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I noticed the Emperor was visibly affected, and the Empress wiped from her eyes una furtiva lagrima, as Donizetti's song has it. I know I cried my lace handkerchief wet. The representation lasted till about half-past ten, and after our return to the salon the Emperor sent for the artists, who had by this time changed their toilettes.
Donizetti's last opera, "Catarina Comaro" the sixty-third one represented, was brought out at Naples in the year 1844 without adding aught to his reputation.
Apart from the wellfounded hope of being at last recalled from my exile in Paris, and thus being able, as I thought, to regard this last struggle with poverty as the decisive one, the arrangement of Halevy's score was far and away a more interesting piece of hack-work than the shameful labour I had spent on Donizetti's Favorita.
In one of the favourite characters of her predecessor, the elder artist beat the younger one hollow. This was as Maria, in Donizetti's La Figlia, which Mdlle.
He came out of the little stage door of the Apollo theatre at Tor di Nona, and his eyes fell upon the broad bills and posters announcing the first appearance of "Giovanni Cardegna, the most distinguished pupil of the Maestro Ercole de Pretis, in Donizetti's opera the 'Favorita." His heart sank at the sight of his own name, and he turned towards the Bridge of Sant' Angelo to get away from it.
It was first interpreted by Pasta and Rubini, and Lablache won his earliest London triumph in it. "Marino Faliero" was composed for Paris in 1835, and "L'Elisir d'Amore," one of the most graceful and pleasing of Donizetti's works, for Milan in 1832. "Lucia di Lammermoor," based on Walter Scott's novel, was given to the public in 1835, and has remained the most popular of the composer's operas.
We mustn't lose the third act of Donizetti's chef d'oeuvre, with such a Lucrezia, for any woman living." But it was very evident that much of the magnificent performance of the débutante and her companion, in the thrilling scene between the Duke and Duchess of Ferrara and the young Captain Gennaro, was lost to the Secretary.
I was, moreover, confused by the fact that a second Dresden prima donna, Mme. Gentiluomo Spatzer, who had once enraptured Marschner with Donizetti's dithyrambics, kept hovering perpetually before my mind as a possible substitute for Johanna. At last, in a rage, I sprang up from the piano, and swore that I would write nothing more for these silly fastidious schoolgirls.
Auber, after hearing her sing Norina, in Donizetti's "Don Pasquale," offered her a bouquet of roses from Normandy, and in answer to her questions about her diamonds, said, "The diamonds you wear are beautiful indeed, but those you place in our ears are a thousand times better."
Among all of Donizetti's operas, not one, unless it be "Lucia," is more popular than "Lucrezia Borgia," which may be attributed to the fact that while the story itself is one of fascinating dramatic interest, the musical numbers are simple, beautiful, and effective.
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