, in the interests of this branch of the aesthetics of vocal
art, that those competent to speak with authority will do so, in order
that in this direction also "the crooked shall be made straight, and
the rough places plain."

I admit that this question of revising the composer's written text is
an exceedingly delicate and difficult one. It should be attempted only
by those possessed of the requisite authority, those who combine tact
and taste with judgment and experience. To these qualities should be
added a sincere and reverential desire to place in the highest relief
the meaning of both poet and composer.

* * * * *

I have said that the license formerly accorded by composers to
singers--particularly operatic singers--manifested itself in a twofold
form. The second of these phases was the introduction in the body of a
theme or melody, and also at its close, of embellishments. Sometimes
the composer briefly sketched these ornaments; at other times their
places only were indicated. The ornaments in the body of an air are
known as _abbellimenti_ or _fioriture_; those at its close, as
_cadenze_.

Here is an example of the former, taken from the duet in _Elisa e
Claudio_ by Mercadante:

[Music: Se un istante all'offerta d'un soglio vacillasse il mio genio
primiero.]

The following is the same passage ornamented:

[Music: Se un istante all'offerta d'un soglio vacillasse il mio genio
primiero]

(As sung by Mme. Malibran. Quoted from "_Mecanisme des Traits_," by de
La Madelaine, 1868.)

The role of Rosina in Rossini's _Il Barbiere_ has long been a
favourite peg with prime donne on which to hang interpolated ornaments
for the display of their vocal agility. Some of these are not always
in good taste, being trivial or banal in character, thus concealing
the natural charm of the original melody under a species of Henri Herz
variations. Others, however, such as those used by the Patti and the
Sembrich, for instance, are of great originality and excellent effect.

Here are some of the traditional ornaments and cadenzas sung by
certain famous singers of the past in Rosina's entrance cavatina:
"_Una voce poco fa_." This air was originally written by Rossini in
_E_ major, the part of Rosina being intended for a mezzo-soprano, and
was thus sung by the late Paulina Viardot-Garcia. This exceptionally
gifted artist, possessing a voice of very great compass, was enabled
to sing not only the ro