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In 1815, he then being twenty-three, he first met the successful prima donna Isabella Colbran, who was then thirty years old and had been singing for fourteen years on the stage. She was still beautiful, though her voice had begun to show signs of wear. Rossini seems to have fallen in love with her art and herself, and he wrote ten roles for her.
Petersburg, became famous as a singer a few decades ago, and published some excellent songs. Mme. Serov was another Russian woman of great musical talent. Among the less extensive countries, Switzerland is represented by Anna Cerrini de Monte-Varchi, who is the composer of many pretty piano works, Isabella Angela Colbran, the eminent Spanish contralto, was born at Madrid in 1785.
The composer left Naples the same night for Milan, and coolly informed every one en route that the opera was very successful, which proved to be true when he reached his journey's end, for the Neapolitans on the second night reversed their decision into an enthusiasm as marked as their coldness had been. Shortly after this Rossini married his favorite prima donna, Madame Colbran.
The second act, which lasted two hours and a half, began to please in an air of Mariani, but the applause was rather directed to this favorite singer. After this a duet between her and Colbran, together with an air of Galli, and particularly a terzetto between him and the two ladies, were well received. Rossini was also called for at the end of the second act.
Rossini subsequently revenges himself on his tyrant in a very piquant manner; and, finally, the morning after Othello has been performed with triumphant success, he starts for Bologna, taking with him, as travelling companion, the prima donna of the San Carlo theatre, Signora Colbran, whom he had privately married.
He had just completed two of his now forgotten operas, "Bianca e Faliero," and "Matilda di Shabran," but did not stay to watch their public reception. He quietly took away the beautiful Colbran, and at Bologne was married by the archbishop. Thence the freshly-wedded couple visited Vienna, and Rossini there produced his "Zelmira," his wife singing the principal part.
Marquis Zampieri was in a quandary, for the time was short. In his embarrassment he took council with Mme. Colbran Rossini, who was then at Bologna with her husband, the illustrious composer. It happened that Ole Bull's lodging was in the same palazzo, and Mme.
The opera had been originally written for Mme. Colbran, Rossini's wife, and when it was revived for Pasta that great lyric tragedienne had embodied in it a grand, stormy, passionate style, suited to the genre of her genius. Mme.
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.
You don't deserve good singers. If by chance the King himself omitted to applaud at the right time, Barbaja would shrug his shoulders and go grumbling out of his box. "With all his peculiarities, he it was who formed and brought forward Lablache, Tamburini, Rubini, Donzelli, Colbran, Pasta, Fodor, Donizetti, Bellini, and the great Rossini himself, whose masterpieces were composed for Barbaja.
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