdemona, Donna Anna, and the like but she presented herself in seven or eight operas which had not existed when she left the stage Bellini's Sonnambula, Donizetti's Linda, La Figlia del Reggimento, Don Pasquale; Le Tre Nozze, of Signor Alary, La Tempesta, by M. Halévy the last two works involving what the French call 'creation, otherwise the production of a part never before represented.
Savonarola inscribed this octave stanza on the wall of the Consiglio Grande: 'Se questo popolar consiglio e certo Governo, popol, de la tua cittate Conservi, che da Dio t'e stato offerto, In pace starai sempre e libertate: Tien dunque l'occhio della mente aperto, Chè molte insidie ognor ti fien parate; E sappi che chi vuol far parlamento Vuol tórti dalle mani il reggimento.
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.
See the chapter entitled "Della Malitia e pessíme Conditioni del Tyranno," in Savonarola's "Tractato circa el reggimento e governo della Citta di Firenze composto ad instantia delli excelsi Signori al tempo di Giuliano Salviati, Gonfaloniere di Justitia." A more terrible picture has never been drawn by any analyst of human vice and cruelty and weakness. Guasti's edition of the Rime, p. 26.
After an operatic campaign in Dresden, in the highest degree pleasant to herself and satisfactory to the public, in which she sang, in addition to Vielka, the parts of Norma, Amina, and Maria in "La Figlia del Reggimento," Jenny Lind returned to Stockholm to take part in the coronation of the King of Sweden.
During the season she appeared in "Robert le Diable," "Sonnambula," "Lucia" "La Figlia del Reggimento," and "Norma," as well as in a new opera by Verdi, "I Masnadieri," which even Jenny Lind's genius and popularity could not keep on the surface.
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