_Zelmira_ was brought out in London in 1824, under the direction of Rossini himself, and with Madame Colbran Rossini in the principal part. The reception of the composer, when he made his appearance in the orchestra, was most enthusiastic, and at the end of the opera, he was called on to the stage, which, in England, was, then, quite a novel compliment. [Sidenote: ROSSINI AND GEORGE IV.] At the same time, all possible attention was paid to Rossini, in private, by the most distinguished persons in the country. He was invited by George IV. to the Pavilion at Brighton, and the King gave orders that when his guest entered the music room, his private band should play the overture to the _Barber of Seville_. The overture being concluded, his Majesty asked Rossini what piece he would like to hear next. The composer named _God save the King_. The music of _Zelmira_ was greatly admired by connoisseurs, but made no impression on the public, and though Madame Colbran-Rossini's performance is said to have been admirable, it must be remembered that she had already passed the zenith of her powers. Born in Madrid, in 1785, she appears to have retired from the stage, as far as Italy was concerned, in 1823, after the production of _Semiramide_. At least, I find no account of her having sung anywhere after the season of 1824, in London, though her name appears in the list of the celebrated company assembled the same year by Barbaja, at Vienna. Mademoiselle Colbran figures among the sopranos with Mesdames Mainvielle-Fodor, Féron, Esther Mombelli,[85] Dardanelli, Sontag, Unger, Giuditta, Grisi, and Grimbaun. The contraltos of this unrivalled _troupe_ were Mesdames Cesare-Cantarelli and Eckerlin; the tenors, Davide, Nozzari, Donzelli, Rubini, and Cicimarra; the basses, Lablache, Bassi, Ambroggi, Tamburini, and Bolticelli. Rossini had undertaken to write an opera entitled _Ugo rè d'Italia_, for the King's Theatre. The engagement had been made at the beginning of the season, in January, and the work was repeatedly announced for performance, when, at the end of May, it was said to be only half finished. He had, at this time, quarrelled with the management, and accepted the post of director at the Italian Opera of Paris. The end of _Ugo rè d'Italia_ is said by Mr. Ebers to have been, that the score, as far as it was written, was deposited with Messrs. Ransom, the bankers. Messrs. Ransom, however, have informed me, that they never had a score of Rossini's in their possession. * * * * *