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Updated: May 31, 2025
But Rossini's Muse did not smile to-night upon her who invoked its gay spirit; and ere Lady Madeleine could interfere Violet Fane had found more congenial emotions in one of Weber's prophetic symphonies. O Music! miraculous art, that makes a poet's skill a jest, revealing to the soul inexpressible feelings by the aid of inexplicable sounds!
In order to understand all its beauties, you ought to be transplanted to the scene in which I heard it, and to feel all the enthusiasm that such a moment inspired." It was a similar delightful experience which, according to Rossini's statement, first suggested to that great composer his immortal opera, "Guillaume Tell."
It is pleasant to note that Rossini's ancient parents were at the wedding. Then the couple went to Vienna, where Carpani wrote of Colbran's voice: "The Graces seemed to have watered with nectar each of her syllables. Her acting is notable and dignified, as becomes her important and majestic beauty." In 1824 they were called to London. Here they were on terms of great intimacy with the king.
And here am I, shut up, my only hope being perhaps to conduct a Mass of Rossini's at one of the great festivals! My only comfort is to read music, instructing myself thoroughly in those great works that so many fools in the towns can listen to half asleep and bored.
While he was at Milan, the Italian sculptor Puttinati modelled his bust, which pleased him so much that he gave him a order for a group representing Seraphita showing the path heavenward to Wilfrid and Minna. At Venice, he began Massimilla Doni, one of his philosophic novels, in which the love episode is interwoven with mysticism and music, and Rossini's Mose is analysed with skill.
"Eight hundred thousand francs!" a voice cried in his ears, but suddenly he took refuge in the memories of yesterday evening, thinking that his extemporized passion for Mme. de Nucingen was a talisman that would preserve him from this temptation. "They gave Rossini's Barber of Seville at the Italiens yesterday evening," he remarked. "I never heard such delicious music.
The genial Italian died in November, 1868, and Patti paid her last tribute of respect to his memory by taking part in the performance of his immortal "Stabat Mater," which was given on the occasion of Rossini's burial service.
To better illustrate the false art which mars so much of Verdi's dramatic method, a comparison between his "Rigoletto," so often claimed as his best work, and Rossini's "Otello" will be opportune.
But the Frenchman was far more curious to know what had gone wrong between the lovers than to enter the halls of music built up by the man whom all Italy was applauding for it was the day of Rossini's triumph in his own country. He was watching the Duchess, and she was talking with a feverish excitement.
Just then the sounds of voices were hushed, and the loud strains of Rossini's Semiramide filled the room. That ended our conversation for awhile. The music proceeded with little or no intermission, for upwards of an hour. All the vocal and instrumental talent of the city was present, and the audience was treated to a rare and most happily rendered repertoire.
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