Volume 6 — Translated From The German. Bellini's Romance.

I was a guest at a pleasant country festival at Eisenberg, a few hours' ride from Dresden, at the close of September, 1835. The post-boy brought me a letter that caused me to order my horse saddled immediately. It was a brief note from my friend J. P. Pixis, informing me that La Sonnambula was to be performed that evening; my favorite songstress, Francilla ———, in the part of Amina. I was more than half in love with that enchantress, and trembled with delight at the prospect of seeing her, while I took a hasty leave of my rural entertainers.

I arrived in time, but would not call upon Francilla till after the opera; not until the next morning, for I wished to see her alone. I was early at the door of her lodgings in Castle street. When she came into the drawing-room and advanced to greet me, I was startled to see her pale, with eyes red with weeping. I gazed anxiously on her face, pressing the hand she held out to me in silence, for my emotion was too great for speech. She asked quietly if I had witnessed the last evening's representation. I assured her I had, and endeavored to express my rapturous appreciation of her singing. But my praises were dashed with gloom as I saw her so sadly altered. "It is no wonder I am dejected," she replied to my questioning looks. "We have all cause to mourn."

"What has happened?"

"Alas!" she faltered, weeping afresh, "Bellini is dead!"

I had not heard the fatal news. Bellini! the glorious composer of the noble work that had so delighted me a few hours before! So admirable an artist—so young—so much honored and beloved! I could have wept with Francilla.

After a few moments' silence, she wiped her eyes, then rose, and took a volume from the table. It was her album, for which I had sent her a drawing—a sketch of her fair self as Romeo, at the moment when Juliet calls on his name in the tomb, while he thinks it the voice of an angel from the skies.

We turned over the leaves of the album, lingering as we came to the different autographs. Francilla's soft, languishing eyes kindled with haughty fire as we noted the bold, rude characters traced by the hand of Judith Pasta; and when we came to the signature of Countess Rossi, her expressive features were lighted with a tender smile.

One letter was written by her Uncle Pixis in Prague. She stopped to give me an account of his family. Turning the leaves and talking rapidly, she paused of a sudden, and I saw two names recorded opposite each other—those of Vincenzo Bellini and Maria Malibran. Bellini had written a passage from the Capuletti.

Francilla signed for me to give her my pencil—it was one she had given me—and drew a large cross under Bellini's signature. Her look was intensely significant. Her silence was strangely prolonged. At last I asked, merely to say something: "Why is it, Francilla, that, in the last act of the Capuletti, you use Vaccai's music instead of Bellini's? Bellini's composition, as a whole, is superior, and the close far more touching. I never could understand why a celebrated vocalist like yourself should prefer the tamer close of Vaccai."

Francilla looked earnestly in my face, but did not answer for some time. At length, fixing her eyes on the cross she had pencilled, she said, in a tone of deepest solemnity: "I will tell you a story, my friend, and you will see then how much our poor friend suffered. Neither Maria nor I could sing his last act; you shall know why."

"Madame Malibran, too?" I exclaimed.

She interrupted me with a gesture enjoining silence. "You know," she said, "though of fair complexion and blue eyes, Bellini was born at the foot of Etna. You have yourself described him to me as effeminate and a little foppish; but he was a genuine son of Sicily, and he glowed with the warmth of the south, notwithstanding his gentleness and weakness. That was a wonderful nature of his! It was not, like Sicily's volcano, spread over luxuriant meadows, through woods and snow-fields, across a lava waste to the brink of the fiery abyss; nor was it like the Hecla of your own land, where eternal fire burns under eternal ice. He reminded me of an English garden tastefully laid out, with smooth walks and quiet streams, delicate flowers and quaint shrubbery, fountains and fluted shafts; beneath which glowed an abyss of fire! That was Bellini; under his sentimental culture burned a quenchless flame—the love of art, fed by another love—for Malibran!"

"You amaze me, Francilla," I exclaimed. "His passion for art was one for Maria, too. How could he help it? Was it not she who inspired his wondrous creations with their irresistible charm? Was she not his soul of all other performers in the operas? 'What will Malibran say to it?' was Bellini's question concerning everything he composed. She was his queen of art, his muse, his ideal! Life without her was gloom. How can Malibran survive him? Your own imagination, Francilla," I said, "weaves this pretty romance. You know Malibran married M. Beriot."

"Do I not remember how the news of that marriage affected Vincenzo?" she retorted. "How pale he grew, how he trembled, and left the company in silence! Yet he could not have hoped to win Malibran; for she always treated him as a boy, though he was a year older than herself. But he could not have dreamed she would marry M. Beriot, who was at one time distracted for Madame Sontag."

With a pause she went on: "Bellini avoided both Maria and her husband after the marriage. If he saw M. Beriot, he went out of the way—very wisely; for in case of an encounter he might have been tempted—after the Sicilian fashion—you understand?" And with flashing eyes she swung her arm as one who gives a dagger-thrust.

"I understand the pantomime, my pretty Romeo! But your fancy carries the thing too far."

"No one knows what might have happened," she said, "in spite of Vincenzo's soft heart. It was well Malibran left Paris and went to Italy. Bellini never confided his secret to any one; but it became suspected among his friends. And Malibran must have heard of it; for she suddenly became reluctant to sang in any of Bellini's pieces. She continued, however, to represent Romeo; she could not give up that part. When the last representation of the Capuletti was given in Milan, it happened that, in the final act, when Romeo takes the poison, such a death-like shuddering seized Maria's frame, it was with great difficulty she could go through with the part. After the performance was over, she was greatly exhausted; and with emotion she declared that no power on earth should compel her to sing again the Romeo of Bellini. She adopted the part as composed by Vaccai. But she was not satisfied with that; and afterward she returned to poor Bellini's music so far as to retain the first acts of the opera. The last act she always sang as Vaccai wrote it."

"What said Vincenzo to this?"

"When he heard of it, he fell into the deepest despondency. He would neither write nor think anything more; he seemed at times to forget himself, and smiled and talked like a man who had lost his reason. All his friends noticed and lamented the change.

"One day, Lablache came to see him. He found Bellini lying listless on the sofa, pale, depressed, miserable, his eyes half-closed, indifferent to every one. The giant singer went up to him, opened his big mouth, and roared out: 'Halloa, Bellini! what are you lying there for, like an idle lout of a lazzaroni on the Molo, weary of doing nothing! Get up and go to work! Paris, France, all Europe is full of expectation as to what you are to give the world after your Norma, which your adversaries silenced. Up, I say! Do you hear me, Bellini?'

"'Indeed, I do hear you, my dear Lablache,' replied the composer in a lachrymose voice. 'I have good ears, and, if I had not, your brazen base pierces like a trumpet! Leave me, caro; leave me to myself. I am good for nothing, unless it be the dolce far niente! I have lost interest in everything!'

"'The mischief you have!' exclaimed Lablache, striking his hands together, with a tone that caused the walls to vibrate. And you—Bellini—talk thus? You, who have ever pressed on to the goal, and reached it in spite of obstacles! Are you an artist? Are you a man? Amico mio! will you be checked midway in your glorious career? Will you lose the prize fame holds out? Will you spend your life whining out loverlike complaints, like some silly Damon of his cruel Doris or Phillis? Shame on you! Such womanish pinings are unworthy of you!'

"Bellini interrupted him very gently. 'My good Lablache,' he said, 'you do me injustice! I make no complaints; I am not pining—'

"'Silence!' roared Lablache. 'You are a fool! Do you think I do not know where the shoe pinches?'

"Bellini colored deeply and cast down his eyes.

"'Have you nothing to say, Bellini?' continued Lablache. 'Don't look so stupidly like an apprehended school-boy!'

"Vincenzo sighed piteously. 'If you know all,' he replied, 'you know that she will sing nothing of my music!'

"Lablache came closer, grasped the shoulders of the young composer in his powerful hands, lifted him from the cushions of the sofa to his feet, and gave him a good shaking! Then, as he released him, he said, with flashing eyes:

"'You shall hear me sing something of yours.' He began the allegro to the duet from I Puritani, "Suoni la tromba e intrepido." His stentorian voice rang like a clarion or a martial shout. The flush of enthusiasm rushed to Bellini's pale face; the tears sprang into his eyes; at length, he threw himself into Lablache's arms, and joined his voice in the splendid song. When it was ended, he thanked his friend, and pledged his word that he would finish the composition of the entire opera in a few weeks.

"The promise was kept. Bellini worked diligently, and in the stipulated time put the opera into the hands of Lablache, who undertook to see that it should be worthily represented.

"All Paris was delighted at the announcement of the representation. The opera was splendidly cast, and the rehearsals commenced. Bellini was present at the first rehearsal; at the second, he was absent, and word came that he was ill at his country-seat at Porteaux, near the capital. They hoped he would recover in time to attend the first performance of the opera.

"All went on successfully; and a large audience attended the opening representation. The famous duet Lablache had sung was repeated and encored amid thunders of applause. Just then a murmur went round the theatre, and the applause was silenced. The news was:

"'Bellini died an hour ago, at his country-seat.'"

Francilla ceased. She closed the album, rose hastily, and went to the window. I was deeply affected, and was leaving the room quietly. But she turned round, and, bidding me stay, went and seated herself at the piano. The song was a melancholy one, sung with wonderful expression and feeling. It was a farewell to the dead.

My friend Pixis came into the room at its close, and asked what it was we were so mournful about.

I replied, "Francilla has been telling me of Bellini's unhappy love for Malibran."

"Do not believe a word of it!" cried Pixis, laughing. "She will get you up a fine romance on that chapter."

I had my doubts of its truth; yet the fact is indisputable that Bellini was always in love.

Here the pretty artist, Maschinka Schneider, came in, and the conversation was of the representation of the Capuletti, already announced. I gave advice as to improvements in the arrangement of the scenes.

I could not help remembering the sad tale my little friend had told me. I thought of it again when, a year afterward, I read in the newspapers that Malibran had died at Manchester, on the 23d of September, the same day on which Bellini had expired a year before.