"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!
