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Honors were showered on Pasta in different parts of Europe. She was made first court singer in 1829 by the Emperor of Austria, and presented by him with a superb diadem of rubies and diamonds. At Bologna, where she performed in twelve of the Rossinian operas under the bâton of the composer himself, a medal was struck in her honor by the Societ
Titiens is one of these great rarities, and, therefore, without any great stretch of compliment, we may assert that, putting aside the Rossinian repertoire, she is destined to wear the mantle of Grisi." In no previous season was Mlle. Titiens so popular or so much admired as during the season of 1862. Her most remarkable performance was the character of Alice, in Meyerbeer's "Robert le Diable."
The Italian public, in spite of such criticism, very soon accepted the opera of "Otello" as the greatest serious opera ever written for their stage. It owed much, however, to the singers who illustrated its rôles. Mme. Colbran, afterward Rossini's wife, sang Desdemona, and Davide, Otello. The latter was the predecessor of Rubini as the finest singer of the Rossinian music.
He could not execute those splendid songs of the Rossinian school, in which the feeling of the theme is expressed in a dazzling parade of roulades and fioriture, the songs in which Rubini was matchless.
But, though she gave herself a furlough from her arduous operatic duties for nearly a year, she appeared again in Paris in 1854 in "La Donna del Lago" and other of the Rossinian operas. Her London admirers, too, recognized in the newly married prima donna all the charm of her youth.
He determined to transplant it into the rugged soil of his own masculine musical science; and three years after the Rossinian revelation at Venice, his first Italian opera, "Romilda e Costanza," was produced at that dismal old metropolis of necromancy, Padua, Signora Pisaroni taking the principal part.
He oscillated between the two countries for several years, and was the first brilliant exponent of the Rossinian music in two great capitals, as his training and method were peculiarly fitted to this school.
Though the Rossinian music is a genre by itself, and peculiarly dangerous to a singer not trained in its atmosphere and method, the German artist sang it with great skill and finish, and showed certain moments of inspiration in its performance which electrified her hearers. Mme. Schrëder-Devrient's first appearance in England was under the management of Mr.
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