French taste, and was bent on repaying our hospitality with so magnificent a masterpiece?
But the career thus splendidly inaugurated was not destined to be pursued; circumstances, political and domestic, stopped him on the threshold. He was anxious to visit once more the city in which his beloved mother died in 1827, and where his father, who had soon tired of Paris, was awaiting him. With this view he resigned his office as inspector of singing in Prance, and made an arrangement with the Government of Charles X., dating from the beginning of 1829, by which he bound himself for ten years to compose for no other stage but that of France, and to write and bring out an opera every two years, receiving for each such opera the sum of 15,000 francs. In the event of the Government failing to carry out the arrangement he was to receive a retiring pension of 6000 francs. 'Guillaume Tell' was thus to be the first of a series of five operas.
After a serenade from the opera orchestra, Rossini, therefore, left Paris for Bologna. Here he was engaged in considering the subject of 'Faust,' with a view to his next work, when he received the sudden news of the abdication of Charles X., and the revolution of July 1830. The blow shattered his plans and dissipated his fondest hopes. He flattered himself that he had regenerated the art of singing in France. What would become of it again under a king who could tolerate no operas but those of Grétry? Anxious to know if his friend Lubbert was still at the head of the Académie de Musique, and if the new Intendant of the Civil List would acknowledge the engagements of his predecessor, he returned to Paris in Nov. 1830; and intending only to make a short stay, took up his quarters in the upper storey of the Théâtre des Italiens, of which his friend Severini was then director. Here however he was destined to remain till Nov. 1836. The new government repudiated the agreement of its predecessor, and Rossini had to carry his claim into the law-courts. Had his law-suit alone occupied him, it would not have been necessary to stay quite so long, for it was decided in his favour in Dec. 1835. But there was another reason for his remaining in Paris, and that was his desire to hear 'The Huguenots,' and ascertain how far Meyerbeer's star was likely to eclipse his own. It is impossible to believe that a mere money question could have detained him so long at a time when almost every day must have brought fresh annoyances. After reducing 'Guillaume Tell' from five acts to three, they carried their love of compression so far as to give only one act at a time, as a lever de rideau, or accompaniment to the ballet. This was indeed adding insult to injury. 'I hope you won't be annoyed,' said the Director of the Opera to him one day on the boulevard, 'but to-night we play the second act of Tell.' 'The whole of it?' was the reply. How much bitter disappointment must have been hidden under that reply! During the whole of this unhappy interval he only once resumed his pen, namely in 1832 for the 'Stabat Mater,' at the request of his friend Aguado, who was anxious to serve the Spanish minister Señor Valera. He composed at that time only the first six numbers, and the other four were supplied by Tadolini. The work was dedicated to Valera, with an express stipulation that it should never leave his hands. In 1834 he allowed Troupenas to publish the 'Soirées musicales,' 12 lovely vocal pieces of very original form and harmony, several of which have still retained their charm.
The rehearsals of the Huguenots lingered on, and it was not till Feb. 29, 1836, that Rossini could hear the work of his new rival. He returned to Bologna shortly after, taking Frankfort in his way, and meeting Mendelssohn.[1] He had not been long in Bologna before he heard of the prodigious success of Duprez in the revival of 'Guillaume Tell' (April 17). Such a triumph might well have nerved him to fresh exertions. But it came a year too late; he had already taken an unfortunate and irrevocable resolution never again to break silence. It would be very wrong to conclude from this that he had lost his interest in music. The care which he bestowed on the Liceo of Bologna, of which he was honorary director, show that the art still exercised all its claims on him. He was especially anxious to improve the singing of the pupils, and among; those who are indebted to his care, Marietta Alboni holds the first rank.
Rossini's father died April 29, 1839, and he soon afterwards learned to his disgust that the MS. of the Stabat had been sold by the heirs of Señor Valera, and acquired by a Paris publisher for 2000 francs. He at once gave Troupenas full power to stop both publication and performance, and at the same time completed the work by composing the last four movements, which, as we have already said, were originally added by Tadolini. The first six movements were produced at the Salle Herz, Paris, Oct. 31, 1841, amidst very great applause. Troupenas bought the entire score for 6000 francs.[2] He sold the right of performance in Paris during three months to the Escudiers for 8000, which they again disposed of to the director of the Théâtre Italien for 20,000. Thus three persons were enriched by this single work. It was performed complete for the first time at the Salle Ventadour, Jan. 7, 1842, by Grisi, Albertazzi, Mario and Tamburini.
Notwithstanding its brilliant success, some critics were found to accuse the composer of importing the strains of the theatre into the church; but it must not be forgotten that religion in the South is a very different thing from what it is in the North. Mysticism could have no place in the mind of the man who had revived and immortalised the legend of Comte Ory. Such a man will naturally utter his prayers aloud, in the sunshine of noon, rather than breathe them to himself in the gloom and mystery of night. The
