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 In one of the "golden periods" of opera no respect whatever was paid to the composer. When, for example, John Ebers was manager of the King's Theatre in London, the air, Voi che sapete, in The Marriage of Figaro, was sung variously, on different evenings, by the Countess, by Susanna, occasionally even by Cherubino, for whom it was written. It was the custom at this epoch for singers to do as they pleased by operas. When the great Mme. Pasta appeared in Coccia's Maria Stuarda "scarcely a single part in the piece escaped unchanged," writes Ebers, "so bent were the performers on introducing additions for the gratification of their amour propre." De Begnis chose Il Turco in Italia as the vehicle for his London début, but all the best parts of La Cenerentola were forced into it.

You may read, also, in historical tables and essays, which old gentlemen delight in preparing for us, of the character of the numerous operatic performances that took place in New York in the early nineteenth century, admittedly hodgepodges, airs from this and from that, with scenes transposed or omitted. We need only to recall Manuel Garcia's celebrated season at the Park Theatre in 1825, during which Il Barbiere was performed twenty-three times. Does any one imagine for a moment that Rossini's musical comedy was given as he wrote it? If any one