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Updated: May 31, 2025
These superficial works were enough for his musical powers. The surprising things about his execution was that he never worked at it. If he could not get a thing at once, he gave it up for good and all. He was a frequent attendant at Rossini's salon, and he belonged to the faction which supported melody and opposed "learned scientific music."
In 1833 it was actually given under the proper conditions, as a sacred opera, strengthened by a generous infusion of Handel's 'Israel in Egypt, under the direction of Mr. Rophino Lacy. It would be an idle task to give even the names of Rossini's many operas. Suffice it to say that between 1810 and 1828 he produced upwards of forty distinct works.
Passing over "Armida," written for the opening of the new San Carlo at Naples, "Adelaida di Borgogna," for the Roman Carnival of 1817, and "Adina," for a Lisbon theatre, we come to a work which is one of Rossini's most solid claims on musical immortality, "Mosé in Egitto," first produced at the San Carlo, Naples, in 1818.
The Tarantelle is a translation from Italian into Polish, a transmutation of Rossini into Chopin, a Neapolitan scene painted with opaque colours, the south without its transparent sky, balmy air, and general brightness. A comparison of Chopin's Op. 43 with Liszt's glowing and intoxicating transcription of Rossini's composition may be recommended as a study equally pleasant and instructive.
Learned Germans might shake their heads and talk about shallowness and contrapuntal rubbish, his crescendo and stretto passages, his tameness and uniformity even in melody, his want of artistic finish; but, as Richard Wagner, his direct antipodes, frankly confesses in his "Oper und Drama," such objections were dispelled by Rossini's opera-airs as if they were mere delusions of the fancy.
Sontag made her first appearance before the London public in the character of Mosina in Rossini's "Il Barbiere," a part peculiarly suited to the grace of her style and the timbre of her voice. One of her biographers thus sketches the expectations and impressions of the London public: "Since Mrs.
Impatience was manifested at the tedious majesty and formal graces, the parade of arguments, grave sayings, and shreds of philosophy, which characterized their fathers; and a smarter and more sparkling kind of oratory succeeded, just as in our own country the minuet of the last century has been supplanted by the quadrille, and the stately movements of Giardini have given way to Rossini's brisker and more artificial melodies.
During the season of 1860 she added fresh laurels to those which she had already attained, and sang several new parts, among which maybe mentioned Flotow's pretty ballad opera of "Martha" and Rossini's "Semiramide." Her performance in the latter work created an almost indescribable sensation, so great was her singing, so strong and picturesque the dramatic effects which she produced.
Seymour, played three overtures Weber's Ruler of the Spirits, Beethoven's Prometheus, and Rossini's Barbiere di Siviglia; and that Chopin performed an Andante and Scherzo, and a Nocturne, Etudes, and the Berceuse of his own composition. With regard to Chopin we read in this critique: With the more instrumental portion of the audience, Mons.
She is said to have died of a broken heart after the death of this son, and her portrait of him is considered her masterpiece. Her own portrait was one of her most distinguished works, and though it is in possession of her husband's family, the Zappi, of Imola, it may be judged by an engraving after it in Rossini's "History of Italian Painting."
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