tal frankness not uncommon in English
criticism.

When Rossini arrived in Paris he was almost immediately appointed
director of the Italian Opera by the Duc de Lauriston. With this and the
Academie he remained connected till the revolution of 1830. "Le Siege
de Corinthe," adapted from his old work, "Maometto II.," was the first
opera presented to the Parisian public, and, though admired, did not
become a favorite. The French _amour propre_ was a little stung when it
was made known that Rossini had simply modified and reshaped one of his
early and immature productions as his first attempt at composition in
French opera. His other works for the French stage were "Il Viaggio a
Rheims," "Le Comte Ory," and "Guillaume Tell."

The last-named opera, which will ever be Rossini's crown of glory as a
composer, was written with his usual rapidity while visiting the chateau
of M. Aguado, a country-seat some distance from Paris. This work, one of
the half-dozen greatest ever written, was first produced at the Academie
Royale on August 3, 1829. In its early form of libretto it had a run of
fifty-six representations, and was then withdrawn from the stage; and
the work of remodeling from five to three acts, and other improvements
in the dramatic framework, was thoroughly carried out. In its new form
the opera blazed into an unprecedented popularity, for of the greatness
of the music there had never been but one judgment. Fetis, the eminent
critic, writing of it immediately on its production, said, "The work
displays a new man in an old one, and proves that it is in vain to
measure the action of genius," and follows with, "This production opens
a new career to Rossini," a prophecy unfortunately not to be realized,
for Rossini was soon to retire from the field in which he had made such
a remarkable career, while yet in the very prime of his powers.

"Guillaume Tell" is full of melody, alike in the solos and the massive
choral and ballet music. It runs in rich streams through every part of
the composition. The overture is better known to the general public
than the opera itself, and is one of the great works of musical art.
The opening andante in triple time for the five violoncelli and double
basses at once carries the hearer to the regions of the upper Alps,
where amid the eternal snows Nature sleeps in a peaceful dream. We
perceive the coming of the sunlight, and the hazy atmosphere clearing
away before the newborn day. In the next m