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The Life of Rossini. Edwards Henry Sutherland

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The Life of Rossini - Edwards Henry Sutherland

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to him by the impresario and represented the exclusive right of performing the work for two years. Few if any of his operas seem to have been engraved at the time of production, so that there was nothing to receive from music publishers, the sole refuge of dramatic composers in England (if dramatic composers in England still exist) to whom no payment is paid by managers for the right of representation.

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      1

      Cenni di una donna gia contante sopra il maestro Rossini.

      2

      If Miçkiewicz had known, that the composer of the “Barber of Seville” was descended from the Russini, he would have claimed him as a Slavonian.

      3

      The Italian theatres are for the most part named after the parishes in which they stand.

      4

      The serious opera consisted of the following persons: The soprano or primo uomo [homo, but not vir], prima donna (generally a mezzo soprano or contralto) and tenor; the secondo uomo (soprano) seconda donna and ultima parte (bass). The company for the comic opera consisted of the primo buffo (tenor) prima buffa, buffo caricato (bass), seconda buffa and ultima parte (bass). There were also the uomo serio and donna seria, generally the second man or woman of the serious opera.

      5

      Durante passed from one Conservatory at Naples to another, and was necessarily professor at all three.

      6

      M. Azevedo’s idea on the subject is certainly the best. “Since its production,” he says, “on the stage and in the universe it has been made the subject of a canticle for the Catholic Church, like all other successful airs. But a litany before the air and a canticle after the air are not the same thing.” M. Azevedo also rejects the rice.

      7

      “Le ombreggiature per le messe

1

Cenni di una donna gia contante sopra il maestro Rossini.

2

If Miçkiewicz had known, that the composer of the “Barber of Seville” was descended from the Russini, he would have claimed him as a Slavonian.

3

The Italian theatres are for the most part named after the parishes in which they stand.

4

The serious opera consisted of the following persons: The soprano or primo uomo [homo, but not vir], prima donna (generally a mezzo soprano or contralto) and tenor; the secondo uomo (soprano) seconda donna and ultima parte (bass). The company for the comic opera consisted of the primo buffo (tenor) prima buffa, buffo caricato (bass), seconda buffa and ultima parte (bass). There were also the uomo serio and donna seria, generally the second man or woman of the serious opera.

5

Durante passed from one Conservatory at Naples to another, and was necessarily professor at all three.

6

M. Azevedo’s idea on the subject is certainly the best. “Since its production,” he says, “on the stage and in the universe it has been made the subject of a canticle for the Catholic Church, like all other successful airs. But a litany before the air and a canticle after the air are not the same thing.” M. Azevedo also rejects the rice.

7

“Le ombreggiature per le messe di voce, il cantar di partarrenti, l’arte di fermare la voce per farla fluire equale nel canto legato, l’arte di prender flato in modo insensibile e senza troncare il lungo periodo vocale delle arte antiche.” This passage is from Carpani. Stendhal, not finding it easy to translate, gives it, in Italian, as his own, and endeavours to explain his use of the Italian language by saying that he finds “an almost insurmountable difficulty in writing about singing in French.” This mania for “adaptation” makes one doubt the originality of everything Stendhal has done.

8

There is nothing to prove that Rossini entertained any such opinion of Velluti’s singing.

9

A: Théâtres Lyriques de Paris, “L’Opéra Italien,” p. 317.

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