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LA FAVORITE

But to return to Lucrezia Borgia, which, with Lucia and La Favorite, may be ranked amongst the most successful of Donizetti's productions. The favour with which Lucrezia is received by audiences of all kinds may be explained, in addition to the merit of much of the music, by the manner in which the principal parts are distributed, so that the cast, to be efficient, must always include four leading singers, each of whom has been well-provided for by the composer. It contains less recitative than any of Rossini's operas – a great advantage, from a popular point of view, it having been shown by experience that the public of the present day do not care for recitative (especially when they do not understand a word of it), but like to pass as quickly as possible from one musical piece to another. From an artistic point of view the shortness of Donizetti's recitatives is not at all to be regretted, for the simple reason that he has never written any at all comparable to those of Rossini, whose dramatic genius he was far from possessing. The most striking situation in the drama, a thoroughly musical situation of which a great composer, or even an energetic, passionate, melo-dramatic composer, like Verdi, would have made a great deal, is quite lost in the hands of Donizetti. The Brindisi is undeniably pretty, and was never considered vulgar until it had been vulgarised. But Donizetti has shown no dramatic power in the general arrangement of the principal scene, and the manner in which the drinking song is interrupted by the funeral chorus, has rather a disagreeable, than a terrible or a solemn effect. The finale to the first act, or "prologue," is finely treated, but "Gennaro's" dying scene and song, is the most dramatic portion of the work, which it ought to terminate, but unfortunately does not. I think it might be shown that Lucrezia marks the distance about half way between the style of Rossini and that of Verdi. Not that it is so much inferior to the works of the former, or so much superior to those of the latter; but that among Donizetti's later operas, portions of Maria di Rohan (Vienna, 1843), might almost have been written by the composer of Rigoletto; whereas, the resemblance for good or for bad, between these two musicians, of the decadence, is not nearly so remarkable, if we compare Lucrezia Borgia with one of Verdi's works. Still, in Lucrezia we already notice that but little space is accorded to recitative, which in the Trovatore finds next to none; we meet with choruses written in the manner afterwards adopted by Verdi, and persisted in by him to the exclusion of all other modes; while as regards melody, we should certainly rather class the tenor's air in I Lombardi with that in Lucrezia Borgia, than the latter with any air ever composed by Rossini.

When Donizetti revisited Paris in 1840, he produced in succession I Martiri (the work written for Nourrit and objected to by the Neapolitan censorship), La Fille du Regiment, written for the Opéra Comique, and La Favorite, composed in the first instance for the Théâtre de la Renaissance, but re-arranged for the Académie, when the brief existence of the Théâtre de la Renaissance had come to an end. As long as it lasted, this establishment, opened for the representation of foreign operas in the French language, owed its passing prosperity entirely to a French version of the Lucia.

Jenny Lind, Sontag, Alboni, have all appeared in La Figlia del Reggimento with great success; but when this work was first produced in Paris, with Madame Thillon in the principal part, it was not received with any remarkable favour. It is full of smooth, melodious, and highly animated music, but is, perhaps, wanting in that piquancy of which the French are such great admirers, and which rendered the duet for the vivandières, in Meyerbeer's Etoile du Nord, so much to their taste. L'Ange de Nigida, converted into La Favorite (and founded in the first instance on a French drama, Le Comte de Commingues) was brought out at the Académie, without any expense in scenery and "getting up," and achieved a decided success. This was owing partly to the pretty choral airs at the commencement, partly to the baritone's cavatina (admirably sung by Barroilhet, who made his début in the part of "Alphonse"); but, above all, to the fourth act, with its beautiful melody for the tenor, and its highly dramatic scene for the tenor and soprano, including a final duet, which, if not essentially dramatic in itself, occurs at least in a most dramatic situation.

The whole of the fourth act of La Favorite, except the cavatina, Ange si pur, which originally belonged to the Duc d'Albe, and the andante of the duet, which was added at the rehearsals, was written in three hours. Donizetti had been dining at the house of a friend, who was engaged in the evening to go to a party. On leaving the house, the host, after many apologies for absenting himself, intreated Donizetti to remain, and finish his coffee, which Donizetti, being inordinately fond of that stimulant, took care to do. He asked at the same time for some music paper, began his fourth act, and finding himself in the vein for composition, went on writing until he had completed it. He had just put the final stroke to the celebrated "Viens dans une autre patrie," when his friend returned, at one in the morning, and congratulated him on the excellent manner in which he had employed his time.

L'ELISIR D'AMORE

After visiting Rome, Milan, and Vienna, for which last city he wrote Linda di Chamouni, Donizetti returned to Paris, and in 1843 composed Don Pasquale for the Théâtre Italien, and Don Sebastien for the Académie. The lugubrious drama to which the music of Don Sebastien is wedded, proved fatal to its success. On the other hand, the brilliant gaiety of Don Pasquale, rendered doubly attractive by the admirable execution of Grisi, Mario, Tamburini, and Lablache, delighted all who heard it. The pure musical beauty of the serenade, and of the quartett, one of the finest pieces of concerted music Donizetti ever wrote, were even more admired than the lively animated dialogue-scenes, which are in Donizetti's very best style; and the two pieces just specified, as well as the baritone's cavatina, Bella siccome un angelo, aided the general success of the work, not only by their own intrinsic merit, but also by the contrast they present to the comic conversational music, and the buffo airs of the bass. The music of Don Pasquale is probably the cleverest Donizetti ever wrote; but it wants the charm which belongs to that of his Elisir d'Amore, around which a certain sentiment, a certain atmosphere of rustic poetry seems to hang, especially when we are listening to the music of "Nemorino" or "Norina." Even the comic portions in the Elisir are full of grace, as for instance, the admirable duet between "Norina" and "Dulcamara;" and the whole work possesses what is called "colour," that is to say, each character is well painted by the music, which, moreover, is always appropriate to the general scene. To look for "colour," or for any kind of poetry in a modern drawing-room piece of intrigue, like Don Pasquale, with the notaries of real life, and with lovers in black coats, would be absurd. I may mention that the libretto of Don Pasquale is a re-arrangement of Pavesi's Ser Marcantonio (was "Ser" Marcantonio an Englishman?) produced in 1813.

DONIZETTI'S REPERTOIRE

In the same year that Donizetti brought out Don Pasquale in Paris, he produced Maria di Rohan at Vienna. The latter work contains an admirable part for the baritone, which has given Ronconi the opportunity of showing that he is not only an excellent buffo, but is also one of the finest tragic actors on the stage. The music of Maria di Rohan is highly dramatic: that is to say, very appropriate to the various personages, and to the great "situations" of the piece. In pourtraying the rage of the jealous husband, the composer exhibits all that earnestness and vigour for which Verdi has since been praised – somewhat sparingly, it is true, but praised nevertheless by his admirers. The contralto part, on the other hand, is treated with remarkable elegance, and contains more graceful melodies than Verdi is in the habit of composing. I do not say that Donizetti is in all respects superior to Verdi; indeed, it seems to me that he has not produced any one opera so thoroughly dramatic as Rigoletto; but as Donizetti and Verdi are sometimes contrasted, and as it was the fashion during Donizetti's lifetime, to speak of his music as light and frivolous, I wish to remark that in one of his latest operas he wrote several scenes, which, if written by Verdi, would be said to be in that composer's best style.

Donizetti's last opera, Catarina Comaro, was produced in Naples in the year 1844. This was his sixty-third dramatic work, counting those only which have been represented. There are still two operas of Donizetti's in existence, which the public have not heard. One, a piece in one act, composed for the Opéra Comique, and which is said every now and then to be on the point of being performed; the other, Le Duc d'Albe, which, as before-mentioned, was written for the Académie Royale, on one of the two libretti returned by Rossini to Scribe, after the composer of William Tell came to his mysterious resolution of retiring from operatic life.

Of Donizetti's sixty-three operas, about two-thirds are quite unknown to England, and of the nine or ten which may still be said to keep the stage, the earliest produced, Anna Bolena, is the composer's thirty-second work. Anna Bolena, L'Elisir d'Amore, Lucrezia Borgia, Lucia di Lammermoor, and Roberto Devereux, are included between the numbers 31 and 52, while between the numbers 53 and 62, La Fille du Regiment, La Favorite, Linda di Chamouni, Don Pasquale, and Maria di Rohan, are found. The first five of Donizetti's most popular operas, were produced between the years 1830 and 1840; the last five between the years 1840 and 1844. Donizetti appears, then, to have produced his best serious operas during the middle period of his career – unless it be considered that La Favorite, Linda di Chamouni, and Maria di Rohan, are superior to Anna Bolena, Lucrezia Borgia, and Lucia di Lammermoor; and to the same epoch belongs L'Elisir d'Amore, which in my opinion is the freshest, most graceful, and most melodious of his comic operas, though some may prefer La Fille du Regiment or Don Pasquale, both full of spirit and animation.

It is also tolerably clear, from an examination of Donizetti's works in the order in which they were produced, that during the last four or five years of his artistic life he produced more than his average number of operas, possessing such merit that they have taken their place in the repertoires of the principal opera houses of Europe. Donizetti had lost nothing either in fertility or in power, while he appeared in some respects to be modifying and improving his style. Thus, in the Swiss opera of Linda di Chamouni (Vienna, 1842), we find, especially in the music of the contralto part, a considerable amount of local colour – an important dramatic element which Donizetti had previously overlooked, or, at least, had not turned to any account; while Maria di Rohan contains the best dramatic music of a passionate kind that Donizetti has ever written.

DONIZETTI'S DEATH

In composing, Donizetti made no use of the pianoforte, and wrote, as may be imagined, with great rapidity, never stopping to make a correction, though he is celebrated among the modern Italian composers for the accuracy of his style. Curiously enough, he never went to work without having a small ivory scraper by his side; and any one who has studied intellectual peculiarities will understand, that once wanting this instrument, he might have felt it necessary to scratch out notes and passages every minute. Mr. J. Wrey Mould, in his interesting "memoir," tells us that this ivory scraper was given to Donizetti by his father when he consented, after a long and strenuous opposition, to his becoming a musician. An unfilial son might have looked upon the present as not conveying the highest possible compliment that could be paid him. The old gentleman, however, was quite right in impressing upon the bearer of his name, that having once resolved to be a composer, he had better make up his mind to produce as little rubbish as possible.

The first signs of the dreadful malady to which Donizetti ultimately succumbed, manifested themselves during his last visit to Paris, in 1845. Fits of absence of mind, followed by hallucinations and all the symptoms of mental derangement followed one another rapidly, and with increasing intensity. In January, 1846, it was found necessary to place the unfortunate composer in an asylum at Ivry, and in the autumn of 1847, his medical advisers recommended as a final experiment, that he should be removed to Bergamo, in the hope that the air and scenes of his birth-place would have a favourable influence in dispelling, or, at least, diminishing the profound melancholy to which he was now subject. During his journey, however, he was attacked by paralysis, and his illness assumed a desperate and incurable character.

Donizetti was received at Bergamo by the Maestro Dolci, one of his dearest friends. Here paralysis again attacked him, and a few days afterwards, on the 8th of April, 1848, he expired, in his fifty-second year, having, during the twenty-seven years of his life, as a composer, written sixty-four operas; several masses and vesper services; and innumerable pieces of chamber music, including, besides arias, cavatinas, and vocal concerted pieces, a dozen quartetts for stringed instruments, a series of songs and duets, entitled Les soirées du Pausilippe, a cantata entitled la Morte d'Ugolino, &c., &c.

Antoine, Donizetti's attendant at Ivry, became much attached to him, and followed him to Bergamo, whence he forwarded to M. Adolphe Adam, a letter describing his illustrious patient's last moments, and the public honours paid to his memory at the funeral.

DONIZETTI'S DEATH

"More than four thousand persons," he relates, "were present at the ceremony. The procession was composed of the numerous clergy of Bergamo; the most illustrious members of the community and its environs, and of the civic guard of the town and suburbs. The discharges of musketry, mingled with the light of three or four hundred large torches, presented a fine effect – the whole was enhanced by the presence of three military bands, and the most propitious weather it was possible to behold. The service commenced at ten o'clock in the morning, and did not conclude until half-past two. The young gentlemen of Bergamo insisted on bearing the remains of their illustrious fellow-citizen, although the cemetery in which they finally rested lay at a distance of a league-and-a-half from the town. The road there was crowded along its whole length by people who came from the surrounding country to witness the procession – and, to give due praise to the inhabitants of Bergamo, never, hitherto, had such great honours been bestowed upon any member of that city."

Bellini, who was Donizetti's contemporary, but who was born nine years after him, and died thirteen years before, was a native of Sicily. His father was an organist at Catania, and under him the future composer of Norma and La Sonnambula, took his first lessons in music. A Sicilian nobleman, struck by the signs of genius which young Bellini evinced at an early age, persuaded his father to send him to Naples, supporting his arguments with an offer to pay his expenses at the celebrated Conservatorio. Here one of Bellini's fellow pupils was Mercadante, the future composer of Il Giuramento, an opera which, in spite of the frequent attempts of the Italian singers to familiarize the English public with its numerous beauties, has never been much liked in this country. I do not say that it has not been justly appreciated on the whole, but that the grace of some of the melodies, the acknowledged merit of the orchestration and the elegance and distinction which seem to me to characterize the composer's style generally, have not been accepted as compensating for his want of passion and of that spontaneity without which the expression of strong emotion of any kind is naturally impossible. Mercadante could never have written Rigoletto, but, probably, a composer of inferior natural gifts to Verdi might, with a taste for study and a determination to bring his talent to perfection, have produced a work of equal artistic merit to Il Giuramento. And here we must take leave of Mercadante, whose place in the history of the opera is not a considerable one, and who, to the majority of English amateurs, is known only by his Bella adorata, a melody of which Verdi has shown his estimation by borrowing it, diluting it, and re-arranging it with a new accompaniment for the tenor's song in Luisa Miller.

RUBINI

I should think Mercadante must have written better exercises, and passed better examinations at the Conservatorio than his young friend Bellini, though the latter must have begun at an earlier age to compose operas. Bellini's first dramatic work was written and performed while he was still a student. Encouraged by its success, he next composed music to a libretto already "set" by Generali, and entitled Adelson e Salvino. Adelson was represented before the illustrious Barbaja, who was at that time manager of the two most celebrated theatres in Italy, the St. Carlo at Naples, and La Scala at Milan, – as well as of the Italian opera at Vienna, to say nothing of some smaller operatic establishments also under his rule. The great impresario, struck by Bellini's promise, commissioned him to write an opera for Naples, and, in 1826, his Bianca e Fernando was produced at the St. Carlo. This work was so far successful, that it obtained a considerable amount of applause from the public, while it inspired Barbaja with so much confidence that he entrusted the young composer, now twenty years of age, with the libretto of il Pirata, to be composed for La Scala. The tenor part was written specially for Rubini, who retired into the country with Bellini, and studied, as they were produced, the simple, touching airs which he afterwards delivered on the stage with such admirable expression.

Il Pirata was received with enthusiasm by the audiences of La Scala, and the composer was requested to write another work for the same theatre. La Straniera was brought out at Milan in 1828, the principal parts being entrusted to Donzelli, Tamburini, and Madame Tosi. This, Bellini's third work, appears, on the whole, to have maintained, but scarcely to have advanced, his reputation. Nevertheless, when it was represented in London soon after its original production, it was by no means so favourably received as Il Pirato had been.

Bellini's Zaira, executed at Parma, in 1829, was a failure – soon, however, to be redeemed by his fifth work, Il Capuletti ed i Montecchi, which was written for Venice, and was received with all possible expressions of approbation. In London, the new operatic version of Romeo and Juliet was not particularly admired, and owed what success it obtained entirely to the acting and singing of Madame Pasta in the principal part. It may be mentioned that the libretto of Bellini's I Montecchi had already served his master, Zingarelli, for his opera of Romeo e Julietta.

LA SONNAMBULA

The time had now arrived at which Bellini was to produce his master-pieces, La Sonnambula and Norma; the former of which was written for La Scala, in 1831, the latter, for the same theatre, in the year following. The success of La Sonnambula has been great everywhere, but nowhere so great as in England, where it has been performed in English and in Italian, oftener than any other two or perhaps three operas, while probably no songs, certainly no songs by a foreign composer, were ever sold in such large numbers as All is lost and Do not mingle. The libretto of La Sonnambula, by Romani, is one of the most interesting and touching, and one of the best suited for musical illustration in the whole répertoire of libretti. To the late M. Scribe, belongs the merit of having invented the charming story on which Romani's and Bellini's opera is founded; and it is worthy of remark that he had already presented it in two different dramatic forms before any one was struck with its capabilities for musical treatment. A thoroughly, essentially, dramatic story can be presented on the stage in any and every form; with music, with dialogue, or with nothing but dumb action. Tried by this test, the plots of a great number of merely well written comedies would prove worthless; and so in substance they are. On the other hand, the vaudeville of La Somnambula, became, as re-arranged by M. Scribe, the ballet of La Somnambule, (one of the prettiest, by the way, from a choregraphic point of view ever produced); which, in the hands of Romani, became the libretto of an opera; which again, vulgarly treated, has been made into a burlesque; and, loftily treated, might be changed (I will not say elevated, for the operatic form is poetical enough), into a tragedy.

The beauties of La Sonnambula, so full of pure melody and of emotional music, of the most simple and touching kind, can be appreciated by every one; by the most learned musician and the most untutored amateur, or rather let us say by any play-goer, who, not having been born deaf to the voice of music, hears an opera for the first time in his life. It was given, however, to an English critic, to listen to this opera, as natural and as unmistakably beautiful as a bed of wild flowers, through a special ear-trumpet of his own; and in number 197 of the most widely-circulated of our literary journals, the following remarks on La Sonnambula appeared. With the exception of one or two pretty motivi, exquisitely given by Pasta and Rubini, the music is sometimes scarcely on a level with that of Il Pirata, and often sinks below it; there is a general thinness and want of effect in the instrumentation not calculated to make us overlook the other defects of this composition, which, in our humble judgment, are compensated by no redeeming beauties. Bellini has soared too high; there is nothing of grandeur, no touch of true pathos in the common place workings of his mind. He cannot reach the Opera semi-seria; he should confine his powers to the lowest walk of the musical drama, the one act Opera buffa."

Equally ill fared Norma at the hands of another musical critic to whose "reminiscences" I have often had to refer, but who tells us that he did not hear the work in question himself. He speaks of it simply as a production of which the scene is laid in Wales, and adds that "it was not liked."

Yet Norma has been a good deal liked since its first production at Milan, now nearly thirty years ago; and from Madame Pasta's first to Madame Grisi's last appearance in the principal part, no great singer with any pretension to tragic power has considered her claims fully recognised until she has succeeded in the part of the Druid priestess.

I PURITANI

Beatrice di Tenda, Bellini's next opera after Norma, cannot be reckoned among his best works. It was written for Venice, in 1833, and was performed in England for the first time, in 1836. It met with no very great success in Italy or elsewhere.

In 1834, Bellini went to Paris, having been requested to write an opera for the excellent Théâtre Italien of that capital. The company at the period in question, included Grisi, Rubini, Tamburini and Lablache, all of whom were provided with parts in the new work. I Puritani, was played for the first time in London, for Grisi's benefit, in 1835, and with precisely the same distribution of characters as in Paris. The "Puritani Season" is still remembered by old habitués, as one of the most brilliant of these latter days. Rubini's romance in the first act A te o cara, Grisi's Polonaise, Son vergin vezzosa and the grand duet for Tamburini and Lablache, produced the greatest enthusiasm in all our musical circles, and the last movement of the duet was treated by "arrangers" for the piano, in every possible form. This is the movement, (destined, too soon, to find favour in the eyes of omnibus conductors, and all the worst amateurs of the cornet), of which Rossini wrote from Paris to a friend at Milan; "I need not describe the duet for the two basses, you must have heard it where you are."

I Puritani was Bellini's last opera. The season after its production he retired to the house of a Mr. Lewis at Puteaux, and there, while studying his art with an ardour which never deserted him, was attacked by a fatal illness. "From his youth up," says Mr. J. W. Mould, in his interesting "Memoir of Bellini;" "Vincenzo's eagerness in his art was such as to keep him at the piano day and night, till he was obliged forcibly to leave it. The ruling passion accompanied him through his short life, and by the assiduity with which he pursued it, brought on the dysentery, which closed his brilliant career, peopling his last hours with the figures of those to whom his works were so largely indebted for their success. During the moments of delirium which preceded his death, he was constantly speaking of Lablache, Tamburini and Grisi, and one of his last recognisable impressions was, that he was present at a brilliant representation of his last opera, at the Salle Favart. His earthly career closed on Wednesday, the 23rd of September, 1835."

BELLINI'S DEATH

Thus died Bellini, in the twenty-ninth year of his age. Immediately after his death, and on the very eve of his interment, the Théâtre Italien re-opened with the Puritani. "The work," says the writer from whom I have just quoted, "was listened to throughout with a sad attention, betraying evidently how the general thoughts of both audience and artists were pre-occupied with the mournful fate of him so recently amongst them, now extended senseless, soulless, and mute, upon his funeral bier. The solemn and mournful chords which commence the opera, excited a sorrowful emotion in the breasts of both those who sang and those who heard. The feeling in which the orchestra and chorus participated, ex-tended itself to the principal artists concerned, and the foremost amongst them displayed neither that vigour nor that neatness of execution which Paris was so accustomed to accept at their hands; Tamburini in particular, was so broken down by the death of the young friend, whose presence amongst them spurred the glorious quartett on the season before, to such unprecedented exertions, that his magnificent organ, superb vocalisation were often considerably at fault during the evening, and his interrupted accent, joined to the melancholy depicted on the countenances of Grisi, Rubini, and Lablache, sent those to their homes with an aching heart who had presented themselves to that evening's hearing of I Puritani, previously disposed, moreover, to attend the mournful ceremony of the morrow."

A committee of Bellini's friends, including Rossini, Cherubini, Paer, and Carafa, undertook the general direction of the funeral of which the musical department was entrusted to M. Habeneck the chef d'orchestre of the Académie Royale. The expenses of the ceremony were defrayed by M. Panseron, of the Théâtre Italien. The most remarkable piece for the programme of the funeral music, was a lacrymosa for four voices, without accompaniment, in which the text of the Latin hymn was united to the beautiful melody (and of a thoroughly religious character), sung by the tenor in the third act of the Puritani. This lacrymosa was executed by Rubini, Ivanoff, Tamburini, and Lablache. The service was performed in the church of the Invalides, and Bellini's remains were interred in the cemetery of Père la Chaise.

Rossini had always shown the greatest affection for Bellini; and Rosario Bellini, a few weeks after his son's death, wrote a letter to the great composer, thanking him for the almost paternal kindness which he had shown to young Vincenzo during his lifetime, and for the honour he had paid to his memory when he was no more. After speaking of the grief and despair in which the loss of his beloved son had plunged him, the old man expressed himself as follows: —

"You always encouraged the object of my eternal regret in his labours; you took him under your protection; you neglected nothing that could increase his glory and his welfare. After my son's death what have you not done to honour his memory and render it dear to posterity! I learnt this from the newspapers; and I am penetrated with gratitude for your excessive kindness, as well as for that of a number of distinguished artistes, which also I shall never forget. Pray, sir, be my interpreter, and tell these artistes that the father and family of Bellini, as well as our compatriots of Catana, will cherish an imperishable recollection of this generous conduct. I shall never cease to remember how much you did for my son; I shall make known everywhere, in the midst of my tears, what an affectionate heart belongs to the great Rossini; and how kind, hospitable, and full of feeling are the artistes of France."

BELLINI AND DONIZETTI

If we compare Bellini with Donizetti, we find that the latter was the more prolific of the two, judging simply by the number of works produced; inasmuch as Donizetti, at the age of twenty-eight, had already produced thirteen operas; whereas the number of Bellini's dramatic works, when he died in his twenty-ninth year, amounted only to nine. But of the baker's dozen thrown off by Donizetti at so early an age, not one made any impression on the public, or on musicians, such as was caused by I Capuletti, or Il Pirata, or La Straniera, to say nothing of I Puritani, which, in the opinion of many good judges, holds forth greater promise of dramatic excellence than is contained in any other of Bellini's works, including those masterpieces in two such different styles, La Sonnambula and Norma. When Donizetti had been composing for a dozen years, and had produced thirty one operas (Anna Bolena was his thirty-second), he had still written nothing which could be ranked on an equality with Bellini's second-rate works, such as Il Pirata and I Capuletti; and during the second half of Donizetti's operatic career, not one work of his in three met with the success which (Beatrice alone excepted) attended all Bellini's operas, as soon as Bellini had once passed that merely experimental period when, to fail, is, for a composer of real ability, to learn how not to fail a second time. I do not say that the composer of Lucrezia, Lucia, and Elisir d'Amore is so vastly inferior to the composer of La Sonnambula and Norma; but, simply, that Donizetti, during the first dozen years of his artistic life, did not approach the excellence shown by the young Bellini during the nine years which made up the whole of his brief musical career. More than that, Donizetti never produced a musical tragedy equal to Norma, nor a musical pastoral equal to La Sonnambula; while, dramatic considerations apart, he cannot be compared to Bellini as an inventor of melody. Indeed, it would be difficult in the whole range of opera to name three works which contain so many simple, tender, touching airs, of a refined character, yet possessing all the elements of popularity (in short, airs whose beauty is universally appreciable) as Norma, La Sonnambula, and I Puritani. The simplicity of Bellini's melodies is one of their chief characteristics; and this was especially remarkable, at a time when Rossini's imitators were exaggerating the florid style of their model in every air they produced.