“And this is what is expressed in this bold and stupendous musical poem; Rossini has stamped each nation with its fantastic individuality, for we have attributed to them a certain historic grandeur to which every imagination subscribes.  The songs of the Hebrews, and their trust in God, are perpetually contrasted with Pharaoh’s shrieks of rage and vain efforts, represented with a strong hand.

“At this moment Osiride, thinking only of love, hopes to detain his 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.