Great Italian and French Composers

ula," Bellini, took his first lessons in mus

rn in 1802, nine

rival, Donizetti,

n years

ic. Bellini's early works, for he composed three before he was twenty, so pleased Barbaja, the manager of the San Carlo and La Scala, that he intrusted the youth with the libretto of "Il Pirata," to be composed for representation at Florence. The tenor part was written for the great

's career was assured. "I Capuletti" was his next successful opera,

hed writer and scholar, is one of the most artistic and effective ever put into the hands of a composer. M. Scribe had already used the plot both as the subject of a vaudeville and a chorégraphie drama; but in Romani's hands it became a symmetrical story full of poetry and beauty. The music of this opera, throbbing with pure melody and simple emotion, as na

ce workings of his mind. He cannot reach the opera semiseria; he should confine his powers to the mus

e lyric tragedienne, the Siddons of the opera, Madame Pasta. Bellini is said to have had this queen of dramatic song in his mind in writing the opera, and right

his preference of his own works. The lady finally overcame his evasions by the query: "But if you were out at sea, and sho

ng. Don't you know what love is?" Then changing his tone: "Don't you know your voice is a goldmine that has not been fully explored? You are an excellent artist, but that is not sufficient. You must forget yourself and represent Gualtiero. Let's try again." The tenor, stung by the admonition, then gave the part magnificent

or Naples, and retired to the villa of a friend at Puteaux to insure the more complete seclusion. Here,

bliged forcibly to leave it. The ruling passion accompanied him through his short life, and by the assiduity with which he pursued it brought on t

nd Grisi; and one of his last recognizable impressions was that he was present at a brilliant representation

and audience broke from time to time into sobs. Tamburini, in particular, was so oppressed by the death of his young friend that his voca

l programme was a Lacrymosa for four voices without accompaniment, in which the text of the Latin hymn was united to the beautiful tenor melody in the third act of the "Purita

ini, the stricken father, wrote to him a touching letter, in wh

apers; and I am penetrated with gratitude for your excessive kindness as well as for that of a number of distinguished artists, which also I shall never forget. Pray, sir, be my interpreter, and tell these artists that the father and family of Bellini, as well as of our compatriots of Catania, will cheri

disposition was melancholy; a secret depression often crept over his most cheerful hours. We are told there was a tender romance in his earlier life. The father of the lady he loved, a Neapolitan judge, refused his suit on account of his