Donizetti wrote from sixty to seventy operas, but his "Don Pasquale" is in a light style as compared to the "Barber of Seville" and does not approach "Semeramide" for melody, nor "William Tell" for dramatic value. Stendhal foretold that the florid music of Rossini would be followed by a master of simple melodies and we find Bellini to be the one. Donizetti's work is not well balanced and he sways from one extreme to the other. His tenor air in "Anne Bolena" is attractive for it possesses more dramatic significance than most of his. He counted on the pure musical effect, which is naturally more effective in spoken drama than in opera, which is sung through out. For instance, the horn of "Hermani" is terrifying when heard in the play, but merely ordinary when heard in the opera. He seldom wrote a tune, or scored a half dozen measures of simple accompaniment, without burying the voice under ponderous chords for the wood winds. "Lucrezia Borgia" contains less recitative than was customary with Rossini. Notice must be taken of the brilliancy of the introduction, the series of dramatic scenes and the large number of tuneful themes distributed judiciously for the four leading personages. "Lucia" is broadly conceived, well constructed and highly dramatic, especially where the chorus informs Lucia of the end of Edgar. In "La Favorita" there is passionate impulsiveness in the final duet, the choruses are impressive, and the music appropriate to the various personages and situations of the piece. Bellini had true melody and his creative power was more effective than Donizetti's, as was his use of the orchestra. He abandoned trills and for ornamentation delivered simple phrases. "La Somnambula" is an endless flow of melodies full of true emotion and thoroughly dramatic, for he gave attention to the orchestration and concerted melodies. Rossini emphasized the necessity of introducing choruses, which he maintained were indispensable for dramatic effect, and we find his ideas developed by these men. However, these, and Paisiello's form of long scenes of recitative are old now.