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Updated: May 31, 2025
At a very early age she would sing and play the part of Norma, and knew the whole of the words and music of Rosina, the heroine of Rossini's immortal "Il Barbiere di Seviglia."
Byron was at the Casa Lanfranchi at Pisa, and gave Leigh Hunt the ground floor. Leigh Hunt describes him as lounging about half the day in a nankeen jacket and white duck trousers, singing in a swaggering fashion, in a voice at once "thin and veiled," a boisterous air of Rossini's, riding out with pistols accompanied by his dogs, and sitting up half the night to write Don Juan over gin and water.
I have been listening, in all the full content of an assured and sanctioned love, to that divine music of Rossini's, which used to soothe me when, as a restless girl, I hungered vaguely after experience. They say I am more beautiful, and I have a childish pleasure in hearing myself called "Madame." Friday morning. Renee, my fair saint, the happiness of my own life pulls me for ever back to you.
Thus Madame Dubois studied under Chopin Liszt's transcription of Rossini's "Tarantella" and of the Septet from Donizetti's "Lucia di Lammermoor." But the compositions of Liszt that had Chopin's approval were very limited in number.
His eyes have never met mine without a gleam of happiness in them; there has always been a bright smile on his lips for me. On deck, his voice rises above the thunder of storms and the tumult of battle; but here below it is soft and melodious as Rossini's music for he has Rossini's music sent for me. I have everything that woman's caprice can imagine. My wishes are more than fulfilled.
A corner loiterer directed me to Jarvis Alexander Mackworth's house. A habitation of sequestered quiet ... as I stood before the door I heard the sunrise song of Rossini's Wilhelm Tell ... a Red Seal record ... accompanied by the slow, dreamy following of a piano's tinkle ... like harp sounds or remote, flowing water. I halted, under a charm.
The chief ambition of Mascagni, Leoncavallo, Puccini, and all the others has been to be called "the Italian Wagner;" and their operas are much more like Wagner's than like Rossini's and Donizetti's, being free from arias and the vocal embroideries that formerly were the essence of Italian opera. The same is true of the operas written in recent decades in France, Germany, and other countries.
Stendhall, Rossini's spirited biographer, gives a picturesque account of life in the Italian theatres at this time, a status which remains in some of its features to-day: "The mechanism is as follows: The manager is frequently one of the most wealthy and considerable persons of the little town he inhabits.
Only the loud voice of wassail could be heard, a voice made up of a hundred confused clamors, which rose and grew like a crescendo of Rossini's. Insidious toasts, swagger, and challenges followed. Each renounced any pride in his own intellectual capacity, in order to vindicate that of hogsheads, casks, and vats; and each made noise enough for two.
Between these years he visited all the principal towns, remaining three or four months at each, the idolized guest of the dilettanti of the place. Rossini's idleness and love of good cheer always made him procrastinate his labors till the last moment, and placed him in dilemmas from which only his fluency of composition extricated him.
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