school, in contrast to Alessandro Scarlatti, the founder of the Italian school of music. But as regards the opera, Germany inherited from Scarlatti almost as much as Italy herself. I

nks to the liberality of Augustus of Saxony, better connoisseur than king, was abl

the symphonists, is that of Naples. But the orchestra of the Opera of the King of Poland at D

, between Joseph II., who presided at the production of Mozart's "Nozze di Figaro," Catherine II., who invited Paisiello and Cimarosa to her court, and Frederic, the great flute player and general director of the ope

presario of the San Carlo at Naples, who had also undertaken the management of the Teatro del Fondo in the

the general sense of the word-though he had kept the bank in the gambling saloon of La Scala at Milan. Previously he had fulfilled the less lucrative duties of waiter at the La Scala café; and he is

"le Nozze di Figaro," "Don Giovanni," or even "Fidelio." But he could tell a successful from an unsuccessful comp

a biography to himself, and certainly no one could have furnished better materials for a biography of Rossini, w

introduces him into one of his ingenious opera-books ("La Sirène," is i

telegraph, he might have directed half the opera houses in Europe. As it was, he conte

ors; Lablache, Bassi (Niccolo), Ambroggi, Tamburini, Botticelli, as basses; Mesdames Mainvielle-Fodor, Colbran, Féron, Mombelli (Est

rality of an intelligent speculator dealing with an evidently rising artist, offe

to arrange the music of all old works the manager might wish to produce, either at the San Carlo or at the Teatro del Fondo. For this the ma

Milan. In point of fact, Rossini had now something more to do than compose operas; he had undertaken the musical direction of two opera houses, one of which was the most important in Europe. In addition to his own work as composer

was expected of him to perfection, and ended by marrying

eady have seen her best days when Rossini first met her at Naples in 1815; for she was born at Madrid in 1785. But only women of the happiest organisation succeed as

Paris in 1801, together with the celebrated violinist, Rode. Rossini wrote as many as ten parts for her,

at one time quite a party word among the royalists at Naples. Those who admired the king made a point of applauding his fav

m a Royalist,"

on all matters connected with Rossini's name, did not much admire Mademoiselle Colbran's voice, wh

olbran used to get hissed; but the discomfiture of the popula

pprobation openly, would leave the theatre in a body,

from his temperament. Plots and stratagems were not to his

rty. Indeed, without having the least affection for brawlers and Red Republicans, Rossini may all the same have felt an antipathy for the Austrian domination in Italy. Without entering too far

ction he was reported to have had with the Austrian governor of

ini. The Austrian governor was a great dilettante, and rather piqued himself on his musical knowledge; so, on going to him for a passport, Rossini,

r. He called to one of his secretaries to make out Rossini's passport forthwith, thanked the composer cordially for his att

n arranged for the regimental orchestra, and the same evening was pla

mance was decidedly effective; but Rossini had started some hours before, and the

the list of Rossini's works, from which he will see that R