s far as that generation was concerned, it was only just beginning. "Tancredi" has, in the present day, somewhat of an old-fashioned, or rather, let us say, antique character. Many of the

seria, and it is the first work by which he became known abroad. A very few ye

ive broken here and there by airs for a single voice. The opera buffa was richer in concerted music; and Rossini, speaking broadly, introduced the forms of opera buffa into opera seria. For much declamation he substituted singing; for endless monologues and duologues, ensembles connected and supported by a brilliant orchestra. The bass singer was still kept somewhat in the bac

e sufficed to ensure it a large measure of success. All who heard the opera must, consciously or unconsciously, have felt the effect of Rossini's admirable innovations; but what chiefly excited the enthusiasm of the public was the beauty of the melodies. All Venice sang the airs from "Tancredi," the gondoliers made them into serenades; Ros

sed to enter; and it was not at all certain that by way of a practical joke on their side, they would not hiss a work which the composer meant this time to be enthusiastically applauded. The manager of the Mosè, moreover, was now an enemy of Rossini, and, indep

a to preside at its representation three successive times; but Rossini

entrance to the orchestra and taking his seat on the conductor's chair. The crescendo, a means not invented by Rossini, but employed by him more persistently and with more success, than by any other composer, produced an effect which was repeated a

e mind with thoughts and visions of noble deeds; nor does it present the slightest picture of the crusades as a modern programme-overture (with the aid of the programme) might do. But it caused the Venetians to forget the affair

in Paisiello's "Re Teodoro." But the great maker of crescendo movements before Rossini was Mosca, who circulated numerous copies of one of his pieces containing crescendo effects, by way of proving his exclusive right to manufa

must somewhat have alarmed him, when, the day before "Tancredi" was to be produced, he found th

necessary to please her; and Rossini went away from the theatre wondering

minutes necessary for frying and serving the rice, Rossini had begun to note down an air. The beautiful melody afterwards known as "Di tanti palpiti" had occurred to him; and this he had made the principal subject of the air to be sung by the fortunate Madame Malanotte on makin

formed any part of it-certainly not in its present shape and setting. Berlioz is said to have admired the music of the Russi

es so well the joy of meeting after a long absence, is taken from a Greek litany; Rossini had heard it s

with the celebrated Pasta, who played the part of Tancredi as long as she remained on the stage, and whose favourite piece, after she had left it, to appear only at concerts, was still "Di tanti palpiti?" It has been seen that Madam

probably Madame Sontag, who appeared in tha