esteem did not, however, preserve the memory of Zachau from a cruel aspersion, which originated in this wise. A certain Johann Christoph Leporin, organist of the Dom Kirche zur Moritzburg at Halle, was dismissed from his office in 1703 on account of his dissolute life and neglect of duty; and Handel, then seventeen years of age, was chosen to supply his place. After Handel's death, his biographers attributed Leporin's misdeeds to Zachau, accusing him of irregularities of which he was wholly innocent. Mainwaring[1] speaks of his frequent neglect of duty 'from his love of company, and a chearful glass.' Mattheson[2] feebly protested against the cruelty of resuscitating a scandal so grave forty years after its victim's death; but did not attempt to disprove it. Schœlcher[3] reproduced it with inconsiderate levity; while Dr. Chrysander[4] traces the libel to its source, and proves it to be utterly unfounded.
The Berlin Library possesses a large collection of Zachau's compositions, consisting principally of MS. Church Cantatas, and pieces for the organ: and some fragments have been printed by Dr. Chrysander and von Winterfeld. They are not works of genius, but their style is thoroughly musicianlike, and is marked both by good taste and earnestness of purpose.
ZAIDE, Operetta in two acts; text by Schachtner, probably from the French; music by Mozart, 1779 or 1780. It does not appear to have been ever produced. Mendelssohn produced a Quartet from it in a Historical Concert, March 1, 1838.
The autograph contains fifteen numbers, but lacks the title, the overture, and the concluding chorus, which were all supplied by André. The words of the dialogue (not given by Mozart beyond the cues) were added by Gollmick, who has also altered the composed text here and there. It was published in full and vocal scores by André of Offenbach in 1838, and in Breitkopfs edition, Ser. 5, No. II.
ZAIRE. Opera in 3 acts; words by Romani, music by Bellini. Produced at Parma, May 16, 1829.
ZAMBONA [Stephano?], apparently an Italian, resident in Bonn at the latter part of the last century, who, according to the narrative of B. J. Mäurer, cellist in the Bonn court orchestra, gave Beethoven lessons in Latin, French, Italian, and Logic for about a year. It is said that the lessons began in 1780, and that the boy advanced so rapidly as to read Cicero's letters in six weeks! Zambona was evidently a shifty, vague personage—now an innkeeper, now a book-keeper, and then again applying for the post of kammerportier about the Court; but the service which he rendered Beethoven was so far a real one, and without his lessons we should probably not have those delightful polyglott dedications and remarks which are so amusing in Beethoven's works.[5]
ZAMPA, ou La Fiancée de Marbre (The marble Bride). Opéra comique in 3 acts; libretto by Melesville, music by Hérold. Produced at the Opera Comique, Paris, May 3, 1831. In London, in Italian, at the King's theatre (with a new finale to the 3rd act, by Hummel),[6] April 19, 1833, and at Covent Garden Aug. 5, 1858; in French at St. James's, Jan. 16, 1850; in English, Covent Garden, April 19, 1833, and again at Gaiety theatre, Oct. 8, 1870.
ZANDT, VAN, Marie, born Oct 8, 1861, at New York, of American parents of Dutch extraction on the father's side. Her mother, Mrs. Jeanie van Zandt, was a singer, and formerly a member of the Royal Italian and Carl Rosa Companies. Marie was taught singing by Lamperti at Milan, and in 1879 made her début at Turin as Zerlina in 'Don Giovanni.' On May 3 of the same year, and in the same part, she made her first appearance at Her Majesty's. In that part, and in those of Cherubino and Amina, she was favourably received on account of the freshness of her voice and her unaffected style. On March 20, 1880, she appeared in Paris as Mignon, with such success that she was engaged by the Opéra Comique for a term of years, and became a great favourite. She also played there Cherubino, Dinorah, and Lakmé on the successful production of Delibes's opera of that name April 14, 1883. On Nov. 8, 1884, on the revival of Rossini's 'Barbiere,' Miss van Zandt was seized with a total extinction of voice arising from nervousness and physical prostration, in consequence of which calamity she was subjected to the most gross treatment and calumny by portions of the Parisian press and public. On leave of absence from Paris she played in the provinces, and at Copenhagen, Monte Carlo, and St. Petersburg, where she appeared Dec. 17, 1884, and during the season with great success. On her return to Paris in 1885 her position was rendered intolerable by hostile attacks, and she threw up her engagement. On June 6, 1885, she re-appeared in England at the Gaiety on the production of 'Lakmé,' and created a highly favourable impression in that and 'Mignon' and also in scenes from 'Dinorah' and 'Il Barbiere.' She has a soprano voice of more than two octaves in compass, from A below the line to F in alt., very sweet in quality, albeit of no power or volume, with considerable powers of execution. She is a pleasant actress, with great charm of manner, and should ultimately achieve a lasting success.
ZANETTA, ou Il ne faut pas jouer aveo le feu (never play with fire). Opéra comique in 3 acts; libretto by Scribe and St. Georges, music by Auber. Produced at the Opéra Comique, Paris, May 18, 1840. The title originally stood as above, and the opera was given, in French, under that title in London at St. James's theatre, Feb. 12, 1849.
