Rossini, Gioachino. ...

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Rossini, Gioachino. Autograph music signed ("G. Rossini"), in French, 1 page (6.5 x 10 in.; 165 x 254 mm.), Paris, 16 February 1864, to Adelina [Patti], on a leaf from Patti's guest book with a musical quotation by an unidentified musician beneath Rossini's text and music, and another musical quotation and inscription on verso by Stephen Kelly. Rossini inscribes and signs original music for Adelina Patti. The composer writes with great sentimentality while including three bars of music: My Good Adelina, Nothing is easier than tossing a thought into your album - a thought which strikes me. Cherishing you as an adoring creature, admiring your ravishing talent, being ever your friend G. Rossini, Paris, 16 February 1864. Adelina Patti was the daughter of two singers-Salvatore Patti, a tenor, and Caterina Chiesa Barilli-Patti, a soprano. As a child she went to the United States, and she appeared in concerts in New York City from age seven. After spending several years touring North and South America and the West Indies, in November 1859 she made her operatic debut as Lucia in Gaetano Donizetti's Lucia di Lammermoor at the New York Academy of Music. Two years later she traveled to London, where her debut as Amina in Vincenzo Bellini's La sonnambula was a sensation. For the next twenty-three years she was a Covent Garden regular. She sang many roles in the operas of Bellini, Rossini, Meyerbeer, and s Gounod, among others, as well as in several of the early operas of Verdi. Patti's career was one of success after success. She sang not only in England and the United States, but also as far afield in mainland Europe as Russia, and in South America as well, inspiring audience frenzy and critical superlatives wherever she went. Her girlish good looks gave her an appealing stage presence, which added to her celebrity status. During the 1860s, Patti possessed a sweet, high-lying voice of birdlike purity and remarkable flexibility which was ideal for such parts as Zerlina, Lucia and Amina; but, as Verdi noted in 1878, her lower notes gained fullness and beauty when she grew older, enabling her to excel in weightier fare. A fine and important association between composer and singer.