At the second performance, the Romans seemed disposed to listen to the work of which they had really heard nothing the night before. This was all that was needed to ensure the opera's triumphant success. Many of the pieces were applauded; but still no enthusiasm was exhibited. The music, however, pleased more and more with each succeeding representation, until at last the climax was reached, and _Il Barbiere_ produced those transports of admiration among the Romans with which it was afterwards received in every town in Italy, and in due time throughout Europe. It must be added, that a great many connoisseurs at Rome were struck from the first moment with the innumerable beauties of Rossini's score, and went to his house to congratulate him on its excellence. As for Rossini, he was not at all surprised at the change which took place in public opinion. He was as certain of the success of his work the first night, when it was being hooted, as he was a week afterwards, when every one applauded it to the skies. [Sidenote: THE BARBER OF SEVILLE.] In Paris, more than three years afterwards, with Garcia still playing the part of "Almaviva," and with Madame Ronzi de Begnis as "Rosina," _Il Barbiere_ was not much better received than on its first production at Rome. It was less astonishing that it should fail before an audience of Parisians (at that time quite unacquainted with Rossini's style) than before a highly musical public like that of Rome. In each case, the work of Paisiello was made the excuse for condemning that of Rossini; but Rossini's _Barber_ was not treated with indignity at the Italian Theatre of Paris. It was simply listened to very coldly. Every one was saying, that after Paisiello's opera it was nothing, that the two were not to be compared, &c., when, fortunately, some one proposed that Paisiello's _Barber_ should be revived. Paer, the director of the music, and who is said to have been rendered very uneasy by Rossini's Italian successes, thought that to crush Rossini by means of his predecessor, was no bad idea. The St. Petersburgh _Barber_ of 1788 was brought out; but it was found that he had grown old and feeble; or, rather, the simplicity of the style was no longer admired, and the artists who had already lost the traditions of the school, were unable to sing the music with any effect. Rossini's _Barber_ has now been before the world for nearly half a century, and we all know whether it is old-fashioned; whether the airs are tedious; whether the form of the concerted pieces, and of the grand finale, leaves anything to be desired; whether the instrumentation is poor; whether, in short, on any one point, any subsequent work of the same kind even by Rossini himself, has surpassed, equalled, or even approached it. But the thirty years of Paisiello's Barber bore heavily upon the poor old man, and he was found sadly wanting in that gaiety and brilliancy which have given such celebrity to Rossini's hero, and after