The horror of
the Egyptians at the torrent of fire, the cries of vengeance from the
Hebrews, needed a delicate balance of masses; so note how he has made
the development of the orchestral parts follow that of the chorus. The
_allegro assai_ in C minor is terrible in the midst of that deluge of
fire.
"Confess now," said Massimilla, at the moment when Moses, lifting his
rod, brings down the rain of fire, and when the composer puts forth
all his powers in the orchestra and on the stage, "that no music ever
more perfectly expressed the idea of distress and confusion."
"They have spread to the pit," remarked the Frenchman.
"What is it now? The pit is certainly in great excitement," said the
Duchess.
In the _finale_, Genovese, his eyes fixed on la Tinti, had launched
into such preposterous flourishes, that the pit, indignant at this
interference with their enjoyment, were at a height of uproar. Nothing
could be more exasperating to Italian ears than this contrast of good
and bad singing. The manager went so far as to appear on the stage, to
say that in reply to his remarks to his leading singer, Signor
Genovese had replied that he knew not how or by what offence he had
lost the countenance of the public, at the very moment when he was
endeavoring to achieve perfection in his art.
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