This historic book may have numerous typos or missing text. Not indexed. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1872. Not illustrated. Excerpt: ... CHAPTER III. 1840--41. The operatic season of 1840 commenced with a performance of a now entirely and deservedly forgotten opera by Donizetti, Torquato Tasso; but which was then somewhat popular and hackneyed because of its prettiness, in contrast with the grim and gloomy Parisina, and also with the similarly-constructed Lucrezia--a work that has lived, in spite of its numerous defects, chiefly because of what was made of the heroine by Grisi. The Torquato Tasso was brought forward avowedly for the purpose of introducing a temporary prima donna, a Mdlle. de Varny, and Signor Coletti, an artiste who afterwards, as it will be seen, became famous during the seasons his engagement was continued at Her Majesty's Theatre. The lady produced no great impression, but the gentleman made for himself a position immediately, not only because of his prepossessing face and figure, but because his demeanour was gentlemanly, and his voice, a baritone, good, and more especially since he Filippo Coletti was a Koman by birth, having been born in the Imperial city in J 811. He enjoyed in his musical studies the advantage of being taught for a short time by M. Busti, a professor of singing at the Royal College at Naples. He dibuted at the Fondo Theatre in 1834, II Turco in Italia being the opera selected for the occasion. Afterwards he sang at the San Carlo in La Straniera and the Most. Having made a reputation, he went the round of all the great opera-houses of the Continent, and came to London in 1840. Here he sustained his position for a few years with undeviating success. See Ffetis's Biographie Universelle des Musiciens, tom. ii. p. 334. SIGNORA TOSrs ENGAGEMENT. ST also "sang with ease, finish, truth in time, and delicacy of expression." Slowly and by no means successful...