When in 1823, the year of Semiramide's being produced at Venice, Rossini started with his wife, the former Mdlle. Colbran, for Paris—whence he made his way to London, returning to Paris soon afterwards—he enjoyed a world-wide reputation, but was far from being rich. Thanks, however, to a season in London, and to five years' residence in Paris, where lucrative posts were given to him, he soon made his fortune.

Speaking some thirty years afterwards of his visit to London, Rossini said to Hiller: “‘From the beginning I had an opportunity of observing how disproportionately singers were paid in comparison with composers. If the composer got fifty ducats, the singer received a thousand. Italian operatic composers might formerly write heaven knows how many operas, and yet only be able to exist miserably. Things hardly went otherwise with myself until my appointment under Barbaja.’

“‘Tancredi was your first opera which really made a great hit, maestro; how much did you get for it?’

“‘Five hundred francs,’ replied Rossini, ‘and when I wrote my last Italian opera, Semimmide, and stipulated for 5,000 francs, I was looked upon, not by the impresario alone, but by the entire public, as a kind of pickpocket.’

“‘You have the consolation of knowing,’ said Hiller, ‘ that singers, managers, and publishers, have been enriched by your means.’