CHAPTER III.
In riso e in pianto, e fra paura e speme
L' ingannatrice Donna —[1]
Gerusal. Lib., canto iv. xciv.
Now, notwithstanding the triumph both of the singer and the opera, there had been one moment in the first act, and, consequently, before the arrival of Pisani, when the scale seemed more than doubtful. It was in a chorus replete with all the peculiarities of the composer. And when this Maelstrom of Capricci whirled and foamed, and tore ear and sense through every variety of sound, the audience simultaneously recognised the hand of Pisani. A title had been given to the opera, which had hitherto prevented all suspicion of its parentage; and the overture and opening, in which the music had been regular and sweet, had led the audience to fancy they detected the genius of their favourite Paisiello. Long accustomed to ridicule and almost to despise the pretensions of Pisani as a composer, they now felt as if they had been unduly cheated into the applause with which they had hailed
- ↑ Between such contrarious mixtures of ice and fire, laughter and tears, — fear and hope, the deceiving dame —
