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'Gaetano Donizetti' (1797-1848) was an extraordinary figure in the history of music. His life was even more eventful than that of his great Italian predecessors, Bellini and Donizetti, who were his older contemporaries. He was one of the passionate students of the Italian school of music at Rome, and remained until he was twenty-two deeply imbued with the spirit of the old masters. After this he returned to his native town of Bergamo, where he formed a connection with some of the leading singers of that day. It was then that he produced his first opera, 'La Cenerentola.' For some years he remained at his post at Bergamo, busy in revising and preparing this work. In 1821 he went to Milan, and succeeded Cuzzoni in her post of prima donna at the operatic theatre of La Scala, where he remained until 1841. His operas were listened to with the deepest interest by the whole of Europe. His melodies were much admired, and the critics soon discovered that he was the most perfect of all modern composers for displaying the highest beauty of form, while the stories and music of his operas fully justified the enthusiastic praise bestowed upon his works by his admirers. In 'La Donna del lago,' 'L'Elisir d'Amore,' and 'La Fille du Régiment' he introduced a simplicity of style which was entirely new. He saw, however, that Italian opera had become hopelessly antiquated in the hands of his predecessors, and that it must undergo a thorough reform. He set to work, with that reckless determination which has ever marked his career, to revolutionise the whole course of Italian opera. His reform was carried out in the simplest manner possible. He began by casting off the ancient forms, by which Italian opera was still bound up in the nineteenth century. He discarded the air and recitative, and introduced extensive use of the chorus. He laid aside nearly all the customary instruments of the orchestra, and substituted the clarionet and cornet for the hautboy and bassoon. He abolished the recitativo secco entirely, and wrote only one or two concerted pieces, which were thrown into relief by the chorus. He wished to set operas upon a purer and more dramatic foundation, and he made the music of his works quick, resolute and resplendent rather than melodious.
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