massimilla doni-第14节

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mistress　by　the　memories　of　their　joys　as　lovers；　he　wants　to　conquer
the　attractions　of　her　feeling　for　her　people。　Here；　then；　you　will
find　delicious　languor；　the　glowing　sweetness；　the　voluptuous
suggestions　of　Oriental　love；　in　the　air　'/Ah！　se　puoi　cosi
lasciarmi/；'　sung　by　Osiride；　and　in　Elcia's　reply；　'/Ma　perche　cosi
straziarmi？/'　No；　two　hearts　in　such　melodious　unison　could　never
part；〃　she　went　on；　looking　at　the　Prince。

〃But　the　lovers　are　suddenly　interrupted　by　the　exultant　voice　of　the
Hebrew　people　in　the　distance；　which　recalls　Elcia。　What　a　delightful
and　inspiriting　/allegro/　is　the　theme　of　this　march；　as　the
Israelites　set　out　for　the　desert！　No　one　but　Rossini　can　make　wind
instruments　and　trumpets　say　so　much。　And　is　not　the　art　which　can
express　in　two　phrases　all　that　is　meant　by　the　'native　land'
certainly　nearer　to　heaven　than　the　others？　This　clarion…call　always
moves　me　so　deeply　that　I　cannot　find　words　to　tell　you　how　cruel　it
is　to　an　enslaved　people　to　see　those　who　are　free　march　away！〃

The　Duchess'　eyes　filled　with　tears　as　she　listened　to　the　grand
movement；　which　in　fact　crowns　the　opera。

〃/Dov'　e　mai　quel　core　amante/；〃　she　murmured　in　Italian；　as　la　Tinti
began　the　delightful　/aria/　of　the　/stretto/　in　which　she　implores
pity　for　her　grief。　〃But　what　is　the　matter？　The　pit　are
dissatisfied〃

〃Genovese　is　braying　like　a　stage；〃　replied　the　Prince。

In　point　of　fact；　this　first　duet　with　la　Tinti　was　spoilt　by
Genovese's　utter　breakdown。　His　excellent　method；　recalling　that　of
Crescentini　and　Veluti；　seemed　to　desert　him　completely。　A　/sostenuto/
in　the　wrong　place；　an　embellishment　carried　to　excess；　spoilt　the
effect；　or　again　a　loud　climax　with　no　due　/crescendo/；　an　outburst　of
sound　like　water　tumbling　through　a　suddenly　opened　sluice；　showed
complete　and　wilful　neglect　of　the　laws　of　good　taste。

The　pit　was　in　the　greatest　excitement。　The　Venetian　public　believed
there　was　a　deliberate　plot　between　Genovese　and　his　friends。　La　Tinti
was　recalled　and　applauded　with　frenzy　while　Genovese　had　a　hint　or
two　warning　him　of　the　hostile　feeling　of　the　audience。　During　this
scene；　highly　amusing　to　a　Frenchman；　while　la　Tinti　was　recalled
eleven　times　to　receive　alone　the　frantic　acclamations　of　the　house；
Genovese；　who　was　all　but　hissed；　not　daring　to　offer　her　his　hand；
the　doctor　made　a　remark　to　the　Duchess　as　to　the　/stretto/　of　the
duet。

〃In　this　place；〃　said　he；　〃Rossini　ought　to　have　expressed　the　deepest
grief；　and　I　find　on　the　contrary　an　airy　movement；　a　tone　of　ill…
timed　cheerfulness。〃

〃You　are　right；〃　said　she。　〃This　mistake　is　the　result　of　a　tyrannous
custom　which　composers　are　expected　to　obey。　He　was　thinking　more　of
his　prima　donna　than　of　Elcia　when　he　wrote　that　/stretto/。　But　this
evening；　even　if　la　Tinti　had　been　more　brilliant　than　ever；　I　could
throw　myself　so　completely　into　the　situation；　that　the　passage；
lively　as　it　is；　is　to　me　full　of　sadness。〃

The　physician　looked　attentively　from　the　Prince　to　the　Duchess；　but
could　not　guess　the　reason　that　held　them　apart；　and　that　made　this
duet　seem　to　them　so　heartrending。

〃Now　comes　a　magnificent　thing；　the　scheming　of　Pharaoh　against　the
Hebrews。　The　great　/aria　'A　rispettarmi　apprenda'/　（Learn　to　respect
me）　is　a　triumph　for　Carthagenova；　who　will　express　superbly　the
offended　pride　and　the　duplicity　of　a　sovereign。　The　Throne　will
speak。　He　will　withdraw　the　concessions　that　have　been　made；　he　arms
himself　in　wrath。　Pharaoh　rises　to　his　feet　to　clutch　the　prey　that　is
escaping。

〃Rossini　never　wrote　anything　grander　in　style；　or　stamped　with　more
living　and　irresistible　energy。　It　is　a　consummate　work；　supported　by
an　accompaniment　of　marvelous　orchestration；　as　indeed　is　every
portion　of　this　opera。　The　vigor　of　youth　illumines　the　smallest
details。〃

The　whole　house　applauded　this　noble　movement；　which　was　admirably
rendered　by　the　singer；　and　thoroughly　appreciated　by　the　Venetians。

〃In　the　/finale/；〃　said　the　Duchess；　〃you　hear　a　repetition　of　the
march；　expressive　of　the　joy　of　deliverance　and　of　faith　in　God；　who
allows　His　people　to　rush　off　gleefully　to　wander　in　the　Desert！　What
lungs　but　would　be　refreshed　by　the　aspirations　of　a　whole　nation
freed　from　slavery。

〃Oh；　beloved　and　living　melodies！　Glory　to　the　great　genius　who　has
known　how　to　give　utterance　to　such　feelings！　There　is　something
essentially　warlike　in　that　march；　proclaiming　that　the　God　of　armies
is　on　the　side　of　these　people。　How　full　of　feeling　are　these　strains
of　thanksgiving！　The　imagery　of　the　Bible　rises　up　in　our　mind；　this
glorious　musical　/scena/　enables　us　to　realize　one　of　the　grandest
dramas　of　that　ancient　and　solemn　world。　The　religious　form　given　to
some　of　the　voice　parts；　and　the　way　in　which　they　come　in；　one　by
one；　to　group　with　the　others；　express　all　we　have　ever　imagined　of
the　sacred　marvels　of　that　early　age　of　humanity。

〃And　yet　this　fine　concerted　piece　is　no　more　than　a　development　of
the　theme　of　the　march　into　all　its　musical　outcome。　That　theme　is　the
inspiring　element　alike　for　the　orchestra　and　the　voices；　for　the　air；
and　for　the　brilliant　instrumentation　that　supports　it。

〃Elcia　now　comes　to　join　the　crowd；　and　to　give　shade　to　the　rejoicing
spirit　of　this　number；　Rossini　has　made　her　utter　her　regrets。　Listen
to　her　/duettino/　with　Amenofi。　Did　blighted　love　ever　express　itself
in　lovelier　song？　It　is　full　of　the　grace　of　a　/notturno/；　of　the
secret　grief　of　hopeless　love。　How　sad！　how　sad！　The　Desert　will
indeed　be　a　desert　to　her！

〃After　this　comes　the　fierce　conflict　of　the　Egyptians　and　the
Hebrews。　All　their　joy　is　spoiled；　their　march　stopped　by　the　arrival
of　the　Egyptians。　Pharaoh's　edict　is　proclaimed　in　a　musical　phrase；
hollow　and　dread；　which　is　the　leading　/motif/　of　the　/finale/；　we
could　fancy　that　we　hear　the　tramp　of　the　great　Egyptian　army；
surrounding　the　sacred　phalanx　of　the　true　God；　curling　round　it；　like
a　long　African　serpent　enveloping　its　prey。　But　how　beautiful　is　the
lament　of　the　duped　and　disappointed　Hebrews！　Though；　in　truth；　it　is
more　Italian　than　Hebrew。　What　a　superb　passage　introduces　Pharaoh's
arrival；　when　his　presence　brings　the　two　leaders　face　to　face；　and
all　the　moving　passions　of　the　drama。　The　conflict　of　sentiments　in
that　sublime　/ottetto/；　where　the　wrath　of　Moses　meets　that　of　the　two
Pharaohs；　is　admirable。　What　a　medley　of　voices　and　of　unchained
furies！

〃No　grander　subject　was　ever　wrought　out　by　a　composer。　The　famous
/finale/　of　/Don　Giovanni/；　after　all；　only　shows　us　a　libertine　at
odds　with　his　victims；　who　invoke　the　vengeance　of　Heaven；　while　here
earth　and　its　dominions　try　to　defeat　God。　Two　nations　are　here　face
to　face。　And　Rossini；　having　every　means　at　his　command；　has　made
wonderful　use　of　them。　He　has　succeeded　in　expressing　the　turmoil　of　a
tremendous　storm　as　a　background　to　the　most　terrible　imprecations；
without　making　it　ridiculous。　He　has　achieved　it　by　the　use　of　chords
repeated　in　triple　timea　monotonous　rhythm　of　gloomy　musical
emphasisand　so　persistent　as　to　be　quite　overpowering。　The　horror　of
the　Egyptians　at　the　torrent　of　fire；　the　cries　of　vengeance　from　the
Hebrews；　needed　a　delicate　balance　of　masses；　so　note　how　he　has　made
the　development　of　the　orchestral　parts　follow　that　of　the　chorus。　The
/allegro　assai/　in　C　minor　is　terrible　in　the　midst　of　that　deluge　of
fire。

〃Confess　now；〃　said　Massimilla；　at　the　moment　when　Moses；　lifting　his
rod；　brings　down　the　rain　of　fire；　and　when　the　composer　puts　forth
all　his　powers　in　the　orchestra　and　on　the　stage；　〃that　no　music　ever
more　perfectly　expressed　the　idea　of　distress　and　confusion。〃

〃They　have　spread　to　the　pit；〃　remarked　the　Frenchman。

〃What　is　it　now？　The　pit　is　certainly　in　great　excitement；〃　said　the
Duchess。

In　the　/finale/；　Genovese；　his　eyes　fixed　on　la　Tinti；　had　launched
into　such　preposterous　flourishes；　that　the　pit；　indignant　at　this
interference　with　their　enjoyment；　were　at　a　height　of　uproar。　Nothing
could　be　more　exasperating　to　Italian　ears　than　this　contrast　of　good
and　bad　singing。　The　manager　went　so　far　as　to　appear　on　the　stage；　to
say　that　in　reply　to　his　remarks　to　his　leading　singer；　Signor
Genovese　had　replied　that　he　knew　not　how　or　by　what　offence　he　had
lost　the　countenance　of　the　public；　at　the　very　moment　when　he　was
endeavoring　to　achieve　perfection　in　his　art。

〃Let　him　be　as　bad　as　he　was　yesterdaythat　was　good　enough　for　us！〃
roared　Capraja；　in　a　rage。

This　suggestion　put　the　house　into　a　good　humor　again。

Contrary　to　Italian　custom；　the　ballet　was　not　much　attended　to。　In
every　box　the　only　subject　of　conversation　was　Genovese's　strange
behavior；　and　the　luckless　manager's　speech。　Those　who　were　admitted
behind　the　scenes　went　off　at　once　to　inquire　into　the　mystery　of　this
performance；　and　it　was　presently　rumored　that　la　Tinti　had　treated
her　colleague　Genovese　to　a　dreadful　scene；　in　which　she　had　accused
the　tenor　of　being　jealous　of　her　success；　of　having　hindered　it　by
his　ridiculous　behavior；　and　even　of　trying　to　spoil　her　performance
by　acting　p