The Life of Rossini

worth," and it is satisfactory to know that the libretto was from the pen of Signor Smith, a gentleman of unmistakable origin settled at Naples. Amy Robsart loses her be

ozzari, and Garcia. An English dilettante, a great admirer of Mademoiselle Colbran, obtained correct copies from London for

e merits the Milanese and the Venetians were so full, had not been tested at Naples, and the composer who has not been tested at Naples has yet to make a name. If the Neapolitan public was not prepared to applaud Rossini merely on t

be presented to the public of Rome the year afterwards as fit preface to "Il Barbiere." The brilliant symphony was naturally liked, though if

y had already formed of the composer, who, so far as Naples was concerned, was now only making his début. The finale to the first act, in which the principal motives of the overture occur, raised the ent

an interview between Elizabeth (in her historical costume from London) and Matilda is made the subject of a grand scene and

ant show-piece, written for the display of all the best points in the prima donna's singing. "A catalogue of

entirely devoid of pathos. Such remarks, however, as these were not made until after the perfor

parts of Leicester and Norfolk are both given to tenors. If Rossini had been distributing the characters according to his own ideas, as he was afterwards able to carry them out, he would certainly have made the treacherous Norfolk

round. Rossini was the basso's friend, not only in regard to opera seria, but also as to operas of mezzo carattere, such as "La Cenerentola," "La Gazza Ladra,

together in "Elisabetta." This opera is the first in which Rossini accompanies recitative with the stringed quartet in lieu of the piano and double bass of former I