"Semiramide" a lyric tragedy in two acts, words by Gaetano Rossi, the subject taken from Voltaire's "Semiramis," was first produced at the Fenice, Venice, Feb. 3, 1823, with the following cast:--
SEMIRAMIDE Mme. ROSSINI-COLBRAN.
ARSACES Mme. MARIANI.
IDRENO Mr. SINCLAIR.
ASSUR Sig. GALLI.
OROE Sig. MARIANI.
On the 9th of July it was produced in French at the Academie, Paris, as "Semiramis," with Carlotta Marchisio as Semiramide, Barbara, her sister, as Arsaces, and M. Obin as Assur. At Rossini's request M. Carafa arranged the recitatives and wrote the ballet music. "Semiramide" was the last opera Rossini wrote for Italy; and so far did he depart from the conventional Italian style, that he was charged with imitating the German. It was probably for this reason that the opera when first performed did not meet with a kindly reception from the Venetians. Although he was occupied six months in negotiating for his stipulated price (one thousand dollars), he wrote the opera in three weeks. Of its first performance, a correspondent of the "Harmonicon," who was present, writes: "The first act, which lasted two hours and fifteen minutes, was received very coldly, with the exception of one passage in the overture, which overture, however, was unconscionably long. The second act, which lasted two hours and a half, began to please in an air of Mariani, but the applause was rather directed to this favorite singer. After this a duet between her and Colbran, together with an air of Galli, and particularly a terzetto between him and the two ladies, were well received. Rossini was also called for at the end of the second act. It is all over with Madame, his own wife" (Mme. Colbran), who took the title-role.
The scene of the opera is laid in Babylon, and the story briefly told is as follows: Ninus, the King of Babylon, has been murdered by his Queen, Semiramis, aided by Assur, a prince enamoured of her and aspiring to the throne. One of the Queen's warriors, Arsaces, supposed to be of Scythian origin, but in reality her own son, returns from a foreign expedition and is loaded with honors for the victory he has won. Semiramis, ignorant of his parentage, has a secret passion for him, he in the mean time being devoted to Azema, one of the princesses royal. As all gather together in the temple to swear allegiance to the Queen, the gates of Ninus's tomb suddenly open, and his ghost appears and announces that Arsaces will be the successor to the crown. At midnight Semiramis, Assur, and Arsaces meet at the tomb, and by mistake Assur stabs her instead of Arsaces, who in turn kills Assur, and, all obstacles being removed, is united to Azema and ascends the throne.
An introductory chorus of Babylonians and a terzetto by Idreno, Assur, and Oroe open the opera and lead up to the first appearance of Semiramis, which is followed by a very dramatic quartet ("Di tanti regi"). In the fourth scene Arsaces has a very brilliant aria ("O! come da quel di"), which also did service in one or two of Rossini's other operas, and is followed by a very animated duet ("Bella imago degli dei") between himself and Assur. The eighth scene is introduced by a graceful female chorus which leads to Semiramis's brilliant and well-known aria, "Bel raggio." In the tenth scene occurs an elegant duet ("Serbami agnor si fido"), followed in the next scene by a stately priests' march and chorus ("Ergi omai la fronte altera"), set to ecclesiastical harmony and accompanied by full military band as well as orchestra, this being the first instance where a military band was used in Italian opera. It leads to the finale, where Semiramis on her throne announces to her people her choice for their future king. The oath of allegiance follows in an impressive quartet with chorus ("Giuro al numi"), and a defiant aria by the Queen leads to the sudden appearance of the ghost of Ninus, accompanied by characteristic music repeated in quintet with chorus. As the ghost speaks, the statue scene in Don Giovanni is inevitably recalled, especially in some phrases which are literally copied.
The second act opens with a vindictively passionate duet ("Assur, icenni mici") between Assur and Semiramis, closing with a fierce outburst of hatred ("La forza primiera"). The scene is a very long and spirited one, and is followed by a second chorus of priests, leading to a great aria with chorus ("Ah! tu gelar mi fai") for Arsaces. In the fifth scene occurs a long duet between Arsaces and Semiramis, the second part of which ("Giorno d'orrore") is the strongest number in the opera. Though intensely passionate in its tone, the music is smooth and flowing and very florid for both voices. The seventh scene is composed of a scena, aria and chorus, followed by still another chorus in the mausoleum. Semiramis sings a prayer of great pathos and beauty ("Ah mio pregar"). A terzetto ("L'usato ardir"), which like the mausoleum chorus is based upon an aria from Mozart's "Cosi fan tutti," closes the opera. "The Harmonicon," to which reference has already been made, in an analysis of the work, has the following apt criticism: "It has been said, and truly, that 'Semiramide' is composed in the German style, but it is the German style exaggerated. Rossini is become a convert to this school, and his conversion does his judgment credit, though like all proselytes he passes into extremes. Not satisfied with discarding the meagre accompaniments of the Italian composers, he even goes far beyond the tramontane masters in the multitude and use of instruments, and frequently smothers his concerted pieces and choruses by the overwhelming weight of his orchestra." But what would the "Harmonicon" have said, had it had Wagner's instrumentation before it?
