The Standard Operas Part 9

It was first brought out in Paris in 1793, with Beaumarchais's spoken dialogue, in five acts, as "Le Mariage de Figaro," and in 1858 at the Theatre Lyrique in the same city, in four acts, as "Les Noces de Figaro," with text by Barbiere and Carre. The late Mme. Parepa-Rosa introduced it in this country in its English form with great success.

At the time the libretto was written, Beaumarchais's satirical comedy, "Le Mariage de Figaro," had been performed all over Europe, and had attracted great attention. It had been prohibited in Paris, and had caused great commotion in Vienna. Mozart's notice was thus drawn to it, and he suggested it to Da Ponte for a libretto, and the Emperor Joseph subsequently commissioned the composer to set it to music, though he had already composed a portion of it. The entire opera was written during the month of April, and the wonderful finale to the second act occupied him for two nights and a day. When it came to a performance, its success was remarkable. Kelly, who was present, says, in his Reminiscences: "Never was there a greater triumph than Mozart enjoyed with his 'Figaro.' The house was crowded to overflowing, and almost everything encored, so that the opera lasted nearly double the usual time; and yet at its close the public were unwearied in clapping their hands and shouting for Mozart." Popular as it was, it was soon laid aside in Vienna through the influence of the Italian faction headed by Salieri, one of Mozart's rivals.

The story of the opera is laid in Spain. Count Almaviva, who had won his beautiful Countess with the aid of Figaro, the barber of Seville, becomes enamoured of her maid Susanna, and at the same time, by the collusion of the two, in order to punish him, is made jealous by the attentions paid to the Countess by Cherubino, the page. Meanwhile Figaro, to whom Susanna is betrothed, becomes jealous of the Count for his gallantry to her. Out of these cross-relations arise several humorous surprises. Besides these characters there are two others who have been disappointed in love,--Bartolo, who has been rejected by Susanna, and Marcellina, whose affection for Figaro has not been requited. The Count seeks to get rid of Cherubino by ordering him off to the wars, but he is saved by Susanna, who disguises him in female attire. The Countess, Susanna, Figaro, and Cherubino then conspire to punish the Count for his infidelity. The latter suddenly appears at his wife's door, and finding it locked demands an entrance. Cherubino, alarmed, hides himself in a closet and bars the door. The Count is admitted, and finding the Countess in confusion insists upon searching the closet. He goes out to find some means of breaking in the door, and Cherubino improves the opportunity to jump out of the window, while Susanna takes his place and confronts the puzzled Count.

Antonio, the gardener, comes in and complains that some one has jumped from the window and broken his flower-pots. Figaro at once a.s.serts that he did it.

A ludicrous side plot unfolds at this point. Marcellina appears with a contract of marriage signed by Figaro, bringing Bartolo as a witness.

The Count decides that Figaro must fulfil his contract, but the latter escapes by showing that he is the son of Marcellina, and that Bartolo is his father. Meanwhile the main plot is developed in another conspiracy to punish the Count. Susanna contrives a rendezvous with the Count at night in the garden, having previously arranged with the Countess that she should disguise herself as the maid, the latter also a.s.suming the part of the Countess, and arrive in time to surprise the two. The page also puts in an appearance, and gets his ears boxed for his attentions to the disguised Countess. Figaro, who has been informed that Susanna and the Count are to meet in the garden, comes on the scene, and in revenge makes a pa.s.sionate declaration of love to the supposed Countess, upon which the Count, who is growing more and more bewildered, orders lights and makes his supposed wife unveil. The real wife does the same. Covered with confusion, he implores pardon of the Countess, which is readily given. The two are reconciled, and Figaro and Susanna are united.

The whole opera is such a combination of playfulness and grace that it is a somewhat ungracious task to refer to particular numbers. In these regards it is the most Mozartean of all the composer's operas. The first act opens with a sparkling duet between Figaro and Susanna, in which she informs him of the Count's gallantries. As she leaves, Figaro, to the accompaniment of his guitar, sings a rollicking song ("Se vuol ballare, Signor Contino"), in which he intimates that if the Count wishes to dance he will play for him in a style he little expects. In the second scene Bartolo enters, full of his plans for vengeance, which he narrates in a grim and grotesque song ("La Vendetta"). The fourth scene closes with an exquisite aria by Cherubino ("Non so piu cosa son"). After an exceedingly humorous trio ("Cosa sento? tosto andate") for the Count, Basilio and Susanna, and a bright, gleeful chorus ("Giovanni lieti"), Figaro closes the act with the celebrated aria, "Non piu andrai." Of the singing of this great song at the first rehearsal of the opera Kelly says in his Reminiscences: "I remember Mozart well at the first general rehearsal, in a red furred coat and a gallooned hat, standing on the stage and giving the tempi. Benucci sang Figaro's aria, 'Non piu andrai,' with the utmost vivacity and the full strength of his voice. I stood close beside Mozart, who exclaimed, _sotto voce_, 'Brava! brava! Benucci!'

and when that fine pa.s.sage came, 'Cherubino, alla vittoria, alla gloria militar,' which Benucci gave in a stentorian voice, the effect was quite electrical, both on the singers on the stage and the musicians in the orchestra. Quite transported with delight, they all called out, 'Brava! brava, Maestro! viva! viva! viva il grande Mozart!' In the orchestra the applause seemed to have no end, while the violin-players rapped their bows on their desks. The little Maestro expressed his grat.i.tude for the enthusiasm, testified in so unusual a manner, by repeatedly bowing."

The second act is the masterpiece of the opera, and contains in itself music enough to have made any composer immortal. It opens with a serious aria by the Countess ("Porgi amor") followed by Cherubino's well-known romanza ("Voi che sapete,") one of the sweetest and most effective songs ever written for contralto, and this in turn by Susanna's coquettish song, "Venite, inginocchiatevi," as she disguises Cherubino. A spirited trio and duet lead up to the great finale, begun by the Count, ("Esci omai, garzon mal nato"). Upon this finale Mozart seems to have lavished the riches of his musical genius with the most elaborate detail and in bewildering profusion. It begins with a duet between the Count and Countess, then with the entrance of Susanna changes to a trio, and as Figaro and Antonio enter, develops into a quintet. In the close, an independent figure is added by the entrance of Marcellina, Barbarina, and Basilio, and as Antonio exits, this trio is set against the quartet with independent themes and tempi.

The third act opens with a duet ("Crudel, perche finora") for the Count and Countess, followed by a very dramatic scena for the Count, beginning with the recitative, "Hai gia vinta la causa?" which in turn leads up to a lively and spirited s.e.xtet ("Riconosci in questo amplesso"). The two numbers which follow the s.e.xtet are recognized universally as two of the sweetest and most melodious ever written,--the exquisite aria, "Dove Sono," for the Countess, and the "Zephyr Duet," as it is popularly known ("Canzonetta su l'aria. Che soave zeffiretto"), which stands unsurpa.s.sed for elegance, grace, and melodious beauty. The remaining numbers of prominent interest are a long and very versatile buffo aria for tenor ("In quegli anni"), sung by Basilio, Figaro's stirring march number ("Ecco la marcia"), and a lovely song for Susanna ("Deh, vieni, non tardar"). The opera is full of life and human interest. Its wonderful cheerfulness and vital sympathy appeal to every listener, and its bright, free, joyous tone from beginning to end is no less fascinating than the exquisite melodies with which Mozart has so richly adorned it. Like "Don Giovanni" and the "Magic Flute," the best test of the work is, that it is rounding its first century as fresh and bright and popular as ever.

DON GIOVANNI.

"Don Giovanni," an opera buffa in two acts, words by Da Ponte, was first produced at Prague, Oct. 29, 1787. The full t.i.tle of the work is "Il dissoluto punito, ossia il Don Giovanni," and the subject was taken from a Spanish tale by Tirso de Molina, called "El combidado de piedra." The original cast of the opera was as follows:--

DONNA ANNA Signora TERESA SAPORITTI.

DONNA ELVIRA Signora MICELLI.

ZERLINA Signora BONDINI.

DON OTTAVIO Signor BAGLIONI.

DON GIOVANNI Signor LUIGI Ba.s.sI.

LEPORELLO Signor FELICE PONZIANI.

MASETTO and DON PEDRO Signor LOLLI.

The success of the "Marriage of Figaro" prepared the way for "Don Giovanni." Mozart wrote the opera in Prague, and completed it, except the overture, Oct. 28, 1787, about six weeks after he arrived in the city. The first performance took place the next evening. The overture was written during the night, the copyist received the score at seven o'clock in the morning, and it was played at eight in the evening. He had only a week for stage rehearsals, and yet the opera created a furor. As an instance of his extraordinary memory, it is said that the drum and trumpet parts to the finale of the second act were written without the score, from memory. When he brought the parts into the orchestra, he remarked, "Pray, gentlemen, be particularly attentive at this place," pointing to one, "as I believe that there are four bars either too few or too many." His remark was proved true. It is also said that in the original scores the bra.s.s instruments frequently have no place, as he wrote the parts continually on separate bits of paper, trusting to his memory for the score. The next year (1788) the opera was brought out in Vienna, and for this production he wrote four new numbers,--a recitative and aria for Donna Elvira ("In quali excessi, o numi"); an aria for Masetto ("Ho capito, Signor, si"); a short aria for Don Ottavio ("Dalla sua pace"); and a duet for Zerlina and Leporello ("Per queste tue manine").

The scene of the opera is laid in Spain. Don Giovanni, a licentious n.o.bleman, becomes enamoured of Donna Anna, the daughter of the Commandant of Seville, who is betrothed to Don Ottavio. He gains admission to her apartments at night, and attempts to carry her away; but her cries bring her father to her rescue. He attacks Don Giovanni, and in the encounter is slain. The libertine, however, in company with his rascally servant, Leporello, makes good his escape. While the precious pair are consulting about some new amour, Donna Elvira, one of his victims, appears and taxes him with his cruelty; but he flies from her, leaving her with Leporello, who horrifies her with an appalling list of his master's conquests in various countries. Don Giovanni next attempts the ruin of Zerlina, a peasant girl, upon the very eve of her marriage with her lover, Masetto. Donna Elvira, however, appears and thwarts his purposes, and also discovers him to Donna Anna as the murderer of her father, whereupon she binds her lover, Don Ottavio, to avenge his death. Don Giovanni does not abandon his purpose, however. He gives a fete, and once more seeks to accomplish Zerlina's ruin, but is again thwarted by her three friends.

The second act opens in a public square of Seville at night. Don Giovanni and Leporello appear before the house of Donna Elvira, where Zerlina is concealed. Leporello, disguised in his master's cloak, and a.s.suming his voice, lures Donna Elvira out, and feigning repentance for his conduct induces her to leave with him. Don Giovanni then proceeds to enter the house and seize Zerlina; but before he can accomplish his purpose, Masetto and his friends appear, and supposing it is Leporello before them, demand to know where his master is, as they are bent upon killing him. Don Giovanni easily disposes of Masetto, and then rejoins his servant near the equestrian statue, which has been erected to the memory of the murdered Don Pedro. To their astonishment the statue speaks, and warns the libertine he will die before the morrow. Don Giovanni laughs at the prophecy, and invites the statue to a banquet to be given the next day at his house.

While the guests are a.s.sembled at the feast, an ominous knock is heard at the door and the statue unceremoniously enters. All except Leporello and Don Giovanni fly from the room in terror. The doomed man orders an extra plate, but the statue extends its hand and invites him to sup with it. He takes the marble hand, and its cold fingers clutch him in a firm grasp. Thrice the statue urges him to repent, and as many times he refuses; whereupon, as it disappears, demons rise, seize Don Giovanni, and carry him to the infernal regions.

Musically considered, "Don Giovanni" is regarded as Mozart's greatest opera, though it lacks the bright joyousness of the "Marriage of Figaro," and its human interest. Its melodies are more p.r.o.nounced, and have entered more freely into general use, however, than those of the former. Repulsive as the story is, some of the melodies which ill.u.s.trate it have been impressed into the service of the church. The first act is introduced with a humorous aria by Leporello ("Notte e giorno faticar"), in which he complains of his treatment by his master. After the murder of Don Pedro, in the second scene, occurs a trio between Donna Elvira, Don Giovanni, and Leporello, the leading motive of which is a beautiful aria sung by Donna Elvira ("Ah! chi mi dici mai"). The scene closes with the great buffo aria of Leporello ("Madamina il catalogo") popularly known as the "Catalogue Song,"

which is full of broad humor, though its subject is far from possessing that quality. In the third scene occur the lovely duet for Don Giovanni and Zerlina ("La ci darem, la mano"), two arias of great dramatic intensity for Donna Elvira ("Mi tradi") and Donna Anna ("Or sai chi l'onore"), and Don Giovanni's das.h.i.+ng song, "Finche dal vino,"

the music of which is in admirable keeping with the reckless nature of the libertine himself. The last scene is a treasure-house of music, containing the exquisitely coquettish aria, "Batti, batti," which Zerlina sings to the jealous Masetto, and the beautiful trio of Donna Anna, Donna Elvira, and Don Ottavio, known as the Mask Trio, set off against the quaint minuet music of the fete and the hurly-burly which accompanies the discovery of Don Giovanni's black designs.

The second act opens with a humorous duet between master and servant ("Eh, via, buffone"), followed by the trio, "Ah! taci, inquisto care,"

as Elvira appears at her window. After she leaves with Leporello, Don Giovanni sings a serenade ("Deh? vieni all finestra") to Zerlina, which is interrupted by the appearance of Masetto and his friends.

Zerlina is summoned to the scene by the cries of Masetto after Don Giovanni has beaten him, and sings to him for his consolation the beautiful aria, "Vedrai carino," which has more than once been set to sacred words, and has become familiar as a church tune, notwithstanding the unsanct.i.ty of its original setting. The second scene opens with a strong s.e.xtet ("Sola, sola, in bujo loco"), followed by the ludicrously solemn appeal of Leporello, "Ah! pieta, signori miei," and that aria beloved of all tenors, "Il mio tesoro."

The finale is occupied with the scenes at the statue and at the banquet, a short scene between Donna Anna and Don Ottavio intervening, in which she sings the aria, "Non mi dir." The statue music throughout is of a sepulchral character, gradually developing into strains almost as cold and ominous as the marble of the Commandant himself, and yet not without an element of the grotesque as it portrays the terror of Leporello.

It is said that in revenge at his Italian rivals, Mozart introduced an aria from Martin's "Cosa Rara," arranged for wind instruments, and also a favorite aria of Sarti's, to be played at the banquet when the hungry Leporello beholds his master at the table and watches for some of the choice morsels, and parodied them in an amusing manner. He never could retain an enmity very long, however, and so at the end of the banquet he parodied one of his own arias, the famous "Non piu andrai," by giving it a comical turn to suit Leporello's situation.

The criticism of one of the best biographers of Mozart upon this opera is worth repeating in this connection: "Whether we regard the mixture of pa.s.sions in its concerted music, the profound expression of melancholy, the variety of its situations, the beauty of its accompaniment, or the grandeur of its heightening and protracted scene of terror--the finale of the second act,--'Don Giovanni' stands alone in dramatic eminence."

THE MAGIC FLUTE.

"Die Zauberflote," an opera in two acts, words by Emanuel Schickaneder, was first produced at Vienna, Sept. 30, 1791, with the following cast:

QUEEN OF NIGHT Mme. HOFER.

PAMINA Mlle. GOTTLIEB.

PAPAGENA Mme. GORL.

TAMINO Herr SCHACK.

MONOSTATOS Herr GORL.

SARASTRO Herr SCHICKANEDER, Sr.

PAPAGENO Herr SCHICKANEDER, Jr.

The "Magic Flute" was the last great work of the composer, and followed the "Cosi fan tutte," which was given in January, 1791. In 1780 Mozart had made the acquaintance of Schickaneder at Salzburg. He was a reckless, dissipated theatre manager, and at the time of the composition of the "Magic Flute" was running a small theatre in Vienna. The compet.i.tion of the larger theatres had nearly beggared him, and in the midst of his perplexities he applied to Mozart to write him an opera, and intimated that he had discovered an admirable subject for a fairy composition. Mozart at first objected; but Schickaneder, like himself, was a Freemason; he had been his companion in dissipation, and exercised a great influence over him. Mozart at last consented. A compact was made, and Schickaneder set to work on the libretto. As he was a popular buffoon, he invented the part of Papageno, the bird-catcher, for himself, and arranged that it should be dressed in a costume of feathers. It is a trivial part, but Schickaneder intended to tickle the fancy of the public, and succeeded. The first act was finished, when it was found that the same subject had been chosen by a rival theatre, the Leopold Stadt, which speedily announced the opera of "Kaspar der f.a.gottist, oder die Zauber-Zither," by a popular composer, Wenzel Muller. The piece had a successful run, and in order to prevent a duplication, Schickaneder reversed the point of his story, and changed the evil magician, who stole the daughter of the Queen of Night, into a great philosopher and friend of man. It is owing to this change that we have the magnificent character of Sarastro, with its impressive music.

The scene of the opera is laid in Egypt. Sarastro, the high-priest of Isis, has induced Pamina to leave her mother, Astrifiamenti, the Queen of Night, who represents the spirit of evil, and come to his temple, where she may be trained in the ways of virtue and wisdom. At the opening of the opera the dark Queen is trying to discover some plan of recovering her daughter and punis.h.i.+ng Sarastro. In the first act appears Tamino, an Egyptian prince, who has lost his way, and is attacked by a huge serpent, from which he is rescued by the three attendants of the Queen. The latter accosts him, tells him her daughter's story, and demands that, as the cost of his deliverance, he shall rescue her. He consents. She gives him a magic flute, and with his companion Papageno, a rollicking bird-catcher, who is also presented with a magical chime of bells, they set out for Sarastro's temple. Papageno arrives there first, and in time to rescue Pamina from the persecutions of Monostatos, a slave, who flies when he beholds Papageno in his feather costume, fancying him the Devil. They seek to make their escape, but are intercepted. Tamino also is caught, and all are brought before Sarastro. The prince consents to become a novitiate in the sacred rites, and to go through the various stages of probation and purification, and Pamina again returns to her duties.

They remain faithful to their vows, and the last ordeal, that of pa.s.sing through a burning lake up to the altar of the temple, is triumphantly accomplished. The Queen of Night, however, does not abandon her scheme of revenge. She appears to Pamina in her sleep, gives her a dagger, and swears that unless she murders Sarastro she will cast her off forever. Pamina pays no heed to her oath, but goes on with her sacred duties, trusting to Sarastro's promise that if she endures all the ordeals she will be forever happy. In the closing scene, Monostatos, who has been inflamed against Sarastro by the Queen, seeks to kill him, but is vanquished by the might of the priest's presence alone. The night of the ordeals is over. At a sign from Sarastro, the, full sunlight pours in upon them. The evil spirits all vanish, and Tamino and Pamina are united amid the triumphant choruses of the priests and attendants, as the reward of their fidelity.

In the opening scene, after the encounter of Tamino with the serpent, Papageno has a light and catching song ("Der Vogelfanger bin ich ja"), which, like all of Papageno's music, was specially written for Schickaneder, and has been cla.s.sed under the head of the "Viennese ditties." Melodious as Mozart always is, these songs must be regarded as concessions to the buffoon who sang them. Papageno's song is followed by another in a serious strain ("Dies Bildniss ist bezaubernd schon") sung by Tamino. In the sixth scene occurs the first aria for the Queen of Night ("O zittre nicht, mein lieber Sohn"), which, like its companion to be mentioned later, is a remarkable exercise in vocal power, range, and gymnastics, written for an exceptional voice. The next scene, known as the Padlock Quintet, is very simple and flowing in style, and will always be popular for its humorous and melodious character. In the eleventh scene occurs the familiar duet between Pamina and Papageno, "Bei Mannern, welche Liebe fullen," which has done good service for the church, and will be recognized in the English hymn version, "Serene I laid me down." It leads up to the finale, beginning, "Zum Ziehle fuhrt dich diese Bahn," and containing a graceful melody for Tamino ("O da.s.s ich doch im Stande ware"), and another of the Viennese tunes, "Konnte jeder brave Mann,"--a duet for Papageno and Pamina, with chorus.

The second act opens with a stately march and chorus by the priests, leading up to Sarastro's first great aria ("O Isis und Osiris"), a superb invocation in broad, flowing harmony, and the scene closes with a strong duet by two priests ("Bewahret euch vor Weibertucken.") The third scene is a quintet for Papageno, Tamino, and the Queen's three attendants ("Wie ihr an diesem Shreckensort?"), and is followed by a sentimental aria by Monostatos ("Alles fuhlt der Liebe Freuden"). In the next scene occurs the second and greatest aria of the Queen of Night ("Der Holle Rache kocht"), which was specially written to show off the bravura ability of the creator of the part, and has been the despair of nearly all sopranos since her time. In striking contrast with it comes the majestic aria for Sarastro in the next scene ("In diesen heil'gen Hallen"), familiarly known on the concert-stage by its English t.i.tle, "In these sacred Halls," the successful performance of which may well be the height of any ba.s.so's ambition. In the twelfth scene there is a terzetto by the three boys ("Seid uns zum zweitenmal"), and in the next scene a long and florid aria for Pamina ("Ach! ich fuhl's es ist verschwunden"), full of plaintive chords and very sombre in color. The sixteenth scene contains another stately chorus of priests ("O Isis und Osiris"), based upon a broad and ma.s.sive harmony, which is followed by a terzetto between Sarastro, Pamina, and Tamino ("Soll ich dich, Theurer nicht mehr sehen?"). Once more a concession to the buffoon occurs in a melody "Ein Madchen oder Weibchen," which would be commonplace but for Mozart's treatment of the simple air. The finale begins with another terzetto for the three boys ("Bald prangt, den Morgen zu verkunden"). It may be termed a finale of surprises, as it contains two numbers which are as far apart in character as the poles,--the first, an old choral melody ("Der, welcher wandelt diese Stra.s.se"), the original being, "Christ, our Lord, to Jordan came," set to an accompaniment, strengthened by the trombones and other wind instruments; and the second, a nonsense duet ("Pa-pa-Papageno") for Papageno and Papagena, which would close the opera in a burst of childish hilarity but for the solemn concluding chorus of the priests ("Heil sei euch Geweithen").

The great charm of the opera is its originality, and the wonderful freshness and fruitfulness of the composer in giving independent and characteristic melodies to every character, as well as the marvellous combination of technicality with absolute melody. Beethoven said of it that this was Mozart's one German opera in right of the style and solidity of its music. Jahn, in his criticism, says: "'The Zauberflote' has a special and most important position among Mozart's operas. The whole musical conception is pure German, and here for the first time German opera makes free and skilful use of all the elements of finished art."

ROSSINI.

Gioachini Antonio Rossini was born at Pesaro, Italy, Feb. 29, 1792.

His early lessons in music were taken with Tesei, and as a lad he also appeared upon the stage as a singer. In 1807 he was admitted to the cla.s.s of Padre Mattei at the Bologna Conservatory, where he took a prize for a cantata at the end of his first year. At the beginning of his career in Italy he was commissioned to write an opera for Venice.

It was "La Cambiale di Matrimonio," an opera buffa in one act, and was produced in 1810. During the next three years he wrote several works for Venice and Milan, which were successful, but none of them created such a furor as "Tancredi." This was followed by "L' Italiana in Algeri," "Aureliano in Palmira," and "Il Turco in Italia." In 1815 appeared "The Barber of Seville." Strange as it may seem, it was at first condemned, not on its merits, but because the composer had trenched, as it was supposed, upon the ground already occupied by the favorite Paisiello, though he applied to the latter before writing it, and received his a.s.surances that he had no objection to his use of the same subject. "Otello" followed the "Barber" at Naples in 1816, and "Cenerentola" in 1817, and both were extraordinarily successful. The "Gazza Ladra" was produced at Milan in 1817, and was followed by "Armida" at Naples in the same year. His next great work was the oratorio, "Moses in Egypt," which is also given as opera. The "Donna del Lago," based upon Walter Scott's "Lady of the Lake," was produced at Naples in 1819. The same year he opened the Carnival in Milan with "Bianca e Faliero," and before its close he produced "Maometto secondo" at Naples. During the next two or three years his muse was very prolific, and in 1823 appeared another of his great works, "Semiramide," which made a furor at Venice. That year he went to London and gave concerts, in which he sang, and thence to Paris, which now became his home. His greatest work for Paris was "William Tell,"

which was produced in 1829, and it was also his last, though by an arrangement with the Government of Charles X. it was to be the first of a series of five. The revolution of 1830 destroyed his plans. In 1836 he heard Meyerbeer's "Huguenots," and resolved to write no more.

Four years before this he had written the "Stabat Mater," but it was not produced complete until 1842. From this time on he lived at his villa at Pa.s.sy the life of a voluptuary and died there Nov. 13, 1868.

The catalogue of his works is immense, including fifty operas alone, of which in a necessarily brief sketch it has been possible to mention only those best known.

THE BARBER OF SEVILLE.

"Il Barbiere di Siviglia," an opera buffa in two acts, words by Sterbini, founded on Beaumarchais's comedy, was first produced at the Argentina Theatre, Rome, Feb. 5, 1816, with the following cast:--

ROSINA Mme. GIORGI RIGHETTI.

BERTAO Mlle. ROSSI.

FIGARO Sig. LUIGI ZAMBONI.

COUNT ALMAVIVA Sig. GARCIA.

BARTOLO Sig. BOTTICELLI.

BASILIO Sig. VITTARELLI.

The story of the writing of "The Barber of Seville" is of more than ordinary interest. Rossini had engaged to write two operas for the Roman Carnival of 1816. The first was brought out Dec. 26, 1815, and the same day he bound himself to furnish the second by Jan. 20, 1816, with no knowledge of what the libretto would be. Sterbini furnished him with the story of the "Barber" by piecemeal, and as fast as the verses were given him he wrote the music. The whole work was finished in less than three weeks. Its original t.i.tle was "Almaviva, ossia l'inutile precauzione," to distinguish it from Paisiello's "Barber of Seville." The original overture was lost in some manner, and that of "Aureliano" subst.i.tuted. In the scene beneath Rosina's balcony Garcia introduced a Spanish air of his own; but it failed, and before the second performance Rossini wrote the beautiful cavatina, "Ecco ridente il cielo" in its place, the melody borrowed from the opening chorus of his "Aureliano," and that in turn from his "Ciro in Babilonia." The subject of the effective trio, "Zitti, zitti," was taken from Haydn's "Seasons," and the aria sung by the duenna Berta ("Il vechiotto cerca moglie"), from a Russian melody he had heard a lady sing in Rome and introduced for her sake. For the music-lesson scene Rossini wrote a trio which has been lost; and thus an opportunity has been given Rosinas to interpolate what they please.