At length Rosina came on, and sang the _cavatina_ which had so long been looked for. Madame Giorgi-Righetti was young, had a fresh beautiful voice, and was a great favourite with the Roman public. Three long rounds of applause followed the conclusion of her air, and gave some hope that the opera might yet be saved. Rossini, who was at the orchestral piano, bowed to the public, then turned towards the singer, and whispered "_oh natura_!" This happy moment did not last, and the hisses recommenced with the duet between Figaro and Rosina. The noise increased, and it was impossible to hear a note of the finale. When the curtain fell Rossini turned towards the public, shrugged his shoulders and clapped his hands. The audience were deeply offended by this openly-expressed contempt for their opinion, but they made no reply at the time. The vengeance was reserved for the second act, of which not a note passed the orchestra. The hubbub was so great, that nothing like it was ever heard at any theatre. Rossini in the meanwhile remained perfectly calm, and afterwards went home as composed as if the work, received in so insulting a manner, had been the production of some other musician. After changing their clothes, Madame Giorgi-Righetti, Garcia, Zamboni, and Botticelli, went to his house to console him in his misfortune. They found him fast asleep. [Sidenote: THE BARBER OF SEVILLE.] The next day he wrote the delightful _cavatina, Ecco ridente il cielo_, to replace Garcia's unfortunate Spanish air. The melody of the new solo was borrowed from the opening chorus of _Aureliano in Palmira_, written by Rossini in 1814, for Milan, and produced without success; the said chorus having itself figured before in the same composer's _Ciro_ in _Babilonia_, also unfavourably received. Garcia read his _cavatina_ as it was written, and sang it the same evening. Rossini, having now made the only alteration he thought necessary, went back to bed, and pretended to be ill, that he might not have to take his place in the evening at the piano.