La Scala rang with plaudits when the opera was produced, and Bellini’s career was assured.  “I Capuletti” was his next successful opera, performed at Venice in 1829, but it never became popular out of Italy.

The significant period of Bellini’s life was in the year 1831, which produced “La Sonnambula,” to be followed by “Norma” the next season.  Both these were written for and introduced before the Neapolitan public.  In these works he reached his highest development, and by them he is best known to fame.  The opera-story of “La Sonnambula,” by Romani, an accomplished writer and scholar, is one of the most artistic and effective ever put into the hands of a composer.  M. Scribe had already used the plot both as the subject of a vaudeville and a choregraphie drama; but in Romani’s hands it became a symmetrical story full of poetry and beauty.  The music of this opera, throbbing with pure melody and simple emotion, as natural and fresh as a bed of wild flowers, went to the heart of the universal public, learned and unlearned; and, in spite of its scientific faults, it will never cease to delight future generations, as long as hearts beat and eyes are moistened with human tenderness and sympathy.  And yet, of this work an English critic wrote, on its first London presentation: 

“Bellini has soared too high; there is nothing of grandeur, no touch of true pathos in the common-place workings of his mind.  He cannot reach the opera semiseria; he should confine his powers to the musical drama, the one-act opera buffa.”  But the history of art-criticism is replete with such instances.

“Norma” was also a grand triumph for the young composer from the outset, especially as the lofty character of the Druid priestess was sung by that unapproachable lyric tragedienne, the Siddons of the opera, Madame Pasta.  Bellini is said to have had this queen of dramatic song in his mind in writing the opera, and right nobly did she vindicate his judgment, for no European audience afterward but was thrilled and carried away by her masterpiece of acting and singing in this part.

Bellini himself considered “Norma” his chef d’oeuvre.  A beautiful Parisienne attempted to extract from his reluctant lips his preference of his own works.  The lady finally overcame his evasions by the query:  “But if you were out at sea, and should be shipwrecked—­” “Ah!” he cried, without allowing her to finish.  “I would leave all the rest and try to save ‘Norma.’”

“I Puritani” was composed for and performed at Paris in 1834, by that splendid quartette of artists, Grisi, Rubini, Tamburini, and Lablache.  Bellini compelled the singers to execute after his style.  While Rubini was rehearsing the tenor part, the composer cried out in rage:  “You put no life into your music.  Show some feeling.  Don’t you know what love is?” Then changing his tone:  “Don’t you know your voice is a goldmine that has not been fully explored?  You are an excellent