History of the Opera from its Origin in Italy to the present Time: With Anecdotes of the Most Celebrated Composers and Vocalists of EuropeEdwards, H. Sutherland (Henry Sutherland)
History
History of the Opera from its Origin in Italy to the present Time: With Anecdotes of the Most Celebrated Composers and Vocalists of Europe
Edwards, H. Sutherland (Henry Sutherland)
Opera
The conspiracy said Bonaparte, some twenty years afterwards at St.
Helena, "was revealed by a captain in the line.[87] What limit is
there," he added, "to the combinations of folly and stupidity! This
officer had a horror of me as Consul but adored me as general. He was
anxious that I should be torn from my post, but he would have been very
sorry that my life should be taken. I ought to be made prisoner, he
said, in no way injured, and sent to the army to continue to defeat the
enemies of France. The other conspirators laughed in his face, and when
he saw them distribute daggers, and that they were going beyond his
intentions, he proceeded at once to denounce the whole affair."
Bonaparte, after the informer had been brought before him, suggested to
the officers of his staff, the Prefect of Police and other functionaries
whom he had assembled, that it would be as well not to let him appear at
the Opera in the evening; but the general opinion was, that on the
contrary, he should be forced to go, and ultimately it was decided that
until the commencement of the performance everything should be allowed
to take place as if the conspiracy had not been discovered.
[Sidenote: AN OPERATIC PLOT.]
In the evening the First Consul went to the Opera, attended by a number
of superior officers, all in plain clothes. The first act passed off
quietly enough--in all probability, far too quietly to please the
composer, for some two hundred persons among the audience, including the
conspirators, the police and the officers attached to Bonaparte's
person, were thinking of anything but the music of _les Horaces_. It was
necessary, however, to pay very particular attention to the music of the
second act in which the scene of the oath occurred.
The sentinels outside the Consul's box had received orders to let no one
approach who had not the pass word, issued an hour before for the opera
only; and as a certain number of conspirators had taken up their
positions in the corridors, to extinguish the lights at the signal
agreed upon, a certain number of Bonaparte's officers were sent also
into the corridors to prevent the execution of this manœuvre. The
scene of the oath was approaching, when a body of police went to the
boxes in which the leaders of the plot were assembled, found them with
fireworks and grenades in their hands, notified to them their arrest in
the politest manner, cautioned them against creating the slightest
disturbance, and led them so dexterously and quietly into captivity,
that their disappearance from the theatre was not observed, or if so,
was doubtless attributed to the badness of Porta's music. The officers
in the corridors carried pistols, and at the proper moment seized the
appointed lamp-extinguishers. Then the old Horatius came forward and
exclaimed--
"_Jurez donc devant moi, par le ciel qui m'écoute._
_Que le dernier de vous sera mort ou vainqueur._"
Public-domain text, read in full here on John Shaqi.
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