A Book of Operas | Page 7

boisterous knocking and shouting at the door, and in comes Almaviva, disguised as a cavalry soldier most obviously in his cups. He manages to make himself known to Rosina, and exchanges letters with her under the very nose of her jailer, affects a fury toward Dr. Bartolo when the latter claims exemption from the billet, and escapes arrest only by secretly making himself known to the officer commanding the soldiers who had been drawn into the house by the disturbance. The sudden and inexplicable change of conduct on the part of the soldiers petrifies Bartolo; he is literally "astonied," and Figaro makes him the victim of several laughable pranks before he recovers his wits.
Dr. Bartolo's suspicions have been aroused about the soldier, concerning whose identity he makes vain inquiries, but he does not hesitate to admit to his library a seeming music-master who announces himself as Don Alonzo, come to act as substitute for Don Basilio, who, he says, is ill. Of course it is Almaviva. Soon the ill-natured guardian grows impatient of his garrulity, and Almaviva, to allay his suspicions and gain a sight of his inamorata, gives him a letter written by Rosina to Lindoro, which he says he had found in the Count's lodgings. If he can but see the lady, he hopes by means of the letter to convince her of Lindoro's faithlessness. This device, though it disturbs its inventor, is successful, and Bartolo brings in his ward to receive her music lesson. Here, according to tradition, there stood in the original score a trio which was lost with the overture. Very welcome has this loss appeared to the Rosinas of a later day, for it has enabled them to introduce into the "lesson scene" music of their own choice, and, of course, such as showed their voices and art to the best advantage. Very amusing have been the anachronisms which have resulted from these illustrations of artistic vanity, and diverting are the glimpses which they give of the tastes and sensibilities of great prime donne. Grisi and Alboni, stimulated by the example of Catalani (though not in this opera), could think of nothing nobler than to display their skill by singing Rode's Air and Variations, a violin piece. This grew hackneyed, but, nevertheless, survived till a comparatively late day. Bosio, feeling that variations were necessary, threw Rode's over in favor of those on "Gia della mente involarmi"--a polka tune from Alary's "A Tre Nozze." Then Mme. Gassier ushered in the day of the vocal waltz--Venzano's, of amiable memory. Her followers have not yet died out, though Patti substituted Arditi's "Il Bacio" for Venzano's; Mme. Sembrich, Strauss's "Voce di Primavera," and Mme. Melba, Arditi's "Se saran rose." Mme. Viardot, with a finer sense of the fitness of things, but either forgetful or not apprehensive of the fate which befell her father at the first performance of the opera in Rome, introduced a Spanish song. Mme. Patti always kept a ready repertory for the scene, with a song in the vernacular of the people for whom she was singing to bring the enthusiasm to a climax and a finish: "Home, Sweet Home" in New York and London, "Solovei" in St. Petersburg. Usually she began with the bolero from "Les V��pres Siciliennes," or the shadow dance from "Dinorah." Mme. Seinbrich, living in a period when the style of song of which she and Mme. Melba are still the brightest exemplars, is not as familiar as it used to be when they were children, also found it necessary to have an extended list of pieces ready at hand to satisfy the rapacious public. She was wont at first to sing Proch's Air and Variations, but that always led to a demand for more, and whether she supplemented it with "Ah! non giunge," from "La Sonnambula," the bolero from "The Sicilian Vespers," "O luce di quest anima," from "Linda," or the vocalized waltz by Strauss, the applause always was riotous, and so remained until she sat down to the pianoforte and sang Chopin's "Maiden's Wish," in Polish, to her own accompaniment. As for Mme. Melba, not to be set in the shade simply because Mme. Sembrich is almost as good a pianist as she is a singer, she supplements Arditi's waltz or Massenet's "Sevillana" with Tosti's "Mattinata," to which she also plays an exquisite accompaniment.
But this is a long digression; I must back to my intriguing lovers, who have made good use of the lesson scene to repeat their protestations of affection and lay plots for attaining their happiness. In this they are helped by Figaro, who comes to shave Dr. Bartolo in spite of his protests, and, contriving to get hold of the latter's keys, "conveys" the one which opens the balcony lock, and thus makes possible a plan