“But the lovers are suddenly interrupted by the exultant voice of the Hebrew people in the distance, which recalls Elcia. What a delightful and inspiriting _allegro_ is the theme of this march, as the Israelites set out for the desert! No one but Rossini can make wind instruments and trumpets say so much. And is not the art which can express in two phrases all that is meant by the ‘native land’ certainly nearer to heaven than the others? This clarion-call always moves me so deeply that I cannot find words to tell you how cruel it is to an enslaved people to see those who are free march away!” The Duchess’ eyes filled with tears as she listened to the grand movement, which in fact crowns the opera. “_Dov’ e mai quel core amante_,” she murmured in Italian, as la Tinti began the delightful _aria_ of the _stretto_ in which she implores pity for her grief. “But what is the matter? The pit are dissatisfied--” “Genovese is braying like a stage,” replied the Prince. In point of fact, this first duet with la Tinti was spoilt by Genovese’s utter breakdown. His excellent method, recalling that of Crescentini and Veluti, seemed to desert him completely. A _sostenuto_ in the wrong place, an embellishment carried to excess, spoilt the effect; or again a loud climax with no due _crescendo_, an outburst of sound like water tumbling through a suddenly opened sluice, showed complete and wilful neglect of the laws of good taste. The pit was in the greatest excitement. The Venetian public believed there was a deliberate plot between Genovese and his friends. La Tinti was recalled and applauded with frenzy while Genovese had a hint or two warning him of the hostile feeling of the audience. During this scene, highly amusing to a Frenchman, while la Tinti was recalled eleven times to receive alone the frantic acclamations of the house,--Genovese, who was all but hissed, not daring to offer her his hand,--the doctor made a remark to the Duchess as to the _stretto_ of the duet. “In this place,” said he, “Rossini ought to have expressed the deepest grief, and I find on the contrary an airy movement, a tone of ill-timed cheerfulness.” “You are right,” said she. “This mistake is the result of a tyrannous custom which composers are expected to obey. He was thinking more of his prima donna than of Elcia when he wrote that _stretto_. But this evening, even if la Tinti had been more brilliant than ever, I could throw myself so completely into the situation, that the passage, lively as it is, is to me full of sadness.” The physician looked attentively from the Prince to the Duchess, but could not guess the reason that held them apart, and that made this duet seem to them so heartrending.