s cast languishing eyes upon
himself. There is nothing for the young couple but flight, but
unfortunately as they are making their escape they are discovered, and
their secret is soon extorted. Geronimo's wrath is tremendous, but in
the end matters are satisfactorily arranged, and the amiable Robinson
after all expresses himself content with the charms of Elisetta. 'Il
Matrimonio Segreto' was produced at Vienna in 1792, and proved so very
much to the taste of the Emperor Leopold, who was present at the
performance, that he gave all the singers and musicians a magnificent
supper, and then insisted upon their performing the opera again from
beginning to end. Cimarosa was a prolific writer, the number of his
operas reaching the formidable total of seventy-six; but, save for 'Il
Matrimonio Segreto,' they have all been consigned to oblivion. Although
he was born only seven years before Mozart, and actually survived him
for ten years, he belongs entirely to the earlier school of opera buffa.
His talent is thoroughly Italian, untouched by German influence, and he
excels in portraying the gay superficiality of the Italian character
without attempting to dive far below the surface.

Even more prolific than Cimarosa was Paisiello (1741-1815), a composer
whose works, though immensely popular in their day, did not possess
individuality enough to defy the ravages of time. Paisiello deserves to
be remembered as the first man to write an opera on the tale of 'Il
Barbiere di Siviglia.' This work, though coldly received when it was
first performed, ended by establishing so firm a hold upon the
affections of the Italian public, that when Rossini tried to produce his
opera on the same subject, the Romans refused to give it a hearing.

Paer (1771-1839) belongs chronologically to the next generation, but
musically he has more in common with Paisiello than with Rossini. His
principal claim to immortality rests upon the fact that a performance
of his opera 'Eleonora' inspired Beethoven with the idea of writing
'Fidelio'; but although his serious efforts are comparatively worthless,
many of his comic operas are exceedingly bright and attractive. 'Le
Maitre de Chapelle,' which was written to a French libretto, is still
performed with tolerable frequency in Paris.

It is hardly likely that the whirligig of time will ever bring Paisiello
and his contemporaries into popularity again in England, but in Italy
there has been of late years a remarka