Passing over "Armida," written for the opening of the new San Carlo
at Naples, "Adelaida di Borgogna," for the Roman Carnival of 1817,
and "Adina," for a Lisbon theatre, we come to a work which is one of
Rossini's most solid claims on musical immortality, "Mosé in Egitto,"
first produced at the San Carlo, Naples, in 1818. In "Mosé," Rossini
carried out still further than ever his innovations, the two principal
rôles--_Mosé, and Faraoni_--being assigned to basses. On the first
representation, the crossing of the Red Sea moved the audience to
satirical laughter, which disconcerted the otherwise favorable reception
of the piece, and entirely spoiled the final effects. The manager was at
his Avit's end, till Tottola, the librettist, suggested a prayer for the
Israelites before and after the passage of the host through the cleft
waters. Rossini instantly seized the idea, and, springing from bed in
his night-shirt, wrote the music with almost inconceivable rapidity,
before his embarrassed visitors recovered from their surprise. The same
evening the magnificent _Dal tuo stellato soglio_ ("To thee, Great
Lord") was performed with the opera.

Let Stendhall, Rossini's biographer, tell the rest of the story: "The
audience was delighted as usual with the first act, and all went well
till the third, when, the passage of the Red Sea being at hand, the
audience as usual prepared to be amused. The laughter was just beginning
in the pit, when it was observed that Moses was about to sing. He began
his solo, the first verse of a prayer, which all the people repeat in
chorus after Moses. Surprised at this novelty, the pit listened and
the laughter entirely ceased. The chorus, exceedingly fine, was in the
minor. Aaron continues, followed by the people. Finally, Eleia addresses
to Heaven the same supplication, and the people respond. Then all fall
on their knees and repeat the prayer with enthusiasm; the miracle is