Memoirs of Rossini, by the author of The lives of Haydn and Mozart (Google eBook)

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1824
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Page 243 - Although I joy in thee, I have no joy of this contract to-night. It is too rash, too unadvised, too sudden ; Too like the lightning, which doth cease to be, Ere one can say It lightens.* Sweet, good night!
Page 176 - The following season," says M. Stendhal, "this opera was resumed, with the same enthusiastic admiration of the first act, and the same bursts of laughter at the passage of the Red Sea. The following day, one of my friends called about noon on Rossini, who, as usual, was lounging in bed, with a dozen of his friends...
Page 75 - Pesaroni ! or the whole theatre resounds with, Bravo, maestro ! Rossini then rises from his place at the piano, his countenance wearing an air of gravity, a thing very unusual with him ; he makes three obeisances, which are followed by salvos of applause, mingled with a variety of short and panegyrical phrases. This done, they proceed to the next piece.
Page 10 - ... merits of a composition, are supposed to hold the greatest weight. Suffice it to say, that the presence of Napoleon himself, who honoured the Venetians with a visit, was unable to call off their attention from Rossini. All was enthusiasm ! tutto furore, to use the terms of that expressive language, which seems to have been created for the use of the arts. From the gondolier to...
Page 76 - ... thing very unusual with him ; he makes three obeisances, which are followed by salvos of applause, mingled with a variety of short and panegyrical phrases. This done, they proceed to the next piece. " Rossini presides at the piano during the first three representations, after which he receives his 800 or 1000 francs, is invited to a grand parting dinner, given ,by his friends, that is to say, by the whole town, and he then starts in his veturino, with his portmanteau much fuller of music paper...
Page 14 - He anticipated the storm that awaited him, and had concealed himself under the stage, in the passage leading to the orchestra. After waiting for him in vain, the first violin, finding- the moment of performance draw nigh, and that the public began to manifest signs of impatience, determined to commence the opera. This first allegro pleased so much, that during the applause and repeated bravos, Rossini crept from his hiding place, and slipped into big seat at the piano.
Page 199 - It was by a lucky chance," we may suppose him to have said to himself, " that Velluti discovered he had a taste of his own ; but who will say that, in the next theatre for which I compose, I may not find some other singer who, with as great a flexibility of voice, and an equal rage for ornaments, may so spoil my music as not only to render it contemptible to myself but tiresome to the public ? The danger to which my poor music is exposed is still more imminent, when I reflect upon the great number...
Page 74 - The maestro takes his placa at the piano ; the theatre overflows ; people have flocked from ten leagues distance ; the curious form an encampment around the theatre in their calashes ; all the inns are filled to excess, where insolence reigns at its height. All occupations have ceased ; at the moment of the performance the town has the aspect of a desert. All the passions all the solicitudes all the life of a whole population is concentrated in the theatre. The overture commences ; so intense...
Page 64 - Italy, remaining from three to four months in each. Wherever he arrived, he was received with acclamations, and entertained by the dilettanti of the place.
Page 75 - At the close of each ah* the same terrific uproar ensues ; the bellowings of an angry sea could give but a faint idea of its fury. Such, at the same time, is the taste of an Italian audience, that they at once distinguish whether the merit of an air belongs to the singer or the composer.

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