Da Ponte's ambition to see Italian opera permanently established in New York seems to have received a crushing blow with the failure of the pretentious Italian Opera House enterprise. His dream I have referred to; he was again to be a "poet to the opera," to write works for season after season which his countryman Trajetta was to set to music. His niece was to be a prima donna. He did write one libretto; it was for an opera entitled, "L'Ape Musicale," for the musical setting of which he despoiled Rossini. His niece, Giulia Da Ponte, did sing, but her talents were not of the kind to win distinction. He persuaded Montressor to give his season, and, rushing into print, as was his custom--the period of the pamphleteer was to his liking--he discussed the failure of that undertaking in two booklets. After the successive failures of himself with Rivafinoli and his underlings, who attempted to succeed where he had come to grief, he appended a letter to his old supporters (who had plainly fallen away from him) to a pamphlet devoted to setting forth the miseries of his existence after the great things which, in his opinion, he had done for the people of New York. The letter has never seen the light of day from the time when it was printed in 1835 till now; but it deserves preservation. I found it twenty years ago in the library of the Historical Society of New York in a bound volume of miscellaneous pamphlets. It is as follows:
TO THOSE AMERICANS who love the fine arts I address myself. Hitherto I have vainly spoken and written. Never was more really verified the Latin proverb: Abyssus abyssum invocat.
Let the verses that I now present you rouse you from your lethargy; yet should they not, I will not cease to cry aloud. I cannot now remain in silence while my fellow countrymen are sacrificed, the citizens of two noble cities deceived, and an enterprise for which I have so long and ardently labored, so calculated to shed luster on the nation, and so honorable in its commencement, ruined by those who have no means, nor knowledge, nor experience. Answer at least these questions: Did you not request from me an Italian company? It will be readily understood with whom I speak. Why did you ask this of me? I was offered a handsome premium if I would introduce a troupe of select Italian artists in America. Did not I, and I alone procure them? Were they not excellent? Have I been compensated for my labor, reimbursed my actual expenses, or even honored by those most benefited by my losses and labors?