There is an interesting account given in Stendhal’s Life of Rossini, relative to his adoption of the florid style in composition. In 1814 he went to Milan, to superintend the bringing out of his opera, _L’Aureliano in Palmiro_. The principal tenore, Velluti, a very handsome man, had a voice of great flexibility. At the first rehearsal, Velluti sung his part in a manner that delighted the composer; at the second rehearsal, the singer added some cadenzas, which Rossini applauded even rapturously; at the third rehearsal, the original melodies of some of the cavatinas seemed lost amid the luxurious profusion of vocal ornaments; but at the first public representation of the opera the singer added so many _fiorituri_, that Rossini exclaimed, “_Non conosco più la mia musica!_”[7]; however, Velluti’s singing was well received by the audience, and every vocal feat brought down thunders of applause. The hint was not lost on Rossini. He observed that his opera had but little success without Velluti, and he resolved in future to compose in a different style. He would no longer remain at the mercy of the singer, but write down in his score a sufficient number of embellishments, not leaving room for the addition of a single _appogiatura_ by the singer. We have digressed from the original subject, dear reader, in order to show that the _rifioramenti_ of a piece are mere additions, and also to point out to the amateur the propriety of omitting startling and surprising stage points, when presenting in private fine operatic passages, and the nice, delicate taste that would be displayed in giving more of the original melody, avoiding embellishments, using them only where they seem absolutely necessary to break up the monotony of a continuous strain, and render it more effective. We could give our other objection to this public singing of amateurs, which objection applies more particularly to lady amateurs; but we have chatted long enough already, and, moreover, our objection is decidedly too old-fashioned to be talked about in these days, “of rights of men, women and children;” therefore, we will suffer it to pass unmentioned, trusting to the force of the one already given to convince you, at least good reader. * * * * *